New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1904-05-29

refinement OF tact. Each IS most tnconSiderate
oi uie ambitions and intrigues % the political
salon. ana the ladies are wondering how they
can ever get the government out Of Office. Yet
they may succeed Unexpectedly Luck is gener-
Sliy on the side OF the petticoats in politics
rather than the trirmers
The periodical invasion OF the theatres by
American companies and actors no longer ex-
cites Jealousy so far as the audiences are con-
eerned- The critics are cool and measure their
words, but there is good feeling in the play
houses, as there ought to be when English com
panies and actors are invariably received with
rtendlness and hospitality in America The
transfer OF The Prince Of Pilsen' with scenery
outfit and the entire company from America 10
The Shaftesbury Theatre has been accomplished
without a cry OF dissent from the galleries; and
the piece has apparently entered upon 4 pros
porous career in London and the provincial
cities. The critics at their wits end TO give
an ineligible account of this musical farce but
they are candid enough 20 admit that himsy
and inooherent books" are not unknown IN the
conventional British musical comedy. What the
audiences care FOR is neither plot nor story but
a varied exhibition Of sustained high spirits
Certainly they have this at the redecorated
Shaftesbury Theatre. The company carries
through the two acts with characteristic Amer
lean energy, every dancer, singer and super
working arouously and necessarily until the final
fall OF the curtain. No English company in uau-
steal farce eXerts itself as these American play
ers do; and this feverish activity is the feature
OF the new performance, which is put through
in two hours and a hail. with a single long
break The music. especially in chorus work,
is also distinctly better than is ordinarily heard
in similar English pieces and the comedy act
ing is excellent Mr.. Ransone. as the leading
comedian. has been received with the greatest
heartiress as one OF the funniest performers now
on the stage-a most acceptable variant OF the
polite lunatic Of The Belle OF New-York."
Miss Ethel Barrymore has also had at wyrd-
hams Theatre a warm. appreciative welcome
IN Mr.. Dsvies's Cynthia" While she
nervous as Miss Ellen Terry invariably IS on a
first night, the charm and simplicity Of her
acting completed the conquest made by her re-
fined beauty and willowy grace The critics
naturally compare the play with Mrs. Cor
ringe's Necklace" and Cousin Kate" and find it
essentially a one-part piece, more fragile in con-
struction than the later and more ambitious
and workmanlike plays. AS they compliment
various members Of Mr.. Frohman's company.
there is clearly a good deal OF work for Miss
Barrymore's associates One Of the pIeasantest
features of what may be called an AngIo-Ame--
lean play is the absence Of caricature aud clun-
sy imitation. The American parts are enacted
by Americans and the English parts by English
actors and actresses. In this way there Is nat
ural use OF voice, carriage and gesture, and
there is no straining after effect The American
woman ia not burlesqued with nasal twang and
uncCuth gesture as IS often done on the English
stage, and the English parts are properly cast
The audience knows by face, action and voice
those who are English and those who are Auleri-
can; and neither nationality is travestied or ridi-
cUled. Americans residing IN London are so
weary Of seeing their own country placed at
disadvantage by coarse caricat lures and exagger-
ated limitations Of Transatlantic character that
they are under special obligations 70 Mr.. Froh-
man for an admirable distribution OF parts.
l. y. T.