Evening star. [volume] (Washington, D.C.) 1854-1972, 1904-01-23

lott to go upon the stage. She made eer
first appearance on any stage as an extra
girl with e. s. Willard. and after season
of walk-on parts with him, she applied to
A.. M. Palmer for permission to Join his
stock company at what is now Wallach
Theater. AS she had had very little ez-
perience. he engaged her as an extra girl
also. But here, for once, her beauty came
to her aid, and she was singled out for
especial prominence by Mr.. Palmer. Though
he still refused to trust her with 1mpoI tane
parts. Then Miss Elliott joined the Au-
gustin DAILY Company. and for two years
played in Shakespearean productions with
Ada Rehan, and in revivals of the old conn
edies. This experience under Daily was m
valuable to her, and then New YORK com
menced to talk of this beautiful girl VINO
was coming to the front down at Daily 5.
About this time, Nat Goodwin was or
ganizing- his company for his Australian
trip, made in 1896, and he engaged Mass
Elliott for second and third parts III ms
company. In Australia, owing to the III
ness of his leading woman Goodwin gave
Miss Elliott her first chance at Leaning
parts. and she achieved such a success
that she returned to America as his lead
ins, woman Meantime, it is matter OF
public record that this business relation
|. ship not without tinge or roinahce,
for two years later Miss Elliott became
Mrs. N. c. Goodwin. and subsequently, De-
came joint star with him.
Miss Elliotts first role of real prom-
uence in America. while with Mr.. GOODWIN,
was in "An American Citizen IN 1873
she created the role of Alice Adams In Ar;
Goodwins production of Nathan Haze,
and then played Phyllis in When we
Were Twenty-one." Last season sac play
ed jointly with Mr.. Goodwin in The Altar
OF Friendship" and it was while playing
with him that she and Mr.. Goodwin. hnain
that their business always attained capac-
ity limits everywhere, decided to become
separate stars.
THE HANDKERCHIEF SCENE IN
vERDTS "OTHELLO."-Much of the dra-
matte interest in Verdi's opera of "Othello,
the libretto for which is taken from Shakes
peare's great tragedy, depends on the Incl
dent of the handkerchief that Iago employs
| to arouse the jealousy of the Moor. Some
of the composers most brilliant effects are
obtained in the famous handkerchief scene
| that occurs in the third act of the opera.
This noble work of the Italian master. that
| is to be heard in English for the first time
| in Washington during the coming week OF
| English grand opera by Henry w Savage
splendid organization, will have added IN
| terest for students of the drama, mas
| much as the Shakespearean text has been
| restored by Francis Heufter, the London
| critic.
Among the principal roles in the opera,
| that of Iago, sung by the baritone, Winfred
Golf. dominates, as it does in the drama
| In fact. it was VerdiS original intention to
call his opera "1ago' instead of ''Othello.
| because of the lyric Importance of this role
Mr.. Golf has been especially commended for
| his work as the Moor's ensign. and one OF
| the strongest situations is in the scene
| where he lays bare the plot to entrap Des-
| demona and the Moor with the handker-
chief Emilia, wife of 1ago, sung by the
new mezzo-soprano, Rita Newman. also
! figures prominently in the situations In
! the opera she discovers the handkerchief
| where Desdemona had dropped it, and lago
1 bn,. t,rr,a nIvny to i'm "a
| being portrayed in a duet of much lyric