Evening star. [volume] (Washington, D.C.) 1854-1972, 1905-04-09

many others were of that constellation at
one time or another. They are all pursuing
careers of independent brilliancy now.
Some-indeed. most of them-had been
celebrities long before they went into bur
lesque. The little place on Broadway was
In danger of becoming a kind of actors
home and when Lillian Russell's name was
added to the list there feeling that
she had settled down for good. But she
bloomed radiant as ever from week to week.
and now she comes forth in a role of far
greater legitimate pretensions than any
thing that her former associates in mlrth-
fulness are doing Lillian Russell as Lady
Teazlel What laugh the suggestion would
have secured had Edgar Smith introduced 1t
in of his burlettas! True. Miss Russell
had played a comic opera. but no one ever
credited her with anything but good looks
and an ability to sing better than the av-
erage. Yet here she has been at the Co.
lumbia Theater playing Lady Teazle all
week and impersonating that coquettish
creature with as much ease and grace as If
it had been one of her earliest studies.
1t is a luxury TO see an actress who comes
before the public with so much reputation
relying upon it so little. There is no pa
thetic suggestion of better days about LII
liam Russell. She is joyous and debonnaire.
and her face is a fortune which still draws
dividends. 1t places her beyond the need of
the aims often extended by kind-hearted
audiences for past achievements rather
than for present merits. There is a dash
ing assurance about her that carries her
far. She knows what she is about. If occa-
sionally in her singing she makes method
take the place of natural tone; 1t is good
method. Every now and then some player
surprises the public by satisfactory per-
Torrance of some role which was regarded
as sacred and to be attempted only under a
SPECIAL dspensation straight from Olympus.
Robert Mantell has astonished New York
by rlaying Hamlet well. although his abIl-
ity to do this made known to other
cities many years ago. To tell the truth.
there are many good Hamlets, and perhaps
the woods are full of good Lady Teazles,
lacking only opportunity.
Uner Sheridan produced The School for
Scandal" the strange criticism made
that it contained too much wit. The poet
Moore, who was himself sluggard in
repartee, declared it was a veritable Ell
Dorado in which gold was tossed about as
If 1t had no value. 1t is strange how close
ly conditions correspond from century to
century. Not many seasons ago Robin
Hood" almost much a success music
ally as The School for Scandal was
dramatically. was gravely criticised as be-
ing too melodous. But the presenters of
this modern version were not content with
the sprightliness of the comedy. and COM
missioned Messrs. Bangs and Penfield to
put still more wit into it. 1t is the gliding
of refined gold. The comparisons merited
may not be wholly fattering to the gilt. but
the gold remains untarniShed.
Scarcely more remarka BILE than that chit
of q girl, Lillian Russell. is that slip of
boy VIM. 7. Carleton who is playing Sir
Peter Teazle. Mr.. Carleton Is in a sense a
Washington man. This is the same Carle-
ton who used to present 'Nanon'' and The
Gondoliers at Albaugh's, long before it be-
came Chases. Mr.. Carleton admits that
comic opera has changed much. He recog-
nzes that the gentleman who invents wind
mill gyrations for the arms of chorus ladies
is quite important the librettist or
the composer. almost as important. indeed,
as the costumer The mental strain of
evolving gestures to fit the abstract and
ethical subjects dealt with by the writer of
musical comedy calls for sympathy. 1t is
a custom which once arose from a benevo-
lent purpose on the part OF the managers
far as possible, from the words and music.
But the habit has grown until the pretty
pantomimists in the chorus overshadow all
else. No one has a show but the show
girl. However, Mr.. Carleton still believes
in comls opera, and is going to reorganize
the Carleton Opera Company for a season
in Plttsburg. Standard productions will be
made and the younger Carleton, who is his
fathers chief rival as a performer of
juvenile musical roles, will be u leading
member of the organization.
x x x
An example of the critical style of the
period for which Sheridan wrote may not be
without interest in this connection. A note
of protest is sounded against THE School
for Scandal in the Gentlemans Magazine
in IT'S Its purpose is ingeniously dis
guised at the outset by an elaborate moral
ization worthy of Charles Surface himself.
1t begins resonantly:
Nothing is surely OF more Importance TO the
world than the proper regulation of the theaters
and the continually reminding them of the i'm
portsnt duty they have undertaken, that OF com
batting vice by every weapon which human in
Geuuity invent aud supporting the cause Of
virtue.
The article proceeds to complain that Mr..
Sheridan has neglected these obligations;
that the affection of sentiment which it
satirizes is not reignng vice of the times.
and that the propagation of scandal Is
made alluring rather than repugnant by
these brilliant pictures of the characters
engaged in it. The real object of the at
tack does not appear until the last para
graph, in which is deplored the repeated
attempts to destroy the taste for sentiment
al comedy revived by Mr.. Cumberland, who
has judiciously executed the whole duty
of an author, which is not only to paint
nature, but to paint such parts of 1t as
every good man would wish to see imi-
tated.' 1t is obvious that Richard Cum
berland who esteemed himself a rival of
Sheridan. but who Is now forgotten, en-
ployed press agent. There is nothing new
under the sun.
The difficulty of finding suitable plays
for young stars is again exempified in the
case of Ethel Barrymore. The first act of
Sunday starts out like a roaring melo-
drama. Miss Barrymores personality is
not at home in shooting ARRAYS. 1t is de-
messing 10 SEQ this charming yOupp woman