The Salt Lake herald. [volume] (Salt Lake City [Utah]) 1870-1909, 1905-12-24

an, anq I'm sorry 20 hear Il. but
assure you I'll noe take much Of g0ir
time; | can finish the reading in two
hours.
Half the Irish story revivGls are at-
/ tributed 60 Chauncey Olcott ana this is
one of them,
American travellers in Ireland make
point OF extracting spontaneous Irish
Wit, and often are rewarded. 1 once
stopped peasant 20 make inquirifs
about Barney castle Receiving the
! information. I gave the lrishman Thea
following conundruU. Now, Mix.
suppose that Lucifer was sure OF u.
! both. Which would ne take first. da
you think?" The Irishman looked
(. thoughtfuliy Toy q moment, then said
/ Yer honor, / think he'd take me
Why? ] asked. Because hes al-
ways sure OF YOU
FRITZ Scheff makes a point OF being
photographed only once a year, aud 40
f~eaFthly power can bring her 10 The
studio more often. Photography f. her
/ great adherence. and even the once e.
year visit can only be brought about
after weeks OF strategy and diplomacy
on the part OF her manager aud then
she goes unwiliingly. She frankly says
! she hates all photographers.
4 new light on Robert Browning S
relation 10 the stage has been shed by
Otis Skinner in q recent interview on
the subject of the great English poet
I Declares Mr.. skinner:
Browning stopped writing plays
with the stage in I2ind right after his
quarrel with the actor-manager. Mac
ready. After that he did not care
whether or no his dramas ever saw tho
. e. l. III
theatrical representation. and so al
lowed his psychological genius its fuil
sway. irrespective of the conditions
/ that circumscribe practical dramatic
endeaVOr. When Lawrence Barrett
produced his nasterfui work. The Blot
in the ScutcheOn.' Browning felt "a new
( influence come into his life an al. lie
wrote Mr.. Barrett a warmly apDrecia-
tive letter, complimentin him upon the
/ popular success he had won for the
piece, and adding: If I had only had
you 10 write for me in the past ] might
have written more actable plays IL
was too late, however, Tor Barrett 10
become the inspiration he might other
wise have been. How difficult Brown
ing's verse IS for actual stage presenta-
ton I experienced while playing Nor
bert in In Balcony with Mrs Lee
Moyne and Miss Robson"
Eugene Cowles. bass0. now singing
in the romantic opera, "The Rose Of the
Alhambra,' tells of how he came 20
adopt the operate stage as a Trofes-
sion:
In 1855 I was occupying the position
Of teller in the Chicago First National
| bank. AIessrs. Kari, Barnabce and
! Macdonald Of the BOstOniaus had
haursA Gfarr a nhFFsRhaF aF fff.saa 4
ing their professional visits 10 Chicago.
both in local churches and nj musical
entertainments. In the fall Of that year
received an offer by wire from nj
! Barnabce. stating the salary that they
would pay me, and asking me il I ac-
cepted to come 10 Boston Immediately.
\ week later the BostOnians were to
open their season al the Boston theatre
] took this proposition 20 Lyman J.
Gage who was then president OF the
/ First National bank. and asked his ad
/ vice. In "A most fatheriy way he said
My boy I know you like 10 sing. and
your voice may make more money for
you than YOU can get in any capacity
in our bank outside OF that of presi-
dent. Go and try the stage and if You
don't like il, come back to us. There
VIM always be a place for you IN the
| bank.
so I started for Boston on the next
/ train. I succeeded considerably better
J than / had expected. and very soon
| was singing principal bass parts in =
1 number OF operas"
= =
! Mauda Feaiy win be among next sea
( sons stars. She will be under the
management OF John Cort. and Martha
/ Morton is now engaged ia writing a
play for Miss Fealy's use.
e
! Mary Mannering viii soon retire
! from the cast Of The Walls OF Jer-
! ichO' TO star at the head of her own
/ company. and a prominent actress viii
! be engaged 10 take her place. The PLAY
has made an unqualified success in
New York.