Deseret evening news. [volume] (Great Salt Lake City [Utah]) 1867-1920, 1905-11-18
MAUDE ADAMS OWN
VIEW OF PETER PAN.

more was meeting my admirers ex-
pecations In u Barrie play.
THE GROWING MOMENTS.
"Thls moment Of triumph, If you viii
permit me to cal, It so, In the actors
life Is very little understood by the pub
lie. The audience sees the play and
feels It's own delight with what Is said
and done, but It does not understand
that the actor, too must be delighted.
and that II IL n moment of the most
intense qualification in the players life
when the delight between himself or
herself ana the audience IL mutual,
These are the moments that make life
enjoyable for the player. ana they are
the browning moments OF his career,
ut Is quite wonderful. too, after one
has gone through all the adventures
that dear Peter has, to sit up I'm the
little house on the tree tops among the
fairies and let the spell of the whole
story permeate one. a strange, eerie
feeling Is experienced, and without
knowing why one imaglnes that every
body In front as well as the whole
world ut large believes In and loves
the fairies.
"A curious thing in connection with
dear Peter Pan Is the fact that three
years ago | played Napoleon's son,
L'Aiglon.' while now, In the fourth act.
| impersonate the father, the great Ma
poleon himself
Perhaps considerable Is added TO the
interest and beauty OF Peter Pan by
the earnesness and sincerity with
which every member of the company
plays his or her character. There isn't
pirate in the piece that doesn't go
through his work with the same spirit
and seriousness that he would If he
were a real pirate on board a real pirate
ship, and not one of the young women
impers0nating the boys In the play that
does not enter with full boylsh zest and
spirit into the deineation of her char
acter.
TRUE SPIRITED ANIMALS.
"There isn't lion, crocodile or wolf
on the stage that does not believe sin
cerely that ne is really what he is pre-
tending to be- The other night the boys
who play the wolves that are huddled
together for moment or so on one side
OF the stage got tangled up. and | heard
one Of them say
THAT black wolf fellow got In front
OF me, so | couldn't play my part"
And the crocodile seems as eager
and hungry for Pirate Hook all through
the play as II he We're genuine saur-
ian and had full sized saurian an
petite.
II have endeaVored I'm this matter to
give some idea of the doubts and diff
culties that filled my mind when / first
appeared In Peter Pan. / may have
made II plain that the part is not an
easy one to play, owing to the great
90 ~ ,ao"on,i.' ,,a,,,,N,, -,
tbo,,sh,s ,oSna =, so o,O,, aireo, ians
THO g,,,no y,as not 90 aasy 81 course
20 a nn,.ica In aariaI oal,a;ior ond 90
7 hove aIrood,, said sin,y,,, with sn
ornbest,ai o,ononir,on, 49, se an eYnori'
ment about which had serious mis-
givlnos
A NEW TEST.
"These. however may all be accepted
as the least of dear Peters troubles,
The one supreme test of nerve came to-
ward the end of the third act of the
| play, when the fairy Tinker Bell lies
| dying, and when # becomes necessary
| to get the audience to express It's be-
lief In fairies in order to save Tinkers
| life. Now. 1t is a situation absolutely
new 10 the stage to suddenly make an
| assemblage OF people a part of the play.
| and to call upon them TO respond with
| the same readiness the trained actor
| would take up his cue. Nobody could
| possiblv forecast what the effect of
| such a thing was going TO be.
"You see, when an actor talks TO an
| other actor upon the stage there Is sure
to be a reply In either action or words
| But when an actress steps down to the
T., footllghts ana SAYS clap your hands
| and wave your handkerchlefs, II you
| would save Tinker Bell there il
| no means IN the world of Knowing