Evening star. [volume] (Washington, D.C.) 1854-1972, 1906-04-01

49, ing experience IL II
4 \, some topic that was higher in pub .
lie interest than the social status
of tbn Indian it would be q strong claim
ant to consideration as great drama, IL,
its motive IS consistent and well denned
and its characters truthfulIy depicted. The
problenn play has been roundly abused, but
II Is ar institution People want problems
and there was a certain disappo ming
scrutiny Of Mr. Blossoms play in the hope
OF finding an exposition of some social the
orv So strong was this instinct that the
assertion that the Indian was the orglna!
American citizen was on several even
ings sufficient to evoke a ripple OF
applause As a matter of fact, the In
dian is the least OF our troubles so far 9s
any ambition on his part to mingle in polite
society IS concerned. "Strongheart was
an exception, one OF the phenomena who
find their way to professional base ball
teams. The interest in him is confined to
his experiences as the hero Of story. He
Is not accepted as a type and the piece can
be REGARDED only as a well-set-up piece of
dramatic machinery whose characters are
natural and Interesting. but with a scant
appeal TO that ever-present and always I'M
satisfied public curiosity as to whittier we
are drifting
4 y
Mcintyre and Heath offer another of che
numerous instances IN which variety per-
formers have been graduated step by step
to the legitimate stage The legitimate
stage is a phrase frequently employed. but
its meaning is each season submerged In
deeper doubt. 1t Is certainly not a stage
which IS confined to representations OF that
drama which Is cavalierly referred to by
performers Of lighter caIiber as the iesit.
1t is a disparaging abbreviation. 1t i'm
plies something of the impertinence which
the school boy with shining face thinktngIy
applies to the lean and slippered pantalouA,
and sometimes even to the Justice Words
change their significance as time passes.
many innocent nouns, such as "kHave" and
villain" having developed a sinister i'm
port which al the outset was not dreamed
of So may it be expected that many
'erms which In our modern slang implies
Teproach VIII eventually be accepted as
complimentary distinctions. As we now
reckon such matters. a legitimate attrac-
ton is one which does not cost the spec
tator less than $3.50. 1t may have songs
and dances and Amazon marches to an I'M
limited extent but it Is not a burlesque so
long as prices at the box office are main
eeAA4ASNA CT d hlpptl utSiCc VI ulBniLY. ING
legIt' has been represented by such people
as Madame Kalich, Robert Mantell, Hen
Tietta Crosman and others OF as great dis
tinction, though less recent prominence IN
this city. Mcintyre and Heath are un-
questiOnably deserving to be ranked with
legitimate performers as the phrase goes,
but they are long way off from being
.'1esits."
E, This should not dishearten them. In fact,
IL may be safely asserted that they have
Gever suffered a mOmentary pang on this
account, for they are good. useful enter
iainers, with more laughs In ten minutes
sf their talk than most people of their kind
manage to get out of an hour. They have
attained the glory OF being surrounded with
"a production and this is the highest
achievement for which the vaudeville come
dams heart can yearn. To the mirth-seek-
ing observer they bring the relaxation he
desires. and 70 the more philosophic mood
they present the grateful assurance chat
small beginnings may have mighty rewards;
that ambition is not wholly vain, and that
the world do move"
: 3
Production" IS another word I'm whose
Theatre definition the dictionary does not
give complete satisfaction 1t has long
since gone beyond indicating the mere
bringing out Of a play and now implies
exceptional surroundings In the matter o.
scenery. AS employed TO describe musical
entertainment IT blossoms and unfoIds with
radiant Insurance, and production toears
scores of girls. yards upon yards Of s!lizen
costume acres of fantastic landscape and
troops " stage hands. All this 1leInty-e
and Heath have the minstrel snls over
whelmius criticism by sheer force OF num-
be~s. Their costumes. though Individually
uns.ghty and erotesque, fan into a sort
IL pictorial harmony by dint Of infinite
reputation.
It IS somewhat remarkable that the pubic
waited 50 long TO hear from Harry Paulton,
the libreitist. and still more remarkable that
/; hears nothing at all from Jacobowski. the
composer. 1t would be supposed that nIen
whC brought forth work of such standard
quality as 'ErminIe7 would lie constant
figures in the musical world. Miss Paula
Edwardes' new opera, Princess Ieggar,"
displays Mr.. Paulton's unquestio Eable skill
as COnstructionist TO admirable advantage.
1t has sufficient basis OF serious story to
form proper background for the piquan-
cies OF a feminine star. and its situations
and cllmaxes are led up to with a consist
ency which prevents hacI<freysd comment
upon plotIessness as an essential of musical
entertainment Especially in this respect.
as IN many others. IT proved interesting and
agreeable.
Whenever the Washington public falls to
turn out en- masse to view a performance
the management thereof IS struck with
great wouderment. He turns to his date
book and reninisces on the big business
done elsewhere and feels that the capital
city is on the verge of an artistic decline
a suspicion that the merits Of his partcu-
lar performance may not be such as appeal
to the Intellectual needs of the community
never crosses the managers mind Wash
tuEton has never been and never will be
what Is known as "a good show town in
the sense OF one that swallows everything
that comes along, hook. line and shaker.
There IS. however. a reason. for Washing
tons seeming capricIousness with reference
20 Its theatrical entertainment Shows are
being showered upon il like meteors from an
August sky. The regular theatrical enter
;ainments form but a share of the constant
bids for It's attention. The lecturer is al