The Minneapolis journal., 1906-11-18

existence is prolonged thru the second
and third acts, and there is among
other things romance of love and
Jealousy which throws a revelatory
light over the problems Of today which
Cypress the characters of the first act.
The last act comes back to today and,
OF course, the cold shadow of distrust
that rose between the, soldier and the
maid, now shown to be the ghost of
ancestral passion, is exercised forever.
J.. obviously, there are fine opportuni-
ties for both comedy and romance in
the working out Of this theme (Which
is said to have occurred to Mrs. Suther-
land in dreamy, and the play is said
fairly to make the most Of these.
After giving Puccini's latest opera,
- Madame Butterfiy,' tryout in
Washington and Boston, Henry W.
Savage has taken the production to
New York, where it has already been
enthusiastically welcomed. The opera
was finished about three years ago and
Is said to be quite the equal, musically
and dramatically, Of the preceding
"Tosca. Mr.. T Savage a D' Of course, rMe
produces it in English and is entitled
to the highest credit for thus following
up his success of last year, HParsifal. .
in English. The story is Japanese, and
this makes a gorgeously attractive set
ting possible. Puccini has skilfully
given his music local color by using
Japanese tunes as motives and has fol-
lowed his characteristic plan of MAX
ing the score "a minute and critical
commentary on every sentence, every
line OF the text Ito use the words Of
the Times critic. Despite its varie-
gated and even photographic character,
the music is said to be Of strange and
enamoring beauty. o
Sarah lie Moyne gave a Browning
matinee in New York last Monday, the
drama chosen being ''Pippa- Passes"
One critic describes it as "four long
hours of gloom and Browning.'' The
play is described as being singularly
undramatic and the production on
which time money and talent were
lavished is characterized, in an eco
nomic phrase, as IAN unproductive con-
sumption of wealth.
Carlotta Nillson, who has deeply i'm
pressed New York by her impersona-
ton of Rhy Macchesney in "The Three
of Us,' is of Swedish birth. Unlike
Camille Clifford, the Norwegian girl
whose stage success has won her for
husband an English lord, Miss Nillson
has not changed her name, but bears
her Swedish patronymic on the stage
and off. She left Sweden when she
was 10 years old, and not having the
opportunity to return, has forgotten
largely the use Of her native tongue.
When someone sent her a criticism Of
"The Three of .Us' in Swedish, she
had to get friend to translate it.
/. Miss Nillson first attracted attention
IN New York when She played Mrs. Ell
sted to Mrs. Fiske's Hedda Gabler, and
she has since been accused Of Initiating
Mrs. Fiske' s methods. This accusation
she resents bitterly. While one of the
younger generation Of actresses, she has
waited long. for recognition. and now
1nat matt, 1t has s come seems not in the least
might have had success years ago." she
says. . 10 get an opening on the stage
the diamond necklace. I had neither
the. beauty nor the necklace -
h Except that l have the advantage
OF greater experience she continued,
I" the work do now does not differ
mate1ally-or at least temperamentally
from the work did years before T
had ever met or heard of Mrs. Fiske.
Florence Roberts and [ have both been
accused of Initiating this great actress;
the time was when Mrs. Fiske herself
was accused of copying Duse. The fact
IS that we are all striving to initiate
only one thing-nature. After all,
there-1s only one nature, one truth, and
you must not go over it or under it. If
same cast of nervous temperament, it is