The Montgomery advertiser., 1906-09-02

cedence politely to Mrs. S. Holmes, De- Elective" because woman wrote itE Moreover, the woman is Ruth Bryan l 3I1eavitt daughter of William Jennings ! Bryan; and besides that, she gives It out in the same week with the home coming Of her father. It distinguishes him as having a daughter who won l. | or can't lever her work down to the demands of vaudeville. Her comediet- 1 ta has twenty minutes time in pro- lEram of varieties. Just before 1t, two l of the late Paddy Rooneyfs daughters dance with exceeding velocity and Vlo- 1ence, and the spectators are joyed to a point of ecstasy! Just after 1t, pair of dialoguists send swirls or mirtn Through the theatre. mainly because one of them has a real hare lip and for { that reason can't help talking funnily. But during Mrs. Leavitts play neither laughter nor applause breaks the audi ence's respectful silence--except al one sentence. A hard-up lady advertises as q detective in way to imply that she 1s the widow of Sherlock Holmes. The ! footing a honk born precedes the en- trance of a client ] 4 You came here in an automobile, she says. deductively. How do know. Why, detect an odor or gasoline about you.' "Ah,D says the client, but mipe IS @n electric motor car" MT. Bryan's daughter has written lnraversity of Conan Doyle detective I function with good taste and diction, but fo theatrical use 1t Is valuless.
 The oldest actor in any of the weeks I new plays is Edward Garnatt. such I mite of a man that he can personate baby in ''The Little Stranger" Hls m fantile size and Yoice qualify nm l Yraakishly, for a farce which Martha lMorton's brother Michael had to take tfo London for an opening. There lfhe newspapers berated 1t as nauseous. the paying public thought it vastly amusing, and New York mas it with its wholly English company. don't wonder at either the grins or tns I frowns. A promoter of belief m the l 1ransmigration of souls conyinces ehe I mother of an infant, her husband, 10 f cure her, hides himself and hls on- 1 springs, sends home report tnat ne I has drowned himself. hires a dwarL 10 4 take the place of the child. and makes ' her and the family believe that ms soul has passed into the infantlle body'
 Tho midget imp gives to the sup posed baby an astounding precocity' He ceases prattling and takes to swear ing. throws away the rattlepoA alu InaIIs for cigarettes, smashes the nurs- < fn1 bottle and fights for whiskoy flask throws his nurse into hysterics hv responding to her caresSes, man lnishly, and overcomes the whole mouse I hofd with amazement and superstitlous I fright. The mlIe OI dh 4he family as a phenomenally Knowing ] baby, however doesn't stop his prankS E within merely comic bounds ne mothers distress becomes pitiIul when she is convinced that the soul or her dead husband has entered the pody o1 her baby and made him ioaI r,sI ,a 1ao actress is one of those, long, sim, ele- 1 raut young women whom DuMaurieT 1sse to nut into Punch pictures: and tt
 looks like carrying the joke disagree
 abIy far when the midget man, m the i nemblance of an infant, displays an amorous disposition towards the %o man who thinks he Is her own oapy pnasessed of a devil. Few take ser ] lou~ view of the fun. though, and ine little Stranger" will fill barrel With
 noney-possibly a hogshead.
 Note fo the Editor-Crane's new play
 on Wednesday, comes to late to De de
 scribed in its public performance DO l
 have gone to a dress rehearsal lhe
 absence of an audience made 1t impos-
 nihia to fudge Cranes effectualfty In serious role; so the following account
 ia non -committal as to that F. Fyles-
 A very earnest drama, The Power of Money" puts William H. Crane Into the position of an emotional actor-a position that is dilemma and predica- rnent--for in spite of the personal dlg- nity which of late years he has taken on, audiences still expect him to make 1hem laugh. Crane has become the tdean of American actors. It was a isnuestion fit for a toss-up, after the Fdeath of Jefferson, whether Crane should not be chosen the successor or l Jefferson and Booth, instead Of John Drew, as president of the Players EfIub And so, after amusing us long Ewhile with American humor. perhaps Crane owes it to his worthily acquired Inravify, perhaps, to stand for smile Alass love and hate in a dramatic prob l7em of wealth and poverty. ANYWAY lhere we have him as one Joe Tremlett' In home body, bookworm and affection late husband and father, who would be Ehappy on a small income if only his Iawife and daughter were similarly minded. will not give you the puzzle sof a summary of the plot to solve, but s4e1I you at once what has come apout lSn the third act
 Cranes wife and daughter have ac- tuuired costly tastes and vanities dur snR the first half of the play, and now The is asked to pay the price or money lao indulge them. His brother, Marx, lmoulless schemer for wealth. sees
 chance to make it by buying some land (which a Lord Carew refuses to sell. .nAark's wife loves Carew and hates her husband; so he dares not ask her 10 Intilize her sentimental influence by In fGucinR CaFeW to trdnSIeF tue pIopCItJ,
 but he offers $25,000 to @ane to per E@uade the wife, and Crane. in his de- Aefre to capitalize his own family, does Ixhe shameful job In the fourth act he lat first demands s1O0,00O for the deed
 10 the land, but undergoes reaction lof pride and conscience, and tears up lahe document. That is the Crane part lof the story, and he presents it with his usual unsubtle yet explicit and lyraphic method.
 Alfred sutro did not write this drama txo provide a star role for Crane. or ianyone else. His evident purpose was Ito give novelty to the everlasting frrfangIe, of a man. his fife and her Hover. He achieves his object by mak- ing the wife and her lover guilty of lnothing worse than utterly intellectual
 adultery. They hope to marry if ever
 she gets legally and morally free or
 her husband: and in the meanwhile the lover takes her away to a home of luis iproviding, yet their affair although de-
 fiant of the worlds verdict of guilty,
 ss known by the audience to be inno-
 cent Sutro seems to approve their be-
 lief that marriage, when 1t separates flowers. is a wrongful institution.
 A neat way to turn nice dramatic
 art into clean commercial gain is to
 take clever but not costly actors to
 mnke stars of and put them into plays
 far which light royalties only have to
 hs~ maid. the casts of which make short
 aalaryl lists and the scenic and costume
 outfits require small outlays so that
 the losses are modcrating on failures,
 profits may be reached with hut tOier-
 nbie successes and a1wayG there is the