The San Francisco call., 1906-04-01

IN The Heir to the Hoorah." plavinp
al the Columbia this week. is a LAM
ahese actor who assumes the role Of a
japanese valet. Hush. HIS name ts
Tamamoto; his place with the best Of
the cast l saw him on Monday night:
Followed him through two acts. and
then wondered IL Mr. Tamamoto were
really valet To Guy Bates Post-a Ian
anese valet, by himself. as they manage
II IN 'Scotty." The illusion was perfect
Aou WoPlu have given him your hat
ana gloves II you had met him in the
desert; you. would have taken him .,'on
ms 'tace at any employment Office. And
lnen, OF course, discovered that Tana-
Fpoto Is a very clever actor; a very
clever actor indeed. Just how clever
the role OF course, offers but slight on
portunity 10 discover, as he ouafntiv
claims himself but there is no. more
flexible, adrOit, spontaneous work done
by any member Of the company of <s-rhe
Heir 10 the Hoorah" than by Tama
moto.
= I wondered what he thought Of If ALI
o1.Frhe Heir TO the -Hoorah" as art of
occidental acting, OF himself in relation
TO the American stage and such won
dered Nhst his stage manarer tboueb+
Of him. wondered If Hush, the valet
were by chance only a phenomenallv
clever psrroting OF a stage managers
idea, mere product Of the japanese
genius OF imitation
J. Mr.. Brewer took me behind the scenes
70 ind out Robert Brewer. who has
managed more famous peonle than
even ones grandmother could n,ention
The old gentleman was gently COM
} : aiming Cthis was Tuesday night that
they had had TO came all the way to
san Francisco to End out that THE
Heir is bad play. He told me OF its
trlumphs in New York. of its victories
Z k,o-
surprise at its reception here. It's not a
great play" he owned, but 1t is
wholesome and amusing and a pretty
good play on the whole"
50 think Ii told him. and then we
came upon Mr. Tamamoto, pouring
out the cocktails" the first OF the sec
ono act He met my request for an in
terview much as. he might have met
a. request for a chair-which cour-
teopsly, he immediately set for me in
the mimic dining room. just out OF
sight Of the audience.
Whisky" I asked. to begin things,
nodding at the glasses. Tea" Mr.
Tamamoto confessed. Then he ex-
plained, We used to have champagne
not always purchase it."
These one-night standsw not an
actor OF them all could have said it
more accustOmedly.
You have been long with the COM
pany?" Z queried.
i was" with precise pride this)
Zone Of the. original cast"
: And before that. Mr.. Tamamoto?"
i was IN the commercial business
pardon me-"
" He had had one ear on his cue, and
now glided TO the open door with the
tray Of cocktails. ready, smiling, alert,
the valet perfect. He came back Just
as coOlly TO the business of the inter
view. II was so throughout OF or on.
like biz Of syncopated accompani-
ment, the valet jumps in and out
the scene. his Yes, sir
.No. sir" filling IN like a bit of animate
mortar. The part is like those grand |
opera bits, never noticed unless they |
are badly done; all work and no glory
and hard work. But like clockwork in /
its rhythm. and like anything but /
cockwork in It's spontaneity. was Ia
lua anloto's valet and as instantly be-
tween bits he was at my side without |
a ruffie TO his name. 1t was a repose
He resumed: I was in the CONNER
cfal business before this"
80 rs il possible that you never acted /
before-" / exclaimed.
oh. yes" Tamamoto replied Il was
IN the dramatic business at home, be- |
f0resT came to America"
Now we We're getting at it. But why
Rad Mr.. Tamamoto chosen then to try |
FOR American instead OF Japanese stage
Laurels?
: Mr.. Tamamoto explained it: This
country is very much easy for actors
than my country. Here one can be star
in a. few years. There one must work |
for many, many years before he can be |
accounted anything. a Japanese actor
has. to be able to play anything-com-
edy, tragedy, emotional, all roles. Then
he must have ability also TO play fe-
male roles-it is hard to be great Actor
Il Japan"
And what did you play there. Mr..
T. Tragedy. comedy. both" Tamamoto
said I have done all kind Of work
there"
Do you find that the Japanese dra-
matte schooling helps you in the. occi-
dental drama?'
on. .ves,' the japanese said-and
.Oh, yes is his most emphatic express
sion. I haven't had the honor to
study in America at ALL
Then the Japanese teach acting IL
the same way that it is taught here?'
again But we must study more there
-han here. We have. first TO learn to
lance, and TO move hands and feet dis
gra efully-gracefully. They will not
sven let YOU go on the stage until you +
1ave learned. Not even amateurs. No
matter how intelligent one is, one has
% go through with this first And
'6en, on the stage, under the masters
eFe, one learns TO act"
And every actor must learn every
Sind ot part-but surely there are
born; and others born to
in Japan just as with us%
'.Oh. yesss,. and Tamamoto explained
hat: IF one is most .fit for it. he will
get tho comedy or tragedy part, but he