Northern Wisconsin advertiser. [volume] (Wabeno, Wis.) 1898-1925, 1907-03-07

Lively Scenes in Theaters When New Plays Produced

The premiere or theatrical first
night in Paris is a social function OF
the highest importance In the past
fortnight no less than II new plays
Or reviews have been produced at
the Paris theaters, says Paris cor
respondent of the New York Tribune.
These occasions have a flavor of
their own, and 1t was the good for
tune Of the present writer to have
plotted young married couple from
New York amid this maze of dramatic
bewilderment, which they found so
different from anything of the kind
at home that their impressions seem
likely to interest theater-going
people in New York, for these Par
isian premieres are full of surprises
and destinations for foreigners who
witness them for the first time. The
interest is by no means conferred OH
the stage. Leading men and women
in politics, literature, art, fashion or
bohemianism will be found collected
in the theater and sitting as a self
constituted Areopagus to pronounce
judgment not only upon the new play,
but also upon the latest triumphs OF
millinery and dressms ding. The
present prime minister, Mr. Clemen-
ceau, seldom misses premiere. and
between the acts important political
conversations are often held on The
neutral ground of the playhouse.
The premiere is, moreover, a field
night for smart Partisan women Al
most any performance at Paris
theater is pretty sight. so fresh and
in such simplicity of taste are the
toilets; all, however, are in visiting
dress, except at the Opera Opera
Comique, Theatre Francois, Theatre
Sarah Bernhard and the new The
atre Rejane, the latest and most lux.
and comfort, where the women in
the orchestra stalls wear evening
gowns, often decollete, and without
hats. In the boxes and balcony one
frequently sees smartly dressed
women in low-neck dinner dresses,
wearing beautiful hats. The effect
is graceful and artistic On the first
nights, however, in every part of the
house, from roof to floor, are exquis-
itely-dressed women, sparkling i'll
jewels and rare gems. In the orches-
ira stalls heads are bare or adorned
with sprays of pearls, tiaras of dia-
monds or clusters of rubies or emer-
aids. In the balconies and boxes
gowns fresh from the ateliers in the
Rue de la Paix are crowned with
wonderful hats and multi-colored
feathers nod and wave with the emo
tons of their wearers. Instead of
tiaras, the women in the balconies
wear marvellous necklaces, ropes of
pearls and flashing pendants.
Directly you enter the house you
see that something unusual is on
foot. Leaving their rich furs vita
the sharp-faced old women-veritable
harpies, the concierges of the Paris
theater--who, under the pretext of
taking care of your wraps carry on
kind of licensed me1dicancy at the
cloak -room-women stroll round the
corridors with their attendant cava-
liers, meeting friends at every step.
None dream of taking possession OF
their seats until the electric stage
bell rings through the house. When
the curtain goes up the seats are
filed with a silent, attentive AMI
critical audience, who are seldom led
away by admiration for particular
artist to applaud a weak play. But
if the author makes hit it is
acknowledged Instantly and spcn.
taneously. Then the curtain falls
but rises again to enable the leading
actor or actress to announce the
name of the author of the play.
This first interval is busy one
All rise from their places. Groups
form, greetings and introductions
are exchanged, the sprinkling of cab
met ministers gravitate together, men
in tucked shirt fronts carry messages
from stalls to boxes, and procession
then forms to the foyer. Every the