Evening star. [volume] (Washington, D.C.) 1854-1972, 1909-12-12


name Of Belasco'' consists of no
one has been able to define. There
is no doubt that the word awakens
confident expectancy whenever it
appears on an announcement Occa sional
dfsappointments strengthen rather than
dfspel faith in this producers ability to
achieve His average of success is so
high that his presentation of Naughty
Anthony or a Fighting Hope" makes
the law of chance in favor of a subse
auent series of triumphs. All that is said
Of him among people who view the stage
fsom a non-professional standpoint is ia
verable. Most of the writing about him
is eulogistic. Patrons flock to his box
Offices. and players no less eagerly haunt
hts stage doors. The reason for his hold
on popular sentiment is variously de-
fined in his own profession: he is shrewd
man; he is a hypnotist: he is a lucky
gamester: he is a master of stage trick
cry; he is many things that imply good
fortune rather than merit. The theory
that he is industrious, conscientious
worker, with a fine art sense does not
seem to suggest itself as freely as it
should, as the most natural explanat ton
OF so remarkable a record
seientious worker does not imply that his
Influence on the stage is that of a moral
ist- He is not concerned in works which
teach the lesson of self-suppression: the
shbordination. of impulse To intellectual
measurements of duty. On the contrary,
he is an emotionalist and his latest pro-
dlction. The Lily impresses more than
anything else the tragedy of a sienced
and thwarted nature.
"A direct line of action characterizes
productions by Belasco. He does not
SCATTER his mental ammunition in hope of
scoring by chance. Having declared
Iplicy, he adheres to it, When he en-
gagged in the preparation of a spectacular
presentation he was lavish; when he I'M
drtook to portray conditions of poverty
liz was severe: when he presented star
he subordinated plot. dialogue stage set
ting and every other consideration to the
individual to be hero-ized. and now, when
he INDUCES in that dream of every pro-
ducing manager. first class stock COM
pany, he scatters dramatic opportunities
with so even a hand that every member
of the cast steps forth and dominates
the stage in turn.
y tragedy not programmed was en-
acted early in the week when Aubrey
Boucicault suffered complete nervous
collapse and had to give up his part. 1t
was an important role--that of the I'M
happily married artist whose love for
parentaily-guarded girl causes domestic
disaster. The manner OF replacing Mr..
Boucicault may be taken as a hint that
there are many good actors still waiting
for a hearing. Until Wednesday Mr..
kely-his good work should make his
first name matter of common knowl-
edge very soon-was practically unheard
of in this city. Frederick Belasco. the
brother of David Beasco. was In this
city at the first performance of ''The
Lily" He is the manager OF a number
of stock companies and knows the field.
II was without hesitation that he COM
mended Mr.. Kelly for the part and
telegram brought him to the scene.
The Climax is a study in tempera-
ment: an appeal to the exaggerated mu-
steal sense which places the gift of melo-
dious expression above all other human
consideration. Its atmosphere is idyllic
and its personages refined that their
motives at times become mpalpable to
the touch : of ordinary experience. Its
studied sentimentalism can hardly appeal
10 the auditor who demands ingenious
plot complications as well as character
portraits. But the melody so dextrously
interviewer through the story must APP
PEAL to every listener-not merely as a
charming bit OF composition, but as an
intrinsic element of delicate creation.
PHILANDER JOHNSON.
THE MINSTREL JoKE.-"The minstrel
~
first minstrel show in lS43." said Lew
Dockstader recently Il have made many
attempts but without success. to unearth
the oldest minstrel joke. being especially
anxious to find IL. as the jokes of the first
twenty years Of minstrelsy show what
was the typical American humor In
those days the minstrel men were prac-
ticaily the only joke-makers. There were
no comic papers and no newspaper hu-
morists.
The pun and conundrum were mighty
popular with our Srandfathers. They
screamed over both. Unless a pun today
j. an exceptionally clever one, with some
definite hearing on the conversation car
fying with IL some point. an audience ma
groan 4 few conundrums go long
way-sonlc Of them have gone from the
Mexican war down to the Spanish war.
Minstrel men speak of old jokes as
old boys''-an exhibition of paternal af-
lection YOU may say. One of the oldest of
Il
fence like penny? Because it's head
OF one side and tails the other An
other Joke Of rare old age that has made
countless thousands laugh is: What
makes more noise that pig under
gate Two pigs
I'm the first minstrel show the must
clans, Nocalists and everyb body else on the
Stage in the first part joined in the Joke
making II was as common for the cor
net player or drummer 10 engage in con-
Iversdtion with the mddleman as for the
end man. one of their jokes was: why
am j like a young widow For fear the
audience might not understand, the mid
dle-man would repeat: WHY are Won
ike young widow? | am Obliged to con-
TESS / do not know. Kindly tell us why
YOU are like a young widow The answer
Ia that was: Because do not stay long
in black.
Eventually the joke making was limited
10 the end men, who painted their mouths
TO make them look large. and who wore
striped shirts and pants. For many wears
:tAere were only two end men. They We're
first called Julius and Snow and later
called Bones and Tambo.
Humorous stories were easily feature
of minstrelsy probably from the first
performance. Here is one that | have
tracked back To 1851:
Two lrishmen were guests at a sum-
mer hotel. The mosquitoes bit them so
hard they summoned the landlord who
told them to put out their light. They did
50. moment later lightning bug flew
into the window It's no USE said one
of the lrishmen. They're coming now