The San Francisco call., 1910-07-11
TRAVATO PLAYS
IN Wild FRENZY
VioIinist at Orpheum Saws
Through Ragtime Into
Classical Melodies
By WALTER ANTHONY

OF all the actors have ever seen
signor Travato at the orpheum is the
greatest violinist. OF all the violinists
I have ever heard Travato is the great
est actor. He plays the violin at the
Orpheum this week and his act lasts
80 minutes. You are interested all the
time That is because he plays so well
and adds 10 his bowling with the bow
thousand bowings with the head, so
that when you are not entranced with
his tunes YOU are occupied with his
antics
He plays ragtime music which he
pulls from the end of classical melo-
dies ''Trovatore" hebnobs with Il
Wonder Who's kissing Her Now?'
Muscular Turkish music wriggles into
"Ah, Believe Ne, if All Those Endear-
ing Young Charms" and flows gently
but firmly into Cherry Rag" He plays
his violin, which. sounded like long
lost Stradivari, doomed to popularity,
cello fashion. He holds. it between his
knees. He saws at it with tremendous
vigor and caresses it with gentle per-
suasion. His tone-I mean the sound
that sings from the f1ddle-is sweet
and limpid and pure, but is put to the
uses of adversely sometimes, for he
plays everything from the best to the
WOTSI, out ne pldgS ever y liilIS We'll.
He keeps time with his head and his
feet He indicates the rhythm with his
entire person and perspires in a frenzy
of fervent emotion. The audience
laughs when he tickles with squeaky
limitations of birds; is willing to weep
when he plays the prison music from
''Trovatore''; signs when he does a. Ian
gushing lyric and is willing to two
step" when he plays the ragtime He
L. lit IL
He does everything we'll I imag-
inc he missed being a great vfo-
linist by only matter of patience. He
could be fine actor, but will not have
to be as long as he can tuck his fiddle
between his knees as he did yesterday
and make you forget that more than
a half hour has passed.
Travato. comes second on the bill at
the Orpheum and makes you forget the
elephant and his trainers and the
friendly horses. After Traxato comes
Fanny Rice. who is called Jolly for
short. She is. mean she is jolly-not
short. She is jovial and merry and
ornaments the best bill that the Or
pheum has seen for many months. You
think, after Travato has played for
more than 80 minutes that compensat-
ing mediocrity will even up the first
half of the program to an average of
-
and keeps the good work up This
veteran-if one may speak thus of a
former star of nearly. forgotten comic
operas-has an imitation act. She imi-
tates Lauder and Taft and Roosevelt
and others. Roosevelt's impersonation
comes last with comedy and pungent
satire mixed. Miss Rice renews con-
fidence in the existence of the font of
eternal youth, for she bubbles with
good spirits.
Marion Murray and company have an
excellent skit called The Prima Dom
mas Honeymoon which sustains in
hilarity the standard of the first half
of the performance. The second half.
after Rosner and his orchestra have
thirsty. is headed by Aubrey Pringle
and George Whiting. They have a
''frone song which would tempt YOU
to the Orpheum if you lived in Carmel
VIII NJ Cressy and Blanche Dayne pre-
sent a sequel TO Town Hall Tonight
which Is not SO good as the first writ
ten sketch, but fine entertainment at
that Miss Lily Lena changes her rep
ertoire but retains many of her hest
songs so that she makes new friends
and keeps the old She made a little
speech yesterday in appreciation OF the
applause she won.
Up to this time nobody left the Or
pheum. The bill was perfect. vaude-s
ville-a mingling of variety and spice
and life. Then came for the closing
number The Ballet of Light" during
the performances of which movement
toward the doors was started leisurelv
and after. the act had run--or danced
a few minutes. 1t is too long by Is
minutes. That is the length of time
it consumes. The moving pictures are
better.