Evening star. [volume] (Washington, D.C.) 1854-1972, 1910-03-06

washington InealeIS a =
week Little Memo is
modernized Black Crook pro-
d,ction-the same scenic transforrna-
lions. the same trooping cohorts OF
sunernumeraries but with new story
IN proyide a thread of interest 1his
Klaw and E.rlanger presentation Is
protably bigger than anything the most
ambitious Blark Crook manager ever
attempted indoors Only by going INTO
omen air competition with the circus
"a the Kiralfys did, could these pro
ducers hope to enlarge the scope Oh
their enterprise. In preparing the
libretto for little Memo Mr. Smith the
rasourcefuI and interchangeable MT
smith who still consents to be known
as Harry" while actors insist on nav
ing nopular forms of first name buried
in oblivion. has evidently left large
lad lib privileges to the comedians
who race through their lines as II there
were fears of missing a train or
nav day Even Mr.. Smith, with the
scrapbook privileges which it would DE
cruelty to deny habttual producer OF
musical comedies, would hesitate to lay
claim to some of the classic qulps
which occur in the dialogue
The Prince of bohemia too, has
recollections of the dear old days and
lead the observer to suspect that some
of the youth fulness of the tune1W
Andrew Mack is in the makeup. May
be William Carleton told him those
merry jests; for Carleton owns right
mp to being a real veteran. II would
be useless for him to deny II In thls
city, where the Carleton opera company,
of which he was both the promoter ana
the principal singer, was for so many
years a welcome summer visitor. That
was when Chase's Theater was the
Grand Opera House. with entrance
on the park side of the theater ana
such a thing as a big electric arch on
the Avenue undreamed Of Carleton has
son who is sufficiently mature
and presentab1e 10 he taken now and
then for his fathers brother-and he
is not an old-looking chap at that.
THE Prince of Bohemia, has a plot
which invites no apoplectic risks because
OF its excitement. some genuinely pretty
music and enc of the prettiest choruses
that has been seen in a good while.
Christie 1IscDonald's demure, me!odious
personality seems to set a standard for
the entire company, for there is quiet
ude in the ensemble work which is almost
TOO dignifiad for the modern idea of what
Il musical show should be.
Every generation must have a political
play. 1t is something often attempted
and but seldom brought to a successful
conclusion w. ]. Florence gave the world
The Honorable Bardwell Sioat in THE
Almighty Dollar" Mr.. Crane had per-
haps the most noteworthy success of his
career in THE Senator and Thomas
wise's Gentleman from Mississippi de-
serves a place beside them in the gallery
of stage cartoons. Tim Murphys Nave
rick Brander was a good Interpretation
of the low comedy statesman, which
seems to be the only type of American
publicist that theartic authorship will
attempt TO handle: but Charles II. Hoyt
was so instinctively farcical in his treat
ment OF topic that the piece took on
the aspect of a travesty rather than
legitimate comedy. 1t would be inter
esting 10 know how far the concept of
a representative of the American people
in Washington as an eccentric and ill
groomed jay has been implanted in the
general mind. An actor proceeds TO make
up a member of Congress with misfit
frock coat as naturally as he reaches for
cigarette when cast for the villain or
puts on checked trousers and white gait
when called upon to appear as the
humorous but respectable head of fam
lily.
Two Washington authors have come
conspicuously into notice this week
They are animated by different motives
and are exploiting distinct fields. but both
have had their troubles with the claimant
IL
not care for the money but is working
for fame. is asked to render literary
counting to the shades OF the late Oscar
Wilde, and Mr.. Willard Hocombe, who
doesn't care a rap for the fame. long
as the box office is good to st. Elmo.
has been beset by lawsuits. brought nv
people who felt right Ia share in the
profits. ST. Elmo" went begging for
hearing among managers for a long time.
and now managers are begging for IT.
Augusta ]. Evans was the Laura Jean
I.ibbey of her day and the success of this
piece should encourage the producing
Arm that some time ago announced a con-
tract with the modern suthorette to
place something from her pen before the
footIights
The case of Mr. Gibson brings up an in
teresting question. Nobody has ever held
a playwright accountable for strict origi-
nality in bis plots. The same idea is pre-
scented in a multitude of different lights
as different mentalities take it up. The
two central themes, love and money,
have formed the basic motives OF nearly
all plays in all languages. Mr.. Gibson 8
production reverses the proposition. If his
critics be reliable. and. using dialogue as
the primary inspiration, evolves situations
70 surround ii. The method rs one that
has never before been frankly applied.
Mr.. Gibson is, therefore, whatever may
he learned of his attachments as a poet
and dramatist. distinctly "A pioneer and
as such entitled to the press agents most
efficient and elaborate attentions.
PIII.AND1r JOHNSON
NINE. MARIETTA OII.Y-From panto-
mime to the drama at the age OF sixteen
was the first stage experience OF Frau
Marietta Oily She began her career in
Munich playing the part of Thrynette in
the pantomime OF The Lost Son" Ernest
Won Possart, manager OF the theater.
was so impressed with her ability that
ne coached her IN serious work. Sew
eral months later she appeared as Cy-