The Washington herald., 1911-10-22
AT NEW YORK THEATERS

1t then develops that Bunty's father,
Tammas Biggar, the village grocer, has
| past. He has borrowed E1OO from
Susie Simpson and has failed to pay it
all back. Miss Simpson seeks to square
matters by proposing to annex the recall
cltrant groce- via the marriage route.
In the meantime Ellen Dunlap appears
ana turns ont to be former sweetheart
| or Tammas whom he Tilted on the eve
OF wedding. She is the antithesis of the
spare and spidery Susie, and Tammas'
much courted affections appear to lean
her way in spite of the monetory hold
OF Susie. This fact leads Susie to de-
nounce Tammas in the village church
and demand his arrest Here Bunty
steps in-she has been busy pulling
strings all through the play-and an
nounces that the money is home awaiting
the discharge of the debt
II turns out that the money is none
other than that which is to be used for
the marriage of Bunty and weelum. 1t
requires no little string-puIling on
Bunty's part to win over her afianced.
but in the end he submits The piece is
brought to a happy conclusion by a bit
of supreme string pulling that shows Su-
sic Simpson TO have cheated Weelum, her
nephew, out of almost the exact amount
Bunty was obliged to sacrifice for her
father's honor.
Miss Pearson easily carries away the
honors as Bunty, but her supporters,
Scotchmen and ladies all, form a cast
whose weird dialect and good work will
make the play one of New York's sights
for many week.
"The Sign of the Rose"
The Garrick affords a fine example of
what a good actor can do with the laws
of playsmithery, and yet turn out a
successful and interesting story. The
Sign of the Rose" takes untold liberties
with Chance, Coincidence & Co., displays
a dramatic license as broad as the Hud-
son, yet holds its audiences enthraIled in
the meshes of humor and sentimentalitv
that has been written into its lines.
Beban has long been known as a por-
rayer of character roles on the vaude-
Vile circuit. The Sign Of the Rose" a |
sketch that gained much favor, has been |
expanded into the play, and gives Beban |
excellent opportunities to display the art
of which he is master.
Pietro Messena, a poor italian laborer, |
brings Christmas tree to the home of |
the millionaire Griswolds. He is treated |
kindly and shows marked delight in the /
little daughter of the house, who subse- |
quently disappears, hidden by the black |
sheep of the family, who demands $780, |
200 for her return, signing his letters |
The Sign of the Rose"
In the second act Beban reaches the |
zenith OF interest and -humor. 1t con- |
sists of a dialogue with his little house |
keeper Rosa, during which her large
ideas of Santa Claus and Pietro's mani |
fest inability to fulfill them cause most |
of the laughter. This act closes with a |
scene depicting the injury and death of |
Rosa at the hands of the kidnapped |
girls millionaire father. 1t is well man.
aged and redolent with pathos.
Pietro is suspected of kidnapping the |
little Griswold girl. His interest in her !
and the fact that he attempts to buy |
red rose to grace the coffin of his lit
tie Rosa further complicates matters.
The play is brought to a successful |
conclusion by 'he recovery of the kid
mapped child and Pietro's exoneration.
Beban, the actor-playwright, is star
of the play, and is supported by a long
list Of actors, among whose number are
several very poor ones. These, however,
are readily set off by the ensemble work
of the cast and the brilliancy Of the
star.