New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1921-08-21
Is Dostoievsky the Real
Author of ''The Spanish Hour?
Musical Pantomime of Ancient Origin Presented b,
Convicts in Siberian Prison May Have
Inspired Ravers Librettist

! this piece as in the preceding one,
imagination had to supply what was
wanting in reality. Instead of wall
at the back OF the stage there was
carpet or a blanket; on the right
shabby screens; while on the left,
where the stage was not closed. the
camp bedsteads could be seen; but the
spectators were not exacting and were
willing to imagine all that was want
ing 1t was an easy task for them;
all convicts are great dreamers. Direct
ly they are told this is a garden it
is for them a garden. Informed that
this is hut they accept the defini-
ton without difficulty. To them it is
hut. Sirotkin was charming in a wom-
ans dress. The miller finishes his
work, takes his cap and whip, goes up
to his wife and gives her to understand
by signs, that if during his absence
she makes the mistake of receiving any
one she will have to deal with him
and he shows her his whip The wife
listens and mods affrmatively her head.
The whip is evidently known to her;
the hussey has often deserved it. The
husband goes out. Hardly has he
turned upon his heel than his wife
shakes her fist at him. There is a
knock; the door opens and in comes
neighbor, miller also by trade. He
wears beard, is in a kuftan, and he
brings as present a red handkerchief.
The woman smiles. Another knock is
heard at the door. Where shall she
hide him? She conceals him under the
table and takes up her distaff again.
Another admirer now presents himself
"A farrier in the uniform of a non
commissioned officer.
Until now the pantomime had gone
on capitally; the gestures of the actors
being irreproachable. 1t was astound-
ing to see these improvised players
going through their parts in so cor
rect manner, and involuntarily one
said to ones self:
"'What deal of talent is lost in orr
Russia, left without use in our pris-
ons and places of exile!'
THE convict who played the part
of the farrier had doubtless taken
part in a performance at some provin-
cial theater or had played with anna
tours. 1t seemed to me in any case
that our actors knew nothing of acting
as an art and bore themselves in the
meanest manner. When it was his
turn to appear he came on like one
of the classical heroes of the old rep
ertoire-taking long stride with one
foot before he raised the other from
the ground, throwing back his hand on
the upper part of his body and cast
ing proud looks around him. If such
gait was ridiculous on the part of
classical heroes, still more so was it
when the actor was representing
comic character. But the audience
thought it quite natural and accepted
the actors triumphant walk as a nee
essary fact, without criticizing it,
"A moment after the entry of the
second admirer there is another knock
at the door. The wife loses her head.
Where is the farrier to be concealed?
In her big box. 1t fortunately is open.
The farrier disappears within it and
the lid falls upon him.
THE new arrival is Brahmin, in
full costume. His entry is hailed by
the spectators with formidable laugh
This Brahmin is represented by the
convict Cutchin, who plays the part
perfectly, thanks in a great measure to
suitable physognomy. He explains
in pantomime his love for the miler's
wife, raises his hands to heaven and
then clasps them on his breast
There is now another knock at the
docr-a vigorous one this time. There
could be no mistake about it. 1t is the
master of the house. The miller's wife
loses her head the Brahmn runs