New-York tribune., 1921-06-26

their programs and handkerchiefs into the air
while others. carried away by their enthusi-
asm, rose and shouted Hear! hear! hear
Then a strange thing happened. The cur
tain. until now silent and unresponsive bar
rier, shutting off the stage like inexorable fate,
began to move and then to rise. What did it
mean? What was going to happen?
The crowd sat silent and expectant. Then
an actor, still dressed in his play costume,
stepped forth, walked down to the audience
and bowed, as if he were personally thanking
every one for the applause.
Just such a scene must have taken place at
Covent Garden when Macready responded to
the first curtain cali, for it was this celebrated
actor who was the first to enjoy such dis
tncton.
Since then the curtain call and speech have
become stock features of theatrical perform
ances, and have so developed that they form a
separate history of their own. Now, in addi-
tion to the actor, many others expect and take
curtain calls. The author nearly always ap-
pears at the opening performance of his play.
The conductor at the opera also appears, sum-
moned first by the bowling stars. Sometimes
the entire company takes an ensemble call, and
occasionally, as in the old days of stock, the
various characters walk across the stage, one
after another, the comedian cleaning an extra
laugh and the villain full volley of Kisses.
Ibsen has also had his influence on curtain
calls, for with the elimination of the soliloquy
and the aside has come the effort to make the
curtain call an intrinsic part of the play.
The new technique frequently requires an act
to begin exactly where the previous one ends,
and thus the curtain call is made to resemble
a progressive part of the play-an episode
tableau bit of pantomime.
Impressive examples Of this method were
presented in Miss Margaret Anglin's produc-
tion of Jeanne dare in which the martyred
girl and her prosecutors were shown in stir
ring moments, which advanced the plot and
heightened the dramatic intensity of the main
story.
Sometimes arranging curtain call is par
ticularly difficult and incongruous, because
some character in, the play may have been
lying dead on the stage just before the cur
tain fell Such was the case, for example, in
"The Bad Man, where the sight of the bow
ing players appeared somewhat uncanny, see-
ing that the parties concerned were treading
on the ground just made sacred by the pres
ence of the dead.
Death itself, however, has no effect on cur
tain calls in vaudeville, as the players here
sacrifice every known ideal in order to mulct
an additional bow. Inasmuch as the theory has
grown up in vaudeville, as in the OPERA that
the number of bows indicates worth, the play
ers come back and back, encoring, doing addi-
tional bits and literally begging for recalls
And they give curtain speeches on the slightest
pretext.
Occasionally curtain speech creates such
stir that it forces its way out to the general
public and becomes eventually a distinctive
literary form. Such has been the case with
De Wolf Hopper's reading of "Casey at the
Bat" which is now included in books of popu-
lar readings and issued also phonograph
record. Much Of the popularity of these lines
was due to .Hopper's renditions.
Recently, in the revival of "Erminie" Hop
per and Francis Wilson did an amusing COM
bination speech. First they stepped out as if
merely intending to take bow; then, think
ing better of the matter, they began to discuss
each other, their seniority, their stage expert
ence and their surnames. Finally, they grace
fully decided that they would retire in order
to write real curtain speech which they prom
ised to deliver together the following night.
fellow comedian, Raymond Hitchcock. is
credited with having delivered the most sensa-
tional curtain speech Of recent times, bur-
lesque Billy Sunday, In which he para
phrased parts of the evangelist's own sermons
and faithfully initiated his gestures. There
was one particular line which always got a
laugh, and, according to Mr.. Hitchcock, this
was the line:
"If the devil comes up and kills Billy Sun
day on Saturday, there will certainly be
Sunday funeral Monday"
With the exception Of Hopper's "Casey at
the Bat" no curtain speech in theatrical his
tory has been repeated so often as that of
Frank Bacon, the star and author Of "Light-
nin,." Mr.. Bacon has been compelled to repeat
his speech at every performance of his play,
and this is what he says, taking his opening
line from reference in the play to bees
when you're chasing bee, let it be. Well.
during the Civil War, had General Grant
with me at Lookout Mountain. was the only
man he would let look out. In the midst of the
war he comes over to me and says .Bill'-he
always called me 'BilV-sWillie,' he says, how
long can you hold out?' Immediately glanced
down at my wrist watch and then answered,
Until summer Very well,' says he we'll
fight 1t out IL it takes all winter
Now, ladies and gentlemen, it may interest
you to know that this play has been given more