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"OH, DAYS OF JOY."
Sung by Jessie Bartlett Davis in "A War -Time
Words by T. C. Dazey and Oscar Weil. | Music by Oscar Weil.
THE SAN FRANCISCO CALL, SUNDAY, OCTOBER 27, 1895.
It will be interesting to see whether the
librettists and composer of a "War-time
Wedding" have really plunged boldly into
modern lyric drama, as is stated. Several
American composers,particula rly Reginald
de Koven, have already stood hesitatingly
on the edge of that ardent stream, but not
one has let himself be carried off his feet,
as a man must be if he means to riral the
success of Leoncavallo, Mascagni, et al.
It seems as if the spirit of humor, which is
such a marked trait in the American Na
tion, has influenced its composers and
made them believe that without a humor
ous song or two an opera must be a dead,
Modern lyric drama knows no comic
songs, "the play is the thing," is the motto
of its composers, and tne play is always a
tragedy, based on love, jealousy, revenge,
where the action sweeps along as fiercely
as a mountain torrent, carrying the music
with it. "La Cavalleria Rusticana," "I
Pagliacci," "La Navarraise," etc., are
almost volcanic in their action, and of
such is all real lyric drama.
There was a good deal of unconscious
humor at the Grand last week in the laud
able efforts of some of the men in the cast
to roll their tongues to the vernacular of
the London slums. They hardly succeeded
in making one believe that they had ever
been within the sound of Bow Bells, with
the exception of Charles Swain, whose dia
lect would grace the purlieus of White
The Orpheum's biil was an unusually
full one last week, Charles W. Knox's
singing being its most artistic number.
His performance belonged to the realms of
art. Marlow and Plunkett scarcely hit the
popular taste. Jokes are an article that
San Franciscans do not prefer imported.
Those that have flourished long and be
-003-ic indigenous to the soil are accepted in
good faith, but when such jokes as "The
barber who curled the locks of the canal"
are sprung on them they resent it with a
silence that can be felt. The tight-wire
performances of Ziula and Lulu are truly
With opera at the Columbia and variety
(under another name) at the Baldwin, the
Alcazar is monarch of all it surveys in the
comedy field. The clever production of
"Pink Dominoes" nightly arouses un
bounded laughter and applause.
At the Baldwin.
"The Passing Show," with all its novel
ties, begins its last week at the Baldwin
Following this dashing topical review
comes Charles B. Hoyt's latest comedy.
"A Contented Woman."
The story deals with a certain phase of
the political question which hoyt has at
tributed to Denver. It includes a race for
the mayoralty between Mr. and Mrs. Ben
ton Holme, the former being the candidate
of the reform party and the latter the se
lection of the woman's committee. The
leading role will be played by Caroline
Miskel Hoyt, who is a very beautiful
woman. Charles E. Hoyt is also traveling
with the company.
This afternoon at the Baldwin Theater
' Henry E. Dixey will appear and present
his performance, "An Afternoon With
At the California.
The California Theater reopens its doors
to-morrow week for a season that prom
ises to be unusually attractive. Short en
gagements are to be the rule. "Charley's
Aunt," for instance, wliich opens the bill
of fare, will remain only a week. Among
the novelties to follow will be '"The Widow
Jones," with May Irwin, Paderewski and
"A War-time Wedding" will be pro
duced for the first time on any stage at the
Columbia Theater by the Bostonians to
morrow night. The score i» by Oscar
Weil and the libretto is the joint work of
the composer and C. T. Deazy, a play
wright who is best known as the author of
The new opera's scene of action is laid
in Mexico in IMS, during that country's
war with the United States. Romantic
episodes take place, in which United States
officers, the young ladies of a convent and
Mexican guerrillas lieure largely. The
wedding that is celebrated in these war
times is that of a Captain Harrr Selden,
U. S. A., and a Senorita Mason, who is only
half Mexican. This story, which is tinged
with tragedy, includes the kilting of the
villain, a guerrilla named Ramon Falcon,
by a jealous peon. The lines which help
to develop the picturesque plot are as
catchy and jingling »s if they had been
written by W.S. Gilbert. It is said, how
ever, that the music is dramatic and be
longs to the school of "Young Italj."
"Pink Dominoes" has proved so attrac
tive at Grover's Alcazar that it has been
decided to continue that rattling farce
comedy for another week. The usual
matinees will be given on Wednesday,
Saturday and Sunday.
The production to follow is Sothern's
comedy-drama, "The Crushed Tragedian,"
•which will give the public an opportunity
of seeing Grover'i company in a new Held
It is some years since "The Stowaway"
was first seen in this City, and its produc
tion to-morrow by Manager Morosco will
be made the occasion of a cartful revival.
The play contains a sensational safe
cracking incident, for which Mike Hen
nessey, the great safe- cracking artist, has
been especially en-aged. Another feature
of prominence will be a view of Cowes
harbor, Isle of Wight, showing the tow
ers of Queen Victoria's palace of Osborne
and the historic Cowes Castle. A real
yacht, fully rigged and manned, will be
used in this scene. The picture will be
especially interesting to yachtsmen, for it
i« the scene where the cup was first won
from the English squadron by Ben Butler's
The last week of the grand opera season
at the Tivoli Opera-house will be devoted
to a repertoire of successes given by special
request. On Monday and Friday evenings
Donizetti's grand opera "Lucia di Lam
mermoor" will be rendered with Ida
Valerga as Lucia. On Tuesday evening
"Martha" will be sung, Laura Millard ap
pearing in the title role. Verdi's "II
Trovatore" is billed for Wednesday even
ing with Ida Valerga as Iveonora. On
Thursday and Saturday evenings Laura
Millard will appear as Arline in Balfe's
ballad opera "Ihe Bohemian Girl." On
Sunday evening a grand double bill will be
presented. "Martha" with Laura Millard,
and Mascagni's "Cavalleria Rusticana"
with Ida Valerga as Sautuzza. The season
of comic opera will be inaugurated on Mon
day evening. November 4, when Emilie
Melville will appear, after an absence of
many years, in the title role of Offen
bach's "Madame Favart." Ferris Hart
man will also make his reappearance.
At the Orplieum.
The Orpheum management has another
list of new people for to-morrow night.
The latest comers are: The Lassardo. Ida
Howell and the Girards — seven people in
The Lass.irds are a comedy-sketch and
acrobat team, consisting of three men and
one woman. They will entertain their
audiences by a laughable sKetch entitled
"Fun in a Country School." The Girards
are members of the celebrated Girard
troupe which visited this city in 1873, ap
pearing in "The Naaid Queen at the old
California Theater. They come to the Or
pheum direct from Melbourne, in which
city they have just concluded a success
ful engagement, ida Howell is sakl to be
a dashing singing comedienne, who has
captured New York audiences by her popu
The Zula troupe, the Leigh Sisters,
Charles W. K.nox and Marlow and Plun
kett, last week's new people, continue on
the programme. This is John Higgins'
The romantic Irish melodrama "Shamua
O'Brien" is to be given at the People's
Theater this week with James M. Ward in
the title role. His support will be good.
The play is an exciting one. The action is
placed in Ireland, and incident leads to
incident till as a climax the "bold boy of
Glengall" is led to the scaffold, but es
capes from his executioners and flees to
Among the new people engaged to fill in
the waits between acts are Carter and
Gaynell, two comic character singers, and
Lenoise, a boneless contortionist. Cebellos,
the equilibrist, will give an entirely |
'• TRILBY " IX KNGLAND.
Trella Foils Tolantl Tells How the j
"American" I'lay Is Received.
LONDON, Ewg., Oct. 8, IS9s.— That
threadbare maxim, "One is never prophet
in his own country," is indeed too good
and true to ever grow old. It is only with
in the past few months that the people in
England have realized that one George dv
Maurier, a gifted caricaturist for the
comic weeklies, has written a remarkable
novel called "Trilby," and that the said
"Trilby" nas been turning the heads of
every one in America. In consequence of
this startling (?) intelligence every book
store window is tilled with copies of
"Trilby" marked four shillings sixpence,
equal to $1 V 8 in our money.
Beerbohm Tree- is now playing the
American dramatic version of "Trilby"
throughout England, having bought the
rights from Paul Potter, the dramatist,
and A. M. Palmer, the manager, both
Americans. Though the book was written
in Europe, the play is looked on as Ameri
We had seen the play in New York, of
course, and were curious to see the way it
is produced by English managers and
actors. Mr. Tiee's Svengali has been a
revelation to his admirers in England.
The Royal Court Theater in Liverpool was
packed the night we attended, and the au
dience was most enthusiastic. Mf. Tree
has introduced a very novel ending to his
play. Instead of the photograph being
left for Trilby to discover, a great gilt
frame draped with red plush attracts her
attention, and drawing the curtain aside
reveals the "living picture" of the grim
hypnotist Svengali. It is startling and
gruesome. The lights, pale blue and pink,
are bandied in such a manner as to give
Kiss Cherldah Simpson, with "The
the impression of a wonderful portrait
painting instead of the living man. The
effect on Trilby is electrical, and she falls
senseless in front of it. She regains con
sciousness for an instant and dies in Little
It really seems absurd to hear people
asking each other "Have you read that
new story called 'Trilby'?" and hearing
the answer, "No, not yet, but I intend to,"
THE OBIQINAIi SPIKB tENNESSBY AT HIS WORK ON THE SAFE
AT THE GEAND'OPEBA.HOUSE.
or, "Oh, yes, I have just read it, and it is
awfully interesting, don't you know."
Everybody in America read the book long,
long ago. Treli.a Foltz Toland.
A Drama of the Day.
The latest sensation in European dramatic
circles is one that connects Haddon Chambers,
the writer of "The Fatal Card," with Barney
Barnato, the Kimberly Diamond King, in the
production of a drama founded on incidents in
The "King," who has just added to his fame
by saving the London stock market, is one of
the most-talked-of men in London and Paris <
on account of his bonhoinme and his lavish
expenditure, lie is as liberal with money as a
Since in a fairy tale, though he ia busineas
"Barney"' has had a romantic career. He
went to South Africa as a clown and jugsler in
acircus, the proprietor of which absconded in
Kimberley, leaving the future king
stranded, with two performing mulea
as his sole capital. Taking a ride into
the suburbs of the settlement to pon
der over the situation, "Barney" picked up
some little stones that turned out to be dia
mond?. He said nothing at the time, but later
munaged to acquire the lnnd where thu find
had oeen made, and tne success of the Kimber
ley diamond fields is now a matter of nJstary.
So much interest has been expressed in tho
reports that "Barney" had taken Haddon
Chambers to Paris for the young dramatist to
study his career and represent it on the stage, !
that George R. Sims, in "The Referee," has
given his own impressions of how they are
working in the following play :
Scene— The first floor of "the Grand Hotel
Paris, reserved for Messrs. Barney Barnato and
ÜBS. PATRICK CAMPBELL AS JULIET, AT THE LYCEUM. ACT 111, SCENE 5.
[Photograph by Alfred Ellis. From the London Illustrated News.]
Barney (lighting a cigarette with a £1,000,
--000 note)— Now, Mr. Chambers, how are you
getting on with the drama?
Mr. Chambers— Oh, capitally. In the first
act you arrive in South Africa with nothing
but a dress suit, tlie gift of the gab, and a
knowledge of sleight-of-hand.
Barney — Ah! Now be careful how you treat
that part of the story— make me breezy and let
mo do something great.
Mr. Chambers— l've arranged that. The first
entertainment you give results in a profit of
live shillings, and—
Barney— And I give It all away to a poor
Helen Bertram, in "A War-Time Wed
widow who is lookin? into a ham and beef
shop with hungry eyes.
Mr. Chambers— No, not all— you couldn't— you
see there's your rent to think of.
Barney— -Ob, nonsense! Heroes in dramas
never bother about their rent. I fling the
whole five shillings into the widow's apron and
say. "Take it— 'tis all 1 have, but I have youth
and strength, while you are old and ugly."
Mr. Chambers— AUright — and then you walk
Barney— No. no— the old woman falls on her
knees and says, "Ah, sir, tell me your name,
that my unborn children may remember it in
Mr. Chambers— But you said she was a
Barney— Did I? Oh, you can easily get over
that — make her a married woman, separated
from her husband.
Mr. Chambers— l sny, Barney, I thought this
was to be a moral drama.
Karney— 1 mean separated by Idree thousand
miles of sea — you know the sort of thing. Then
I say, "What avails my name? I am but, a
wanderer on the shores of time."
Mr. Chambers— That's a bit too tragic, isn't
it? It will be much better if you do a bit of
the breezy business— lauirh lightly and say,
"My name, my pood sou!, is as yet unknown to
fame, but such as it is you are welcome to it.
I am Barney lSarnato!" nnd while the widow
lifts up her hands and calls down the blessing
of heaven on you the curtain falls to slow mu
Barney— But I haven't knocked anybody
Mr. Chambers— Do you want to?
Barney— Certainly; it builds the character up
I so — find look how it always goes. Do you re
member that scene in which Charley Warner
| played a private soldier and escaped from the
! guardroom and knocked down the entire
guard one after the other, though they all
; carried loaded guns?
Mr. Chambers— Very well, you are arrested
and you knock down twelve policemen.
Barney — No, don't have rue arrested — it's so
common. Have a crowd of roughs ill-treating
a woman andlet me tight the lot, one down,
the other come on, and then let me be on a
raft with a dying sailor and there is only one
drop of water left, and I give it to him ; and lie
can't write and I write a letter to his mother
for him— a nice emotional bit, you know.
Mr. Chambers— l see what you want. You
are both almost mad with thirst and hunger;
your clothes are in rags.
Barney — No; make it evening dress — it looks
i so much nicer.
Mr. Chambers— But you can't be on a raft in
evening dress and a white waistcoat and a
light overcoat and a pink carnation. That's
all right for the National Sporting Club, but
not for a raft. You can have dark trousers, a
spotless white shirt, and the limelight lull on
you. That's the usual costume fur a raft.
Barney— Oh, all right; then I'll give 'em a
bit of Mathiiis. I'm immense in that sort ot
part, you know. I think, perhaps, you might
bring the curtain down on that scene— the
dying sailor tukes my hand and says— let's see,
what can he say ?
Mr. Chambers— l know I'm dying— to-night I
shall be in paradise, and the name that my lips
will whisper in the angels' ears will be Barney
Barney — Very touching — very touching!
(Wiping away a tear.) I— 1 — excuse me—"whis
pering the "name of Barney Barnato to t lie
angels"— Yes, that's better than "The ßells'"
business. Chambers, my dear fellow, you are
a poet. Drop the curtain on it. And now
we've settled the first act, let there be an inter
val for refreshments -I've ordered a nice little
luncheon for two at 50 guineas a head.
Scene 2 — The same apartments — After
Barney— Have a cigar?— you'll find these ex-
Baby Lawis at the People' 3 Theater.
eellent: I pet them at fire pounds fifteen each
by taking the entire crop.
Mr. Chambers— Thanks. Now about the sec
Barney— Ah. yes. I think Pd better have In
come a millionaire between the Rots — savi-s
time and a lot of business detail the public
Mr. Chambers— You are still breezy?
Barney— Still breezy — utterly unspoilt by
Mr. Chambers— l think I shall treat the sec
ond act from a Monte Cristo point of view.
Barney— Capital idea. I'm walking down the
main thoroughfare with a Peer and a Prime
Minister; a shabby fellow down at heel passes
me; I recognize him as ft man 1 knew in the
old days. I quit the Peer and the Prime Min
ister, take the shabby fellow's arm, and he says,
•'Unhand me, myrmidon of the law." 1 say, "I
am no myrmidon, I'm your old friend, Barney
Barnato!' He grips my hand. "Good old
Barney!" he says. Then I look at bis clothes
and say. "Jack, I'm afraid Fortune, the flckle
jade, has not smiled on you." He confides in
me. He is ruined. Tne brokers are in his lit
tle home: his children are crying for bread. I
take ten 1000-pound notes from my pocket
and say. "Jack, when I was poor yon
once gave me the return half of a third-claM
ticket that you couldn't use— Barney Barnuto
never forgets a kindness. Give that to your
wife with my love." I thrust the notes into
his hund, and am on a ship bound for hurope
before he has sufficiently recovered from his
astonishment to thank me.
Mr. Chambers— That's all right, but we shall
want something more dramatic, and you ought
to be in love somewhere in the piny.
Barney— Between the acts, between the acts.
I am a married man and the happy father of a
family. You'd better get on to the third act
Mr. Chambers— Where shall that be? Shall
we'ssy: "First scene— Palatial private office in
the liarnev bank?"
Barney— \es; good idea.
Mr. Chambers— Second scene; entire stage;
Epsom Downs. From the grand stand you
address the crowd; tell them that they're all
on your horse ten pounds to nothing. Your
horse wins by ten lengths; you go outand lead
him in; terrific reception. Cries of "iiravo!
Barney!" resound on all sides.
Barney— Splendid! And for that scene, my
boy, I'll buy up all the best horses on the turf.
I'll make Roseberv an offer for Sir Visto. and
give Morny Cannon a hundred a night to ride
mv horse in the scene.
Mr. Chambers — Xow the last act. Where
Mini! we j itch It? What do you say to trio
House of Peers? Lord Barn ato sounds well,
l'.iirney— Yes, but Lords aren't what they
used to be. Don't exactly see m yself in a cor*
i onet. Besides, I'm married, and don't want
any American millionairesses.
Mr. Chambers— Wlnit do you say to a big
yachting scene in Now York harbor? You
challenge for the America cup.
Barney— That's right; you've got it, the
yacht race! The steamers foul me, the Ameri-
I can yachts run into jne, my mainmast goes t>y
the board, my captain tears his hair ami say's
! that we shall fail to reach the Yankee, but' I
dash him on one side, seize the helm and ex
claim, "In tlu- bright lexicon of Barney Bar
nato there's no such word as faiL" And amid
the frantic cheers of my fellow-countrymen
my yacht beats the American with a minute
to spare. The band plays the national anthem
r.s an allegorical figure of Britannia rises from
the ocean, steps on board the yacht and places
a wreath of laurel oa my brow. What do you
think of Unit?
Mr. Chambers— Good; bat it's n big wene to
| put on.
t Barney— Nonsense! Gus Harris would Jump
at it! Great Clement! if he'll only make "Bar-
I ney Barnato" the. next autumn drama at
I Drury Lane I'll play the title role my«elf fur
nothing— and buy up the entire house" for the
Mr. Chambers— Would you let him put in h!a
great procession of the Arts and Sciences— the
'■ only one he's had by him for so many years?
Barney — Certainly, certainly!
Mr. Chambers— Where shalfiteome?
Barney— Between the acts, dear boy; between
i the acts!
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