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at Tlie Globe.
'Mte'FlKfifc tkafgjxi ftxrnistiinjj'
Charles Frohman Lopes to secure a theatre in New York where
John Drew can remain throughout the entire winter season.
Grace Kimball, E. H. Sothern's leading woman, has been re-engaged
already by Daniel Frohman for next season, but it is rumored
that next year Sothern will star on his own hook. Georgia Cayvan,
now leading women of Daniel Frohman's stock company, will star
next season. All of which suggests the thought: Is Miss Kimball
a to become leading woman at the Lyceum?
James O'Neill is now standing with one foot in romantic drama
and the other in tragedy. He has not abandoned Monte Cristo, but
he is shortly to follow his elaborate production of "Virginius" with
series of careful and handsome presentations of "Hamlet."
Within seven years Charles Frohman has made productions in
New York at the Empire, American, Broadway, Standard, Palmer's,
Herrmann's, Madison Square (now Hoyt's). Garden, Star, Academy,
and Filth Aveauo and his attractions hare played at the theatres of
every local manager in the city accept Augustin Daly.
In presenting the Tavaiy English Graud Opera company, it has
been manager Charles Pratt's endeavor to at least duplicate, if not
to surpass, the productions of grand opera which he gave when di
recting the tours of the late Emma Abbott. With this object in
view he has engaged a number of well-known artists, has surround
ed them with a large chorus, and has prepared the scenic embellish
ment to the operas he intends presenting with the utmost care. A
special orchestra travels with the company, and the organization
complete is said to number over a hundred persons.
When Do Koven and Smith's "Rob Roy" comes to New York to
enter upon its long engagement there, the production will bo as
nearly perfect as composer, librettist, stage manager, wig maker,
customer and Fred C. Whitney can make it
Thomas Q. Seabrooke has started on his tour of the South. His
bank account became swollen when he was there last, and there
seems to be no reason why it should not get that way again.
Pauline Hall plays a boy's part in her new musical comedy, "Dor
cas." Evidently she realizes the potency of tights as magnets to the
realm of light opera. As Venus in "Orpheus and Eurydice" twelve
years ago the curves of her limbs achieved their first victory over an
audience, and in "An Adamless Eden," at the Casino and in "Puri
tania "The Honeymooners" and "Dorcas" she has been waging the
war ever 6ince. "Dorcas" comes to the Funke next month.
ElitaProctorOtis, who is to tourBhortly as Nancy Sykes in "Oliver
twist," is studying the part from the book of the play used by
Lucife Weston, and lent to Miss Otis by Mrs. English of the Forest
Hepburn Johns, until recently dramatic editor of the Chicago
Times, has been doing effective press-work in Chicago for Nat C.
William A. Brad ran over to New York from Boston for a few
hours last week to settle the Corbett-Fitzsimmons fight. Over the
heads of several dozen snorting reporters he said: "The Cotton
King," which I have produced in Boston, should run for years. It
is a great sensational melodrama with a plot that keeps the breath
bated throughout It has been suggested that I organize several
other companies to present the piece, but I am centralizing interest
in this one production."
The career of the Dramatic Mirror, the organ of the American
theatrical profession, is interesting. It indicates the ability of its
editor, Harrison Grey Fiske. In January, 1879, the Mirmr was
started by Ernest Harrier. He secured Stephen Fiske, dramatic
editor of the Sjririt of the Times, to write the leading editorials.
Like all new journalistic ventures, for a time the paper lost money.
In a few months it was formed into a stock company, and Harvier
retained a one third interest. In the summer of 1879, Harrison
Grey Fiske joined the Mirror's staff. Soon afterward he becamo its
editor-in-chief, and Mr. Fiske was then only eighteen years old.
Harvier retired. Under his direction the circulation and advertis
ing grew rapidly. It was not long before tho publication was placed
on a paying basis. Mr. Fiske had acquired Mr. Harrier's interest.
Soon he purchased two-thirds of the stock. Ho then exercised full
control. A few years later he bought tho remaining stock, paying a
large premium for it, and then wound up tho stock company, there
after appearing as sole proprietor. Before The Mirror's advent, the
profession has been the victim of systematic blackmail. One of the
paper's first achievements was to break the power of the gang that
levied it through tho medium of a notorious dramatic-paper, and to
drivo tho chief offender into other fields. Mr. Fiske futhermoro
used the influence of The Mirror to further a number of important
movements looking to tho benefit of the profession. The Mirror,
for instance, suggested and virtually founded the Actor's Fund. It
has fought play-piracy. It has proposed, and has aided in securing,
legislation beneficial to actors and managers. In short, it has been
a consistent advocate and a loyal friend to the class it represents.
To-day The Mirror stands pre eminent in tho field of America dram
atic journalism. It has reached a point of business success that
would have seemed impossible in the early days of its career. A
year ago Mr. Fiske refused a cash offer of 75,000 for his paper. To
day he would refuse twico that sum.
New Yokk, Oct. 20, 1894. Recent events were the American
debut of Olga Nethersole, the young English actress, at Palmer's
theatre, and the first production in this country by E. E. Rice's
company, at the Garden theatre, of "Little Christopher Columbus,"
a burlesque which is nearing its 300th performance in London. Miss
Nethersole unquestionably made a great personal success, which, I
fancy, will be augmented when she appears in a play that more
nearly hits the popular taste. The burlesque is tho most brilliant
of Mr. Rice's many brilliant productions, and when it has been
shaken together a little will very likely hold tho stage as long as its
predecessor, the perrenial "1492." Dunlop.
'A Bunch of Keys," polished up to date, Hoyt's best satire, still
possesses great attraction for tho theatre-going public. It is essen
tially an entertainment for thomasses,and in that draws the patrons
of farce comedy, This rattling farcical production bristles with
funny situations so closely following upon each other that the
audience is in almost a continual peal of laughter until the fall of
the curtain. The songs, dances and medleys, which form an im
portant item in tho play, are entirely new and nicely rendered. Miss
Ada Bothner appears as Teddy; Harry Foy Grimes and Charles W.
Bowser in his original creation of Snaygs. The rest of tho company
are very erenly balanced and contains some very clerer people. "A
Bunch of Keys" will bo presented at tho Lausiug December 1.
"The libretto of any next operette," says Thomas Q. Seabrooke,
"will be by the author of 'Robin Hood.' Tho score will be by the
leading musician of Vienna the home of comic opera. This opera,
then, should be the best comic opera in America. Let us see whether
it will meet the demands of the critics or please the people, or per
chance what I should like best of all both at once!"
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