OCR Interpretation

Los Angeles herald. (Los Angeles [Calif.]) 1900-1911, February 14, 1909, Image 54

Image and text provided by University of California, Riverside; Riverside, CA

Persistent link: https://chroniclingamerica.loc.gov/lccn/sn85042462/1909-02-14/ed-1/seq-54/

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THE art of pantomime is one in which the American actor is lamentably de-v
ticient. As a matter of fact it is the basis of good acting, and should be I
developed by every man and woman who expects to succeed on the stage
with at least as much care as the delivery of the lines. We have only to
note the people who "walk through their parts" in every play, and then compare
them with such actors as those employed by M. Severin in his pantomime, which
has been delighting vaudeville audiences recently.
M. Saverin is a Parisian, and all of his people are French. The panto
mime play that he presents was written by himself, and the actors drilled in their
rales by him. After presentation in Paris for several months the play was taken
to London, where it was enthusiastically received by the audiences of the Palace
music hall. M. Severin's London success has been duplicated in New York, for
he has one of the most artistic offerings, and one of the best companies ever seen
in this city.
M. Severin's role in "Conscience," as the play is called, is that of Pierrot, a
Parisian crook, and affords him every opportunity for comedy as well as emo
tional work. "When one sees the methods employed by M. Severin and several
of his excellent company, it is to be noted that dialogue would not add materially
to the understanding of the drama. The fine points are worked out with an art
that is as fine as that of
the cameo cutter or the
painter of miniatures.
The audience sees the
laborer, Travail, se
dated by drink and
placed in the light of a
murderer; beholds Pier
rot, flush with the gains
he has extorted from
V /
Elsie Janis,
in "the fair co-ed."
W' ■ - " HUP* . --.vUMfctfc... ■"•-/^^^■W^* , • •/
Nig y
Bessie Clayton,
an attractive vaudeville artiste.
A mk W.J Tjfik
m 91 W /Efl
¥*r ; iff? ~^ tt^^tßhßPtWi*''/ • eF fii ' v|B3
»BBBBBHR'-''i:;j,|**-g%igo. >-! J^^^. S wisSii" •< 1
I .i.-..^.. « Bait■*■ ■ 3p: *' «^*^-"' 'W. ' ■ v-t^^khlhl "' "■ I
i Hv r' i .3Sr» I9HH» i • *** * -
HsBHhBSv - " - * > • -- ' " ' *■ - 'bHHHH^hEH
t .- ; adßCjjfcßpj£y>-j^B^g«jM| HJfc ■'-^■ ~^ ~' -: '^jSb^BsS I
Sallie Fisher and Jack Barrymore,
in "a stubborn cinderella."
the real culprit, enjoying himself in a low cafe; sees his dream
of the end of poor Travail, and the awakening of his conscience
thereby. Then, in the last act, Pierrot lays the whole matter be
fore the judge, the real murderer is apprehended, and Travail
goes free. The whole play is an exposition of methods pecu
liarly French, and therefore particularly well done. There is no
actor but could profit by witnessing the play. It would be in
teresting to see what an American company would be able to do
with it. It is to be feared that the net result would be ama
teurish, to say the least.
Bertha Galland,
now appearing ix a new play,
"the return of eve."
FEBRUARY 14, 1909
*w "•"** « *
hßw BBflpff v^ss My »■ ■* ■ " p \ ■ I
BnS |M' (I', «J ■. .'.
Hclß^BSlLT^f I ' nut i* 17' ~' '"" i
B« Kg -w r'i ' ™
Maude Raymond,
as ophelia in "mr. hamlet of
fid * '* - *'l
■■. ■ ; :^^^H SBksh ;** J- ■■" "^*
Frances Kennedy,
appearixg with "the threb
twins" company.

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