The San Francisco call. [volume], August 18, 1895, Page 20, Image 20

About The San Francisco call. [volume] (San Francisco [Calif.]) 1895-1913

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20
THE
DRAMA
A thing must be very bad or very good
in this world to attract attention. It is
only the extremes of theatrical talent, the
beginning and the end, which escape sub
mersion in a dead-level, commonplace sea.
The reason is that theatrical representa
tions are not as rule complete pictures;
subordinate roles are generally neglected,
there is a lack of stage business, the back
ground and the stage management are not
such as to give a continuous impression so
that the waves of memory flowing over a
forgotten territory beat only upon theat
rical islets of greater or less extent and
altitude.
After one has lef: the theater his sub
consciousness- p'resc.its again to him the
story which has just been told to his eyes
and. ears. . But it is a survival of the
Btrongest, which is not always the fittest;
John Drew.
tbre heavy blacks as well as the intense
whites of the sketch. For instance, when
. the. curtain has fallen on- that happy
titled farce .comedy at the Baldwin one
. doesn't retain the image of the Billings
family gayl'y returning to Yonkers, but of
Bi.lljngs.arid Johnson; the one calm, well
.. dressed, tall and with a suggestion of race
about him; the other short, ungainly,
easily aroused and placated with difficulty,
his face a map railroaded with the lines of
strong passions. It's an expressive con
trast, and .the effect of Johnson's per
the vividest. impressions, those which
moved to greatest admiration or contempt,
plexed, forced amiability as he entreats
Billings to have a drink with him and
drown all grievances in conviviality is
heightened by the reserved silence of
Billings as he stands there inwardly won
dering what difference another lie can
make.
And then the picture is blotted out and
with strict impartiality subconsciousness
drags one to the other point of view. It is
pleasant to know that in Gillette's com
pany the uncompromising spirit experi
ences some difficulty in finding the nega
tive pole. Still it is always there. How
needlessly bad is the steward of the
steamer on its way to Cuba! Just a little
more intelligence, just a little more train
ing, just a little more work and the unim
portant role would have fitted in the merry
stage puzzle instead of standing up as a
separate piece warped and inflexible. But
this is a trifle, and one is grateful that the
unruly square is only a bit of sky or foli
age, and that it is not an important piece
of the cut up animal's head.
**•
At the Columbia the thing is reversed.
The puzzle is indeed put together, but each
separate piece rises in reoellion and will
not know its place. No smooth surface is
revealed to the gratified mental eye, but
an uneven, unfinished, perplexing picture,
with a small piece of background ostenta
tiously edging up into prominence and a
should-be important bit overlapped and
half hidden by a couple of useful but un
beautiful and very wooden bits.
Stockwell's company of players leaves
no clear impression of "Twelfth Night."
Everything is on the dead level of
the commonplace. The performance is
not good; it is not outrageously bad.
Viola is not lovely or lovable; Olivia is not
proud and humble, gracious and cruel;
Malvolio is not quite the essence of grace
ful, easy vanity, although Dixey's was an
even, studied impersonation; Sir Toby is
not a lesser, cowardice-lacKing Falstaff;
Duke Oraino is not the strong and effective
character, such a one-idead pas
sionate lover, constant for nearly
five acts to his ladylove, should
be; Maria is overdone, Sebastian is fair
and the rest of the support not very satis
factory. The only vivid remembrance one
keeps of last week's performance at the
Columbia is of the descriptive music the
orchestra inflicted upon a helpless audi
ence which was compelled to listen to real
istic toots and whistles when the imagin
ary steamer started, and bells and pad
dling and other infuriating noises when it
reached the end of the journey. Such
sounds are an infliction in real life, why
should they be considered delightful and
amusing in the orchestra simply because
they are made in a different way?
And this was during the interlude of a
Shakespearian play! Why, the everlasting
"Go to sleep, my little pickaninny," would
have been about as appropriate. The
audiences which crowded the Columbia
duriug Frawley's engagement were of the
class which enjoys realism only when it v
THE SAN FRANCISCO CALL, SUNDAY, AUGUST 18, 1895.
Bipty& i * l /QtyCH&ZfO*
not upon the stage; to their ears this sort
of musical selection was not disagreeable;
they experienced a kind of pleasure in
recognizing the composer's ingenuity in
his life-like tootings and swishings and
hangings. But such an audience does not
care for Shakespeare — even when he is so
indifferently interpreted as at the Colum
bia last week; consequently the managerial
hand which spared us the curtain with its
wooden cherubs on an animated log might
have withheld the "Voyage Across the
Ocean."
Zangwill pleads for a law which shall
prohibit the use and monopoly of a good
title to a story by an unworthy author.
But in this world, where reforms are a
question of centuries, a more important
Maud Adams.
matter, because it affects a larger class of
people, should take precedence. The
world needs a theater-goers' union,
a protection for amusement- seekers in
pursuit of their legitimate business — pleas
ure. The public cries out against the in
terpretation of important Shakespearian
roles by apprentices; for, after all, the
capable carpenter is only an ap
prentice when he turns architect. Suc
cess in a lower walk is but prepara
tory study when a man engages in some
thing better. With one or two exceptions,
the leading members of this company have
made moderate reputations only in
modern comedy, spectacle or farce. This
ia a step toward higher things ; it does not
necessarily imply the ability to perform
them. Marie Burroughs' company did
good work here in "The Profligate" and
"Judah," but one night in Shakespearean
parts almost effaced the favorable impres
sion a fair degree of talent had created in
lighter plays. A familiarity with mechani
cal details, ease in handling histrionic
instruments, a confidence which the
wholly-untrained lack: these are decidedly
useful, even indispensable; but in them
selves they are nothing without an
illumining and uplifting talent.
One reason that Miss Co.jhlan's Viola is
not attractive is because it lacks just the
touch of sunshiny genius which poetizes a
role. The years of stage experience this
actress has had could not teach her how to
be beautiful, could not endow her with a
different temperament, could not make
her a sensitized plate for impressions which
she should pass on to her audience. It is
not dullness, it is not indifference that
makes her work colorless, it is the absence
of strong, vital character. There is an
absence of faults, but there is also an
absence of virtues in her impersona
tion; it is misty, it is ordinary,
it is not worth while. Shakespeare's
heroines are above all character - full.
They are complete; real entities. There
is nothing sketchy or vague about them,
and the public requires that the actress
who attempts a Shakespearian role shall
be first a woman of genius or of extra
ordinary talent, and second, that she shall
be beautiful and graceful. Even then she
rarely realizes the poet's creation to us. so
difficult is it for mere human women to
attain the sum of perfections with which
Shakespeare endowed his heroines. Miss
Coghlan is not a great actress and she is no
longer beautiful. It was unwise of her to
attempt Viola, and she and the rest of her
company at the Columbia are fortunate in
still having opportunities to correct the
unfavorable impression, or rather non-im
pression, made by last week's work.
* *
The character of the Tivoli operas has
changed within the last few months.
When the Tivoli's greatest attraction was
a prima donna who spoke her songs and
kicked and winked her lines; when the
soprano was a wooden songbird and the
tenor's music an expressionless piece of
mechanism, the so-called opera was a bur
lesque, a farcical string to hang specialties
upon. There wasn't a pretense of plot, or
anything that might serve as an excuse for
acting; even the music was cheap and the
topical song reigned in all its local, face
tious glory.
With the advent of a new prima donna,
a contralto who can sing and actually acts,
notwithstanding the fact that her engage
ment is at the Tivoli, "Ship Ahoy" has
given place to "The Royal Middy," and
"Little Robinson Crusoe" or "Christopher
Columbus" and other up to date (which in
this case meant out of date) burlesques
have yielded to "Maritana," "Martha,"
"The Black Hussar," etc.
The poor little Tivoli queen is dead, so
far as opera is concerned. And Tivoli au
diences are so busy shouting "Viva la
lleine!" that the old favorite is quite for
gotten. These poor little butterflies of the
boards — such a brief, bright, sad little his
tory theirs is! One would think that re
morseless Time himself would feel the dint
of pity and pass on, leaving no trace of his
cruel, aging fingers here. These gay
opera-bouffe princesses should be as ex
empt from realities as is the stage atmos
phere in which they live. Their beauty
should be perennial, their youth everlast
ing, their freshness a perpetual fountain of
enjoyment. Life should be a fairy-tale to
them, with never an end to the story— only
a continuation, yet more bright and beau
tiful and ethereal.
But the realities are fearfully impartial;
they have no more respect for the center of
the stage than for the wings or the benches
and boxes in front. The homeliest, most
insignificant chorus-girl may comfort her
self with the assurance that the gay little
moth airily sporting in the glory
of limelit popularity has only yet a few
years of stage life ; and to the dethroned
queen, whose faded, sharpened, lined and
rouged little face is turned wistfully and
enviously toward the loved and lost foot
lights, the sting of being forgotten is les
sened by the knowledge that not even the
glitter of her successor's tinsel and span
gles is shorter-lived, more evanescent, than
the reigning favorite herself.
So she passes on and down from comic
opera to operatic burlesque, and then to
burlesque without opera, and then to little
comedies with an interpolated bit of sing
ing and dancing, making the most of the
well-known gesture or significant intona
tion or mannerism, clutching at one straw
after the other and having them all swept
from her grasp as she is borne along the
swiftly rushing river of theatrical amuse
ments till nothing is left of the talents and
individualities which had once been the
talk of the town — the fickle, cruel, pleas
ure-loving town. All that is bright and
winning about her is the memory an old
theater-goer cherishes, as he does all that
belongs to his youth, of a graceful, dainty
figure, an arch, smiling face, a fresh, girl
ish voice and a provoking diablerie which
first set his boyish heart to beating.
"And that was— let me see— ten, fifteen-
Great Scott ! nearly twenty years ago. By
Jove! I must be getting old."
A few years later it is his son, perhaps,
who regrets a later stage favorite, ana bo
the everlasting tragedy of tne death of
beauty and youth and enjoyment goes on.
•••
Of course there is still room for improve
ment at the Tivoli. Alice Carle's full,
warm, but not always true contralto, her
saucy brunette face, and, above all, a real
or pretended enjoyment of her role, vital
ize and brighten the Tivoli stage; but Miss
Millard's Laily Harriet differs from her
Maritana only in the costume. She fills
in the time while the orchestra is playing
the obligato and the interlude between
verses in the conventional comic-opera man
ner. She sighs once or twice, she waves her
arms, she takes a turn up the center of the
stage, then she opens her mouth in the ap
proved manner and sings a second verse.
The idea that she might build up an indi
viduality, that a distinct living creature
might have sung as she sings and acted as
she can't act has probably never occurred
to her. Miriam Michelsok.
Mr. John Drew's engagement will begin
to-morrow night at the Baldwin with "The
Bauble Sliop," Henry Arthur Jones' new
play. As Lord Ciivebrook, the leader of
Parliament, Mr. Drew has an opportunity
of doing stronger, better work than in the
light comedies in which San Franciscans
have seen and admired him. The play is
a serious one, and both Mr. Drew and
Maud Adams will have taken a step up
ward on the dramatic ladder with
the successful portrayal of the English
politician and the toymaker's daughter.
Lord Clivebrooke, in Mr. Jones' play, has
an adventure with some roughs, which
causes him to take refuge in a toy; bazaar,
which haDDens to belone to a Mx. Stoach.
his bitterest political foe. Jessie Keber, a
daughter of one of the toymakers, be
friends the young hero and the leader falls
in love with her. His visits to her are dis
covered by Mr. Stoach, who places Lord
Clivebrooke in a very compromising posi
tion. At the beginning of the third act the
government is to introduce a public morals
bill, which Mr. Stoach and his party oppose
because they have a similar bill them
selves. On the eve of this battle in the
House, Stoach tells Clivebrooke that he
will proclaim the latter's relations to Jessie
ana ask all England if such a man is fit to
introduce a public morals bill. The terms
which Stoach offers Clivebrooke for keep
ing out the name of an innocent young
woman are intolerable, and the Conserva
tives are routed and the act ends with the
triumph of Stoach and the defeat of the
Ministry. In the last act Clivebrooke re
pairs the wrong he has done to Jessie's
reputation by marrying her. He retires
from politics forever.
"The Bauble Shop" has not escaped the
epigram, which is epidemic in modern
English plays.
"Women ought to be a good deal better
than men," says Lord Clivebrooke, "that's
my theory, and I'm gallant enough to act
up to it, for when I see women lowering
themselves I lower myself so that I may
still have the pleasure of looking up to
them."
*
* •
"If ypur coachman created a scandal
with yotr cook, what then?"
"That all depends upon the sort of a
cook she was. If she cooked better than
he drove I should consider it his fault and
her misfortune, and he'd have to pack.
But if he drove better than she cooked, it
would be clearly her fault and his mis
fortune, and she'd have to pack."
**♦' ■-■ ■ ■ ■ ■'.-■:'
Lady Ffennell says to her cousin, Lord
Clivebrooke:
. "Now, you wretch, how is it you aren't
married ?
"I can't find the right woman for a
wife."
"What sort of a wife do you want?"
"I don't know the sort of wife I want.
but I know the sort of wife I don't want."
"Well, what sort don't you want?"
"The sort of wife all my friends have
married." v
"You don't like your friends' wives?"
"Oh, yes; they'll do very — for my
friends, and I don't mind them for an
hour or two at dinner — if the dinner's a
good one."
"How is it people , marry those whom
they'd never think of asking to dinner?"
"A dinner engagement is a serious
thing."
"More serious than marriage?"
"Most people would think twice before
breaking a dinner engagement."
***
The triple bill to be presented at the
Columbia to-morrow night includes "A
Man of the World," written by Augustus
Thomas for Barrymore and played here
some time ago; "Nance Oldfield," Charles
I Reade's one-act comedy, in which Miss
Coghlan plays an actress' part, and "A
Tragedy Rehearsed," in which Dixey is a
self-satisfied dramatist, superintending the
rehearsal of his play.
"A Tragedy Rehearsed" is a grandchild
of "The Rehearsal," which was mother to
Richard Brinsley Sheridan's "The Critic."
But the old idea has been modernized,
filled with professional iokes and person
alities and made piquant by the fact that
the author of "The Spanish Armada" calls
the actors and actresses by their real
names in issuing their stage directions to
them. It's an excellent role for Dixie,
I and the success he achieved in New York
I in this part will doubtless be repeated
here.
* *
The "Royal Middy," with its pretty cos
tumes and scenery and bright, catchy
music, has filled the Tivoli for the past
week. The charming little opera is well
sung and Alice Carle plays Fanchette
Michel spiritedly and effectively. The
inserted solos mar the artistic effect of the
play, but Tivoli audiences seem not to ob
ject and invariably encore "Ann Jane
Jones," and Broderick's deeply, darkly
bass solo, "Drinking."
The opera will be repeated next, week,
and should attract full houses, for it is one
of the most satisfactory productions the
Tivoli has given in years.
"The Black Hussar" is to follow, with
Martin Pache and Raffael alternating in
the title role. Ida Valerga will reappear
in the Tivoli's presentation of "Faust" to
be given two weeks from to-morrow.
The line of people in front of the Or
pheum box-office extends out into the
street as evidence of vaudeville's attrac
tions. Park Bvers on the bounding wire
and George Adams, burlesque artist, will
be added on Monday to last week's varied
programme.
***
"Die Orientreise" is to-night's comedy at
the Baldwin, to be presented by the Ger
man comedians. It made quite a hit when
Augustin Daly produced a translation
under the name or" "The Orient Express."
Rudolf Lenius will be Robert Fiedler, and
Else Dore will take the part of Mrs. Fied
ler.
♦*#
The spectacular operetta, "The Power of
Love," will be repeated at the Columbia
Theater Thursday afternoon, August 22.
Dramatic Paragraphs.
Miss Coghlan will probably present her
old success, "Peg Woffington," during her
engagement at the Columbia.
Ethel Barrymore, who plays the part of
L«ady Ffennell in "The Bauble Shop," is a
daughter of Maurice Barrymore and the
late Georgie Drew Barrymore and a niece
of John Drew.
Pauline Hall will present "Dorcas,"
Kathryn Kidder will play "Mme. Sans-
Gene," and De Wolf Hopper will give the
initial production of "L« Capltan' 1 during
this season at the Baldwin.
The Stockweil ComDauy will sla? "The
District Attorney," a New York success,
shortly.
After a three weeks' rest the Frawley
Company will start upon its Western tour,
returning to the Columbia Theater May 4,
1896.
"Captain Cook," a romantic comic opera
by Sands Forman and Noah Brandt of
this City, will be presented at the Bush
street Theater on September 21.
Marguerite Merrin^ton, who wrote
"Captain Letter biair," wrote the text for
Dvorak's new opera, "Hiawatha."
A Chicago theatrical manager has pro
vided a room where his patrons' bicycles
may be checked.
Footlights says that Maurice Barrymore
was once middle-weight boxing champion
of England.
Loie Fuller has had remarkable experi
ences. At one time she was a religious ex
horter, and at another she was a temper
ance orator. She was married unhappily,
she was a burlesquer, she was a comic
opera singer and she was a comedienne be
fore she invented her new style of dancing.
Otis Skinner is to play "Villon, the
Vagabond," in New York shortly. The
play is based upon the life of Francois
Villon, poet, drunkard, thief and murderer.
Hoyt's new play, "A Contented
Woman," deals in a farcical way with the
ROSE COGHLAN.
question of woman suffrage. The scene is
laid in Denver, where the heroine is dragged
into politics against her will, runs for
Mayor in opposition to her husband's can
didacy, is elected, but comes to the conclu
sion that politics and contentment do not
go together.
When Irvine returns to London he will
play Napoleon in "Mme. Sans-Gene,"
"Coriolanus' 1 and a new comedy by Pinero.
Daniel Frohman told a New York re
porter that "An Ideal Husband" was the
hit of the Lyceum Company's engagement
here. He said: "I shall alter my policy
touching San Francisco engagements. In
stead of playing the Lyceum Company on
the coast but once in two years, I shall
make their engagements every year here
after.
"The coast is one of the most profitable
points for attractions that are liked, and
business there is again on the increase,
where, like all Western towns, it has been
emerging from its past depression."
The next new play at the London Adel
phi will be by Brandon Thomas and Clem
ent Scott, the critic.
One insertion of an advertisement in a
New York paper for plays dealing with
the new woman brought seventy-two plays
and 131 letters.
Lottie Collins' latest song is "I Went to
Paris With Papa."
According to the Paris correspondent of
the London Truth, Rejane cannot make
the Americans out. They show, she says,
no feeling as spectators. " One sees lines
of eyes fixed on one, but one has no idea
of what passes in the brains behind them.
If the actress has pleased, heaps of flowers
are left next day at her hotel — by ladies.
The American man is too devoted to busi
ness to 'run around complimenting act
resses, like the French.' Ladies' admira
tion only counts when the actress is a
person of honorable life. If the ladies
stood aloof the star would cease to at
tract. The ladies get up subscriptions to
present souvenirs. They give theatrical
matinees and soirees, theatrical readings,
receptions and talk-lectures, only attended
by themselves. The American man is
specialized in business, and the lady is
the arbitress of taste, the soul of re
finement, the mainspring of all sorts of
movements." Mme. Rejane fancied herself
in an Eleusinian country out West. Men
found time to go in the evening to the
play, but were too tired to find pleasure in
what cost each moment a mental effort to
understand.
A New Local Opera!
The romantic historical opera by Noah
Brandt (libretto by Sands W. Foreman),
which was given at a reading some months
ago, is going to start in life now, the date
having been set for September 2, to con
tinue for one week, including Saturday
matinee, at the Bush-street Theater. The
production is to be an elaborate one, and
an interesting feature will be the Mytholo
gical Hawaiian Ballet, composed of
twenty-four trained dancers, Miss Irene
Cook as premier danseuse. There is also
to be a scene in the second act where the
volcanic eruption of Mauna Loa takes place
destroying the temples and idols. Both
librettist and composer have availed them
selves of every possible chance of making
their opera interesting, and now that afl
eyes are turned to Hawaii their production
will gain doubled interest.
The principals taking part are: Miss Eva
Tenney, as the princess; Mrs. Mac Mad
den, retired dancer; J. F. Fleming, Cap
tain Cook; C. Parent, king of the islands;
Frank Coffin, prince of a neighboring
island ; M. J. Hynes, priest ana sooth
sayer; Robert Duncan, bosun; Algernon
Aspland, surgeon; Miss F. Grunagle, en
sign; Miss L. Hester, maid to the princess;
A. E. J. IS ye, lieutenant of marines. There
are to be aiso hula dancers, athletes,
spear-throwers and paddlers of the canoe.
There will be a double chorus of sixty
voices. Noah Brandt will conduct the or
chestra, consisting of twenty-five mu
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