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The San Francisco call. [volume] (San Francisco [Calif.]) 1895-1913, June 10, 1900, Image 8

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Persistent link: https://chroniclingamerica.loc.gov/lccn/sn85066387/1900-06-10/ed-1/seq-8/

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¦K*X*l< Paris is raving over/John' Philip
11 Sousa and his band of lusty-lunged
l\ Instrumentalists." : The vim and
/ \ dash of the American musicians,
together with the lively American
style of music which they are playing,
have proved , a decided . innovation to
, gay ; Parisians. The principal > topic of
conversation all along th© boulevards
these days seems to be, the ? remarkable
success which Sousa has met with In in
troducing ."Le>Temp du . Chiffon," com
monly known In this : country, as "rag
time." •
The native bands . have 'taken ; up this
peculiar style ; of , distinctly ', American mu
fIc, * even going so far as to ' play . th©
"Marsellalse" in rag .time. * It ' is s also re
ported that many of : the most blaze Pa-
rlslans are • practicing the ; delicate step3
of the cake walk, a feat which to them
is extremely difficult. owing to;th#;French
fashion of wearing*' *«r \wlth heels ex
traordinarily hlgh.^.^, Ji •
Sousa has iMrodiicwz.aany.new melo- -,
dies to the visitors at the Exposition;: but,
t he ' one which seems . to have caught th©
populace - Is i the characteristic ¦ cak© . walk <
march; -'Bunch o' 'Blackberries," ; by "the
composer; - of - in© - "Smoky.? Mokes" cako
walk, which was so popular In this coun
try.-..- /:. ; :.'¦•¦ ¦, .-:.:. ..
The - principal \ strain from ¦• "Bunch o f
Blackberries, over which the French
men are going wild; Is shown above.
It is being hummed, whistled and played
in, almost, every nook and -corner, of th©
French capital,; seemingly, having been
accepted by the 'natives as being far and
away ;• th© . best thing . of ~; its . kind - ever,
heard therev, --.—••» - * :."¦
PARIS HAS GONE RANG TIME WILD
Truxtun Beale holds that tb© evil ef
fects of hot climates on the white man
are being overcome by science. Hereto
fore he has bad to labor hard, and thus
reduce hl3 vitality, but now the rapidly
increasing labor-saving machinery is sav
ing him much muscular labor and short
ening his hours of work. Then clothing
and housing and drainage and all sanita
tion have been greatly improved, and
proper ventilation and artificial ice have
come to lessen the detrimental influences
of the climate. Mr. Beale cites the many
cases of the Chinese adapting themselves
to all climates.
The Philadelphia Medical Journal, not
falling Into line with this argument, says:
"No mechanical contrivance for perform
ing labor Is likely to be devised that will
operate without human guidance, and it
such machinery Is operated by steam,
gas, or electricity, additlorial heat mu-*t
be generated somewhere. It Is as much
the direct rays of the sun as the work
that kills by sunstroke; this is evident
. from the large number of teamsters who
are affected during any unusually hot
days in summer in our large cities.
"It Is improbable that the poor will ever
be able to profit much by artificial Ice or
cooling apparatus, and even if they could
afford It this would necessitate some one
to work in intense heat to manage th©
power needed to run such a plant.
"The Chinese coolie can hardly be com
pared with the white working man. ' In
the first place he Is not a white man, and
furthermore centuries of life liko pack
horses have jtiven these men many of the
characteristics of beasts. Then, asaln,
the heat and moisture of the tropic3 are
most favorable to germ life, and unless
some means is discovered (which is very
unlikely) that will destroy bacterial life
without injuring other forms of life, th©
problem of combating disease In th©
tropics will always be a difficult one. No
doubt conditions in the tropics will b©
Improved so that the more prosperous
classtj can live with a fair degree of
safety and comfort, but It seems very im- k
probable that the working classes. whlcttr*
constitute the great masses of the popu
lation, will ever be made of anything but
native," ~- ; —
striding him In Its ro}d3 with fatal ana
relentless persistence; his partial moral
convalescence; his fal?, brutal and hope
less—all this unfolds a story Infinitely
sad. because real, a page from the book of
nature. .The glimpse the man has of th©
dawn of a pure passion before the waters
close over him forever Is the climax of a
tragedy — the death of a soul.
"Sapho" as a play, adapted by another
hand, written for the playhouses fre
quented by the Anglo-Saxon young per
son, with all that hard, bitter lesson
dragged to the garish footlights and lta
shadows accentuated by theatrical art and
a morbid intent — ah! that is quite a dlf-»
ferent matter.
From the pen of a writer less gtfted]
than Daudet "Sapho" would have been
base, vile, defiling. Regarded purely as a
work of art it Is a sincere, deep study,
prepared with Indefatigable skill, teaching
by the unfolding of inevitable consa
quence the penalty of transgression,
written by a genius who touches wltlx
ease hidden chords of human emotion.
— W. S. McClure, ia Personal Impres
sions.
Evil Effects of Hot Climats
Overcome by Science.
thinks the poor old Venus did not get out
of the way quick enough and it has to be
gene through again and again.
Then" the calcium light man gets roast
ed. In a voice that would dim any cal
cium Miss Roberts shouts: "You girl
there, stand back and let the light shine
on me. Now, here, you man, does the
light shine all over me? Mr. Morrison,
what are you doing? Why don't you tell
me? Are the lights on me? Here, some
of you people take down that tree. How
can I stand here with that palm leaf
tickling me in the back? Now back to
'Down with Venus and up with Sapho/
and, while the lights are down somebody
remove that tree."
Again the scene is rehearsed, this time
with the offensive tree removed while the
lights are down. Too bad, for that trea
was the only thing in the show that
tickled Miss Roberts.
Then came the couch scene. . "k.
"This will not do." paid Sapho, as she
sat bolt upright on the couch. "You peo
ple go farther down stage. I want the
people in the boxes to see me.' You girl
there get out of my line. You are keeping
the people in .the right box from" seeing
me," and the pcor inoffensive little girl
skulked down si age a few steps to clear
the line of vision from the boxes.
"There; how's that? Can everybody see
me? Mr. Morrison, Morrison, Morrison,
where are you?" shouted Sapho in a voice
that bounced over the empty orchestra
chairs out Into the desertedstreet; "bank
ed" against the Orphcum and on the,re
bound caught Mr. Morrison in the. lobby
of the Alcazar.
"Where have you been? Get over into
one of the boxes and se,e if everybody can
Bee mo." Mr. Morrison "got" and re
ported, and then came back to the lobby
to explain that Miss Roberts had. had two
performances that day and. was very tired
and nervous./ There was no need ¦ to ex
plain the latter. It was/a'' self-evident
fac^. Also that she was very, much out
of temper. Anybody can keep ' temper
when surroundings are conducive, but
"there arc times that try men's souls.'* ;if
the author of that had ever seen Miss
Roberts at' rehearsal he would have writ
ten,. "There arc stars that try; managers'
souls." The most placid person '.during
the rehearsal was- Mark Thall v Perhaps
it>was because Sapho thrcatened;at one
time to "put the play in my. pocket and
there will be no performance; to-night."
In just what pocket of her Sapho gown
Miss Roberts would put the play she did
not explain, but stars do not have to ex-
plain.
Then came the incident that nearly
broke up the "rbow." Mr. Thall wanted
a flash light of the "stairway scene."
The camera was all in plaeo, the powder"
ready and In leas than one second it would
be over. Miss Roberts saw her chance
for.'a rehearsal of lines not in the piay.
She raved and stamped and said "things."
"There'll be no photo of the stairway
scene," she shouted, and there wasn't.
Curious how infectious temper is. In one
hour Miss Roberts had everybody keyed
up to a state of exejtement and bad tem
per. At 3 o'clock she called for coffee.
"Mr. Morrison, get me some cofree at
once. I cannot go on any further without
coffee."
Then Lewis started on the hunt for cof
fee. There wasn't a chorus girl in the
house who couldn't have found gallons of
coffee Inside of five minutes, but none
could tell Mr. Morrison where he could
tind any— not even if Sapho did want it.
Surprising how forgetful people can be at
times. One hour later Sapho still had a
coffee thirst and the rehearsal closed be
cause Mr. Morrison could find no coffee in
San Francisco.
What a Critic
Has to Say
WHEN* Daudet wrote "Sapho" for
the^ French people he directed hl3
rare analytical power to probe
and expose huma*n weakness as
dispassionately as a great surgeon intro
duces his scalpel 'Into human flesh. He
did not create Its main characters as
first eccrc ret. Meantime the chorus
minpled with the principals and overran
the Etas* out into the orchestra seats, the
dress' circle and lobby, while Florence
Roberts seemed to be devoting her time
mostly to adjusting her Sapho crown and
workinp herself into a furious temper.
3-<ewis Morrison danced attendance, and
only pot himself severely sat upon until
fce looked taller and thinner, grayer and
more worried than ever, for the utar of
"Sapho" is surely his master.
The orchtetra runs through the music
time and time again, until the stage di
rector at last calls all to attention and
the rehearsal is on. All poes well until
the Entrance cf Sapho, and then the
trouble begins.
"This will not do," she says. "Clear the
stairway. You people stand down fur
ther. The audience will v.ant to see my
gown."
"Back to the entrance," pays the stage
director, and the part is scne through
£4^ain, and this time no menial dares stand
in front of the star. All goes well until
the "Down with Venus and up with
Sapho" scene is reached. Then Sapho
A Millionaire's Kitehen With
a $10,000 Cook.
Mr. Vanderbilt's kitchen is really very
beautiful to the eye. The purity of mar
ble, the luster cf tiles and the gleam of
metal are what one sees. The floor is of
marble, the shelves, the table, the sinks,
all the things that arc rarely moved ate
of marble, and cut with the precision of
Jewels.
The walla are lined with cream enam
eled tiles, and all the angles are covered
with brass moldings. Where the tiles
meet the doors and windows they are cov
ered with these metal moldings. The
ceiling is made of white enameled tiles
Bet in cement. But one does not imperil
the head cf a $10,000 cook with a loosely
set brick, eo each tile is also secured
with raised metal bolts.
Accentuating all this gleam of white and
rnctal is the hug** doubie-range. It Is set
In one corner under a. large seml-clrcular
hood, enriched with embossed copper or
naments, and Ewung from iron bars
wrought in t-pirals and foliations. The
hood is so powerful an agent in carrying'
off the odor and greasy steam that it will
waft from the hand a newspaper held un
der iL
The eookirg utensils arc in keeping
with this splendor. They are of copper,
with wrought-iron handle, many of them
ornamented, leading from the kitchen
to the butier's }iuntry are spiral stairs en
tirely enclosed in slats to shut out possi
ble odor yet retain the light. And this
is so successfully done that although the
kitchen is riirect.'y below the dining-room
and butler's- pantry, nothing disagreeable
makes its way aloft.
It is by a hose which may play fearless
ly in any part of the room that the
kitchen ig kept clean. Connected with
the kitchen is a scries of vaults. These
ere for ice, meat, vegetables, milk and
eggs, and are built in three sections of
hollow masonry, that they may bo kept
free from damp, and have perfect ventila
tion. The heavier articles, such as ice
and meat, are. put in through the pave
ment with derrick and lift, which relieves
the kitchen of ,a good deal of unpleasant
cess, as every housekeeper may. imagine.
character sketches alone fif they were
only that' It might have been better to
have left them in the gutter), but as
searching psychological studies from life,
surprising glimpses of human follr and
infirmity, written with the unsparing sin
cerity of absolute truth.
"Sapho" Js the history of the subtle
power of pitch to defile, from the first
step when the yoke is easy and the bnrden
light to that last awakening after the
whirlwind of passion ha3 swept every
thing away save rtiln and despair. The
benumbing, step by step, under the Influ
ence of Sapho of the better nature of a
man whose Impulses were not naturally
bad; his folly tightening like the anten
n&o of an octopus about him and con-
Just wherein
the J$ook
and the
play £>iffer
from Moral
Standpoint.
' i _¦> VEK irftaess a drers rehearsal cf a
Then you have ml??ed the most
irK'.-restins ?ido of theatrical life.
Vcti have niJr-scd seeing the chorus
¦worry the stajre director, actors. boss the
chorus, the mur.a^r boss the actors and
Ifce Ptar boss the whole t-ur-inej*.
The first drcs:- rehearsal of "Sapho" at
the Alcctir was jriven last Sunday n!eht.
or rclhcr Monday morning, lor It was Ions
cftcr micnl^ht fcefore all the stage *et
tlr.sr. t.r.d properties were la crdcr. arid the
J&t q £>ress
Rehearsal
£s inhere
the Reading
£ady Rules
When Great Sapho Shows Her Temper
THE CALL.
8

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