The San Francisco call. [volume], December 06, 1903, Image 18

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

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PARIS. Dec. 5.— The constant mili
tary maneuvers of the German army
corps near the French frontier are
causing considerable friction between
the „ French and German Governments,
as French citizens are complaining
that German troops invade French ter
ritory and recklessly trample down the
fields. The incident of the German mili
tary balloon carrying Captain Hugo
von Abercorn and three other army
officers into French territory made sev
eral French generals suspect Um Gun
man officers of spying.
French. Warn Germans.
Webster Davis is an example of how
poor a thing is eloquence as a perma
nent investment. A few years ago
Webster was recognized by friend and
foe as one of the finest spellbinders, at
a time when "spellbinding" was at its
highest worth. He dropped pablic
speaking, and now he la only known
to fame as a builder of apartment
houses. It is in that connection his
name gets into the papers occasionally,
and even that is with a streak of mel
ancholy reflection on what might have
been. It is only occasionally that we
hear now from Charles A. Towne, who
has been drowned in olL And mnjy
lesser lights In oratory are lost
In the sea of commercialism.
Prosperity is not an unmixed Joy.
It is sad in Its discouragement of
brilliant oratory on the hustings.
Speech-making is not a good cash in
vestment^ The "stumpers" usually
have to take their pay In trade. Some
times, indeed, they have as pay only
the hope of office or preferment in the
future.— Cincinnati Enquirer.
Eloquence as an Investment.
"Clyde Fitch's clever play, *;The Girl
With the Green Eyes,*' will be pre
sented here for , the first time when
Clara Bloodgood makes her appearance
at the Columbia ' Theater in the latter
part of this month. Miss Bloodgood is
considered. one of the most fascinating
and brilliant of American stars and in
the: Fitch play her efforts are entirely
successful' - .
The Chutes are prospering with a
varied programme in the big theater
and the usual attractions.
The Orpheum has a promising list of
newcomers for this week's bill.
"The Counterfeiters" of to-night and
this afternoon at the Central will give
way to-morrow evening to a new thrill
er" in "New. York Day by Day." ,
• • •
"Ton Tonson" will open to-night at
the California. >. Nelse Ericksen does
the emigrant Swede, and there is the
usual quartet. .
"For Mother's Sake," a rural drama
with Marie Heath, the "Little Sun
beam." in the principal role,; is the
week's menu at the Grand Opera-house.
It opens this afternoon.
:.. The Alcazar produces a play new to
San Francisco to-morrow evening in
"A Royal Prisoner," a Russian ro
mance.
• • •
The local burlesque, "I O U," at
Fischer's, by H. J. Stewart and Judsoh
C. Brusle, is cramming the house. The
whole cast shows to excellent,advan
tage in the burlesque, and its timely
fun is creating a whirlwind of laughter
nightly. Seats are on sale two weeks
ahead. , '
Winter has set in at the Columbia
with "Way Down East" and its realis
tic "snowstorm as the bill. The play is
getting good houses and Is pleasing its
'audiences. Next week Lulu Glaser
comes in "Dolly Varden," one of the
most ji successful musical comedies of
the last few seasons.
The music of "Dolly Varden" is the
work of Julian Edwards and is con
sidered of more than usual merit. It
is bright and dainty and fits well to
the book of Stanislaus. Stange. Miss
Glaser appears to special advantage in
the comic opera and surrounding her
are a number of exceptionally talented
comedians and singers.
Some of the Plays
to Be Presented
at Local Theaters
It was only 700 years ago from the
authorization of trial by Jury In land
disputes in England till private war
was wholly abolished in England, and
the Parliament which did this came
into existence 100 years after trial by
jury was authorized. Already the na
tions have authorized trial by Jury in
all controversies.. Remembering when
wager of battle was abolished the coun
ty seats in England were farther from
London than the capital of the nations
now are, it is hard to escape from the
conclusion that an International Parlia
ment will come into existence as Eng
land's Parliament did, much more
speedily as time for travel and com
munication diminishes, and that^ this
Parliament will do, in say 100 year3
under twentieth century conditions,
what It took the English Parliament
600 years to do under ancient condi
tions. But whether this reformation
according to the nineteenth century
revelation in political affairs takes 100
or 200 years for its realization. It seems
almcst proved that , the world will be
included in this union when it Is
formed.— Gunton's Magazine.
A World's Parliament.
oars a moment. Perhaps that is why
it is so good to be here."
"Perhaps it Is a bit of doggedness in
me — I want to win them yet."
"I thought you had," I said, and
bowed as I put up the terrible pencil.
And Mr. Mayall pleaded as we went
down the spacious foyer: "You will
make those shoulders less?" '.
"I have been ¦ mostly , in ; stock since
then, four years at Pike's Theater in
Cincinnati, and 1 1 have been almost
three here. San Francisco is the hard
est public to please I ever came across,"
he said, suddenly expansive. "I sup
pose J ; I shouldn't . say that. ; In? other
places if you make successes" in three'
or four good parts 'you are established;
Here you have got to be on your "mettle
all the . time.! You can't rest dn : your
. "Then I went barnstorming. My first
week I shall never forget. I learned
slx\ long parts in* one week! At the
sixth my brain gave out. You see, I
could sleep only a couple of hours each
night. They were to give me $6 a week
and board. I got the board."
"How did you set home?"
"I had a good father," the actor put
it. "But you will understand with that
sort of thing as a starter that .the work
I have now does not seem excessive."
"And then came?"
v. "More barnstorming. I virtually
barnstormed for , four ; years. Most ac
tors have done it and most are ashamed
of it. I don't see why.. Every one must
have a start. Of course, one gets into
bad habits, but with a good stagei,man
ager you soon get out of them."
"Your voice, you always had that —
no, I forgot," I 'recalled.
"It was really a bad, weak voice
when I began," the_ actor repeated, in
its. pleasant depths. "I studied sing
ing for; it and . the ordinary elocution
ary exercises. •. No, when I was at . the
university I sang once— only once— at
a small function. In the report of it
in th« college' paper, -the Ariel, they
said: . 'Swans sing ,; before they, die; it
would be a good thing if some people
died before they sang.'^, I 'never .sang
again." - ".
"And now after the barnstorming?"
"And after that?" '
"Maybe," I agreed. "But now, may
we return to your history? You
stopped with spouting Marc Antony's
speech for the inappreciative Yankee."
"Well, my first experience on the
stage was while I was at the univer
sity. Booth and Barrett came to town
for a week and I suped with them,
carried spears and things. I succeeded
in making myself obnoxious ! to Mr.
Barrett— nosing about the wings— and
in getting a few kind words from Mr.
Booth." 7,--; >:•--•;
"It won't on Sunday," he said rue
fully. "But perhaps the usual melo
drama may be taken as a rough sort
of symbolism, fitted to the simpler
mind.',' '
"What do they mean?"
"Possibly, that art must, first of all,
be truth, seen through some prism of
genius, or else its ultimate effect will
be Immoral. We know that virtue is
not always rewarded and ~ that the
wicked flourish like the green bay tree
not seldom, and, further, that the bad
are neither so purely bad nor the good
so wholly good as in the average
melodrama — ergo, that the picture of
life it presents Is false. It seems to me,
Mr. Mayall, that you are interviewing
me!"
mental good that is in all young
hearts."
"The artists say that all bad art is
immoral."
"Oh, both horses and . men were in
constant danger through 1 - a single false
step on that treadmill arrangement."
'"You have plenty of dangers to en
counter on the Central stage," I said
then.
"Yes, but nobody ever gets hurt.
They have a splendid <" corps of stage
hands here, ilf they hadn't— "
"If they hadn't it wouldn't be so safe
to lie lashed to a burning deck or to
Jump from a sky-scraper— " #/
"Or, fling the villain from a balloon
to the earth below," Mr. Mayall added.
"No, ' twouldn't. '•¦ I had to fling Mr.
Shumer from; a balloon the other week
to a vast abyss below— six - feet, , on = a
soft mattress. That was easy enough.
But he used to lie there and make faces
S.X me, and If I hadn't pretty "good
facial control I should . surely have
laughed." . .
"Do you think the ethical effect of
the tank drama a good one?!" I;.":,
"On the gallery, I certainly, do," ¦ Mr.
Mayall declared. "You see, virtue is
always ' rewarded and vice punished
here. And if you could/hear .the way
in- which every little bit ¦ of virtuous
sentiment is applauded, .and- vice
hissed! I think it appeals to; the ele-
"How so?"
"I had my firsts feeling ,of 'staged
struckness' when I saw John McCul
lough in 'Virginlus.' I was only a little
chap and I had gone up into the gal
lery with some other kids. It all seemed
so wonderful, and when the curtain
went up eight or nine times and Mc-
Cullough came out I gave up" wanting
to be a detective right there and began
to want to be an actor. Then I learned
there was a gentleman named Shakes
peare and I 'began to spout. I remem
ber once getting up in an old tree
when I was at school and shouting out
Marc Antony's speech for all . 1 was
worth. When I got through making
the welkin ring I saw an old Yank
leaning on a spade looking at me. He
said: "If you ain't crazy, your folks
ought to take you home and do some
thing for you.' "
"What did your people say, by the
way, to your going on the stage? V
"Took it very philosophically. My
uncle's family, however," and the actor
laughed at the remembrance, "got up a
sort of round robin to ask ' me to
change my name so as not to bring
disgrace on the family." .
"It is your own name, though?"
"Yes, but I've left out a ] James— I
sign my checks H. J. Mayall."
"May you have many to sign."
"Well, I've been earning a liberal
salary for some years and I've no very
extravagant habits," he smiled. "I like
to bet on a horse race once in a while
—I was born in Kentucky. /Talking of
horse races, that was a clever illusion
in 'Ben-Hur'— the chariot race. Dan-
fortably as he said it— "I feel wrong all
day if I don't."
"For how long?"
"Oh, perhaps fifteen minutes, dumb
bells—light—and Indian clubs. I ride
horseback every chance I get, too. But
walking is excellent exercise."
"When did you begin to want, to be
an actor?" I asked then.
HERSCHEL MAYALL. THE LEADING , MAN AT THE CENTRAL THEATER. TALKS OF HIS BOYHOOD. HIS
START IN LIFE AS AN ACTOR, HIS AMBITIONS. AND THE^UPS AND DOWNS OF A HERO IN LURID
MELODRAMA. * . ". . •/•':•' '^-f'.-
Nat Goodwin Is In Boston with "A
Midsummer Night's Dream." "The
Silver Slipper" has made a big hit in
Philadelphia. E. H. Sothern and "The
Proud Prince" are In Baltimore. Den
man Thompson Is playing a special
Boston engagement- Mrs. Lantry ap
pears at Cincinnati this week. Wil
liam Gillette and "The Admirable
Crichton" are in New York. Loula
James and Frederick Warde are play
ing through the South. David War
field Is In Brooklyn this week. Maxlne
Elliott still entertains New York in
"Her Only Way." "The "Billionaire"
is at Philadelphia.
"When Mansfield appears at the Co
lumbia Theater this season he will
probably not only appear in "Heidel
burg" but also in his contemplated
play; ' "Ivan the Terrible."
, One critic, who has written much in
praise of Mrs. Flske's acting as the
Magdalen In "Mary of Magdala." in
which this famous artist will be seen
In this city, anji of the production it
self, puts much in little by saying that
the representation — aside from Mrs.
Fiske's wonderful acting and the ex
ceptional support she receives from
one of the best companies ever organ
ized in this country — presents "five acts
of flawless stage pictures." The scenes
of this drama, as Mrs. Fiske has pro
duced it, are said, as they are succes
sively unfolded, to represent pictures
as perfect as though magnified from
the canvases of great masters of
painting. It is not only the beauty of
the scenes themselves, which enlisted
the best talent to be found in their
composition, but also the added beauty
and harmony of fit furnishings, and as
much as anything else, the wonderfully
accurate and picturesque costuming
that gives to the scenes as they are
peopled the aspect of actual Oriental
life.
Mrs. Fiske's Play
Strengthened by the
Fine Stage Pictures
"I love you for myself alone!" Some
thing like this. In stentorian tones from
the nearby stage luckily broke up the
interviewing- talk, and Mr. Mayall
smiled naturally and said: "It's Sim
mer—Henry Shumer— our villain, and,
curious to say. the Jolllest fellow in the
world off the stage."
"Does that seem curious to you?"
"Well,. It seems to me that if you are
in love -with your art you must carry
away the atmosphere of what you are
playing," the actor advanced. "I re
member—I was talking about it only
the other day to Jack Maher at the Al
cazar—when I first played Sir Bryce
He nodded his remarkably .shapely
head in affirmation and volunteered:
"I was once Interviewed by a girl in
Cincinnati and didn't know It. She was
a friend of mine, and we went to the
theater together one day. Naturally, I
talked about the show and the acting,
and next Sunday it all came out in the
paper. I didn't even know that she was
a Journalist- But that was Just the
right kind of interview."
"Tr^at seems to me a rather Impossi
ble sort of thing to do — "
"We were schoolmates," the actor
explained- "But do you find that-peo
ple will talk freely with that before
them?" — my inch of pencil.
"Frankly. Mr. Mayall, I think people
will talk on the fascinating subject of
themselves with anything before them.
I get to* much, not too little, usually,
of heart-to-heartiness. In fact, I'm a
more or less discreet filter. Gosse says,
'tell everything you can,' in a chapter
on the ideal biographer. Interviewing
is something the same, don't you
think?"
"Oh, if there's anything an actor is
particularly Interested in— the National
Theater, for example — ask him about
that. Then his theories of his art, his
history and so on are always Interest
ing. With you, for example, I should
like to know how you come to be play
ing Central melodrama?"
"There are three things I dislike," the
actor said then, in a sort of I-had-al
moBt-forgotten-it way, "going to the
dentist's, having my photograph taken
and—"
"Being interviewed." Tve heard it be
fore.
How do you usually do?"
"With little Q's and A's down the
columns? Twould be original," I re
turned, "but a little formal.".
Mr. Mayall showed his handsome
dentistry in a slow smile and slowly
ventured: "I think it would be best if
you asked me questions and let me an
swer them."
"My tender mercies, Mr. Mayall," I
insisted, then reassured him. "Well, I
have only once been nccused of mis
quoting any one, and Jhen the lady —
well, did not teil the truth."
"But things look so different In
print "
"Don't tell me you have sinned—
rpare the gallery boy:" I implored.
The atmosphere up yonder reeks with
fieroics 1 .
Because, gentle reader, it would have
indecorously Joyed me for the 1 gallery
to see this hero of a hundred fights —
he wipes the floor with a bunch of
counterfeiters "single-handed and
alone" this week— palpably and de
lightfully afraid of one small woman.
One realized luxuriously and reverently
the ppower of the ppress. Mr. Mayall
sat there, with a chest swelldom he's
afraid to own up to, all but trembling
before me. He told me bo himself al
most immediately. And, alack-a-day,
the gallery was not there to hear!
We did b*»gin formally on the
"through -by -daylight-or- we'll- bust
the-borier!" drammer. Naturally one
wondered what Mr. Mayall, an erst
while Eilert Lovborg, Petronius, Mer
cutio, was doing in it. But the talk
soon drifted to the art of being inter
viewed. The Apollo ot the Central sat
conscientiously In his padded chair,
background by the disguise in
which he runs down the counterfeiters
this week. As seriourly as he takes
everything else he took the Interview.
An contraire, the interviewer has be
gun to believe, with long handling of
the frying pan, that e-els get used to
skinning.
"You know De!sarte said that there
are 200 or 300 ways of putting the
same phrase and each one looks differ
ent." the actor was Ba>ing. "I'm quite
at your mercy "
It would have been "nuts" for me to
have had the small boy there, in small
boy parlance. It would have been
"pie" to have had the large boy there,
as he would eay in pieful way. The
girls, too. though Herschel Mayall
stoutly disclaims any pull with the car
amel contingent.
Not that there was much room for
any one but Mr. Mayall. the artist, and
myself, in the actor's little 6x10 dress
ing-room, where I went to chat with
him the other day. But oh! how I
should have liked to rake the gallery
in with me:— the gallery that whistles
virtue to heaven, and sizzles the tres
passer until the hiss of him is heard
even unto the City Hall! the gallery
that weeps with beauty in distress,
chuckles with the sleuth, giggles with
the ingenue, but abov» all adores mag
nificently, unreservedly, the conquering
hero! the gallery, in short, of the Cen
tral Theater!
And wherefore?
"Yes, I earned that,' also. It was
very bad and weak when I began. One
thing, you know, seems strange to me.
We, train horses, dogs and cattle to
be strong and fine and stop at "our
selves. Mostly it's laziness, I think."
"Do you do much now In the way of
training?"
. "Every morning, mostly, and some
times evenings. I feel"— and Mj\ May
all shrugged his fine shoulders uncom-
But he would not say. I might have
been asking an Ingenue her age, or a
prima donna her weight I ventured
again: "Were you always— that way?"
"No, I used to be a puny lltle wisp
of a chap until 14 and thereabouts. My
father sent me to school In Maine then
—that was the only place for education,
he thought— and I determined to get a
good body there — " listen, little chap of
the galleries. "So I went to the gym
nasium regularly, and well — don't put
this down— I won an f all-round cham
pionship in athletics before I left there.
I've a bunch of medals at home."
"Your voice, too?" •
Mr. Mayall threw up his hands when
he saw It, with that characteristic lit
tle pout on his classic features. Then
he made the following unique request:
"Oh, can't you take something off those
shoulders? It makes me look so — "
"Chesty?" supplied the artist.
"Really—"
"Really, they are quite broad, Mr.
Mayall," I protested. "What Is your
chest measure? — as a defense."
"As you can't convince yourself
you could be, you don't want to be — "
"Thank you," he laughed, "exactly.
I personally npveled In the part of Ma
rio in 'La Tosca.' That's not saying at
all that I played it well, though. Mer
cutio I'm very tond of, and Eilert Lov
borg. But it quite frequently happens
that we don't play well what we like
best. And vice, versa. Here's a very
email instance. This week I have to
adopt three disguises, and I'd never
done anything like one of these parts,
an Italian peddler. I was nervous about
it, didn't want to do it, but— well, it
isn't a failure. Now, I suppose you will
make all sorts of fun of me for this on
Sunday — and you — " to the artist.
"Heaven forbid!" I said. "Conscience
is too valuable a commodity to be made
fun of, even in disguise."
The artist answered by passing over
his sketch. ,
"And why not?"
"Hardly, pays these days. And
then — " the would-be tragedian mod
estly paused, "well, if I could con
vince myself that I could be I should
want to be. But as — "
"Deep down in my soul," and. this
was in the actor's deepest, warmest"
note — and I know of no finer voice
going than the Mayall organ — "I
would like to have remained in trag
edy."
"Oh, well," and for a few moments
Mr. Mayall talked "not for publica
tion." He ended up with: "Ashton
Stevens paid me a compliment I val
ued most highly when he said I
would play a thousand colorless parts
without condescension or shirking.
Of course, one does get many and
many a bad part and has to swallow
one's prideto play them." }-"{•'?;
"Still, it's due to the audience to
do your best," I remarked. "Morgan
didn't swallow much of his when he
played in 'The White Heather* —^o
you remember? And that Romeo of
his! You had many good people
down at the Grand Opera-house in
your day, by the way."
"Joseph Haworth one of the finest,"
Mas-all heartily subscribed. "He was
one of the most unselfish men I ever
met, kindness itself, and such a Ham
let. I enjoyed thoroughly my experi
ence with him."
"What parts do you like best your
self?"
"But, Mr. Mayall, after Eilert Lov
borg. Mercutio, Mephisto and such
like — "
"Well. I had never had a melodra
matic experience for one thing," Mr.
Mayall began, unconsciously throwing
out his chest. "Then again, they pay
excellent salaries here."
"You like it?"
"Sometimes. This week I have
quite a little opportunity of character
ization in 'The Counterfeiters.* It's
not a bad thing. You've seen 'Sher-i
lock Holmes?' Not such a far cry
from that."
Skene In 'The Masqueraders.' I was
¦wandering round •with a polished frown
•and my hands in my pockets all day.
Then when I played Mephlsto here a
while ago I went around making cut
ting, sarcastic remarks."
"Impossible!" I cried. "But do yon
know there is quite an opposite the
ory from yours? Miss Constance
Crawley of the 'Everyman* t company
told me of Beerbohm Tree's experi
ence — or rather his wife's. Mrs. Tree
said that when her husband was play
ing saints on the stage he was sinful
off. Then again, that when he was
playing the villain he was perfectly
lovely at home — 'angelic* was the
word, I believe."
"That is not my experience,*' the
actor said thoughtfully.
"You would be almost a 'holy ter
ror* at home Just now if It were,
wouldn't you?" I laughed. "Serious
ly, though, how comes it that you are
playing 'do or die* heroes?"
de Lussan. George Tennery. Camilla
d'Arvllle. Adelina Tromben. Llna da
Benedefto, Clio Marchesinl, Emanuel
Ischlerdo. Alfredo Tedeschl. Adamo Gre
gorettl, Giuseppe Zanlnl, Baldo Travag-
HnL : ' ,
Pilade do Paoli, Mary . Welch,' Pietro
Venerando,' Mlchele de Padova. Ines de
Frata, Tina de Spada, Marie Pozzi, Zelie
Katherine Fleming. William Mertens.
Slg. Ludovico Viviani, Effle Stewart.
Florence, Wolcutt, Helen Merrill.
Mary Linck. Anna Lichter. -Edgardo
Zerni. William Schuster, Slg. Wanrell.
Mary Brandis, William Pruett. Annla
Meyers, Gerald Gerome. Miss Charlotte
Beckwlth. Ada Palmer Walker, Tom
Green, Slg. Fernando Avedano.
Gaudenzlo Salassa, Vlncenzo Fornari,
Alfred C. Wheelan. Frances Graham.
Alessandro NicollnL Vlttorio Repetto.
Dominico Russo. Lla Poletlni, Barron
Berthold,' Miss Estefano Collamartni,
Emanuel Castellano, Nlci Barbareschi,
Miss Maud Williams, \Edward Webb, Ar
thur : Cunningham, Agusto Dado, Linda
Montanari, Giuseppe Agostini, Harry
Cashman. Harold Gordon. Emelio d'Al
bore.
Miss M. Neville.. Miss Edith Wood
thorpe, Miss Hattie Moore. Miss Le
Fevre. Miss Ethel Lynton, Miss
Lester, Miss Louise Lelghton. Slgnora
Sepelli. Signora Sordelli. Miss Helen
DIngeon, Miss Laura Clement, Miss Tel
lula Evans. Miss Kate Marchi. Miss Ber
tie Crawford. Miss Louise Manfred, Miss
Mamie Taylor, Mtss Dora Wiley, Slgnora
Ida Valerga. Miss Alice Galllard. Miss
Belle Thorne, Miss Ida Mullc. Miss Ada
Somers. Miss Hattie Delaro, Miss Emily
Soldene, Miss Louise Royce. Miss Alice
Vincent. Miss Tillle Salinger. Miss
Fanny Hall, Ml«s Gracie Plaisted. Miss
Lena Salinger, Miss Grace Vernon, Miss
Lizzie Annandale, Miss Fannie Llddlard,
Miss Carrie Roma. Miss Alice Nielsen,
Miss Carrie Godfrey. Miss Laura Mil
liard. Miss Alice Carle, Miss Mabella
Baker. Miss Emily Melville.
Richard Valerga. Henry Norman. Max
Figman, C. M. Pyke. William H. Hamil
ton. Robert Dunbar. Ferris Hartman.
John J. Raffael. Ferdinand Schutz. Mar
tin Pache, George Broderick, Francis
Powers. Thomas Leary, W. F. Roches
ter, James Kelly. James O. Barrows.
William H. West, Fred Emmerson
Brooks. Frank Roraback. Fred Borne
man, Tom Casseli, Harry . Peakes. Fred
Lennox. H. W. Frillman, Mons. A. L.
Guille, M. Connell, Al Hendersen. Harry
Gates, Harry de Lonne. H. Rattenbery,
Wllmot Eckert. Signor Baldanza, Slgnor
Villani, Signor Parollnl, Slgnor Campo
bello, Edward Knight. Edwin Stevens.
Stanley Felch. Arthur Messmer, War
wick Ganor.- Miro del a Motta. Frank
Risdale. - George Olmi, Frank Pearson.
Philip Branson. Melville Stewart, A. W.
F. McCollin, Thomas Rlcketts, John E.
McWade. * ;
Nina Bertinl Humphreys, Fernando
Michel ena, Maurice de Vries, Madame
Natall. Miss, Bernice Holmes. : Rhys
Thomas, Slg. Abramoff. Elvia Crox Sea
brooke, Josie Intropldi, Maurice d'Arcy,
Dennis CSulllvan, ¦ Myra Morella. Selma
Kronold.
Stage managers — M. Bachrack, F. E.
Brooks, Al Hendersen, Harry Gates,
R. C. Lloyd. Fritz La Fontain. W. F.
Rochester, James O. ! Barrows. G.
Coventry. Walter Craven, Robert Evans.
Charles M. Pyke. Fred Urban, I. W.
Norcross Jr., John E. Nash, George E.
Lask, Joseph, Witt.
Names of artists who have appeared
at the Tivoll Opera-house:
Here is the list, unavoidably left over
from last - Sunday, of the artists who
since Its opening in 1879 have helped to
make the old Tivoll famous:
Musical directors— T. Homeyer. M.
Navone, E. Schmidtz. Luscum Searelle,
George Loesch, Gustav Hlnrlchs, J. H.
Dohrmann, Richard Stahl. W. W. Furst.
Max Hirschfeld, Adolph Bauer. # Joseph
Hirschbach, Carl Martens, Paul Steln
dorff. '"7'zZ*~ji
• • •
Dr. H. J. Stewart will assist and Miss
Kathleen Parlow will give two violin
numbers.
Mrs. L. Snider- Johnson will give a
song recital on the evening of Tuesday,
December 8, at the T.' M. C. A. Audito
rium. .The programme consists of
classic and standard. songs and includes
two arias from the works of Von Web
er and ,Tschaikowsky.
Mrs. Johnson is the well-known so
prano of . the First Congregational
Church of this city.'and has been often
heard since her concert debut last Feb
ruary. «
The Royal Italian Band will begin to
night a return engagement at the Al
hambra Theater, when the following
programme will be given: "March of
the Drums'.*^ (Chiaffarelli); overture.
"Fanciulla Delle Asturia" (Secehi):
clarinet solo, "Adagio e Tarantelle"
(Cavallini), Sig. Decimo; "Mazurka de
Concert" (Pepe); fantasie, "La Tosca"
(Puccini); waltz (De Angelis); Siberian
Scenes (Marengo); polka, "Loretta"
(Chlaffarelll): - finale act three, "La
Giaconda" (Ponchlelli).
. The first concert to be given In the
Greek Theater at Berkeley will take
place on "Wednesday afternoon next at
2:30 o'clock, when Manager Will Green
baum has arranged for a concert In aid
of the establishment of a musical and
dramatic fund at the university by the
Ellery Royal Italian Band. .San Fran
ciscans should take the 1 or 1:30 boat.
The programme planned will be ex
ceptionally fine, and as the acoustics of
the building are perfect the band will
be heard to unusual advantage. The
price of seats has been set at the low
figure of 50 cents each In order to in
duce out-of-town people to visit this
most remarkable building of the State.
It has been arranged that in case of
rain the concert will be given in the
gymnasium building of the university.
Tickets can be secured at Sherman,
Clay & Co.'s. ' -;Vi
THE SAN ¦: FRANCISCO CALL, SUNDAY, DECEMBER 6, 1903.
WITH TH E PLAYERS AND THE MUSIC FOLK
18