The New York Times from New York, New York • Page 34

THE! NEW YORK TIMES. SUNDAY. JANUARY 11. 1903. TOPICS The Sultan of Sulu SatireMr.

Ade Twentieth Century Hamlet and Kyd's Mr, George Ade's The Zilmn of Sulu so good, so very good, a to make one Wi with all his heart, churlish as this may seem, that It had been lust a UtUe better. As a rule musical comedies are so bad. so very that, unlike the Kentuck-ln's whisky. It I is only a question of -which In worse than others. When they tests on Broadway you cin't tee'the Intelligent! Tlaygder (a somewhat fabulous person, to be sure.) for the dusi he kicks up in getting away from them or Is it only the enduring mist that surrounds' his mythical being? IHit here at last is a piece that not only laughable throughout, but reasonably.

Intelligently, phllo-- M-phically laughable. In a word, it in satire satire that is as timely as it Is pointed. any tears have been shed over the desue-tude of the GllbertXan repertory of English retire. Mr. Adss is not yet a The Saltan- ot'jiSutu satirises a vital phase of American life with a profundity and a grasp that Gilbert seemed incapabe of sustaining throughout an entire piece.

1 The Constitution and The Cocktail. 1 1 The Constitution and the cocktail follow the flag "such la the truth expound-r ed In this musical problem play. In point Of fact, the Cocktail considerably precedes ie Constitution making Itself felt in the mhist of the polygamous Mohammedan Sultan; but we suspect that Mr. Ade has the warrant of observed fact for thus dc-" viatlng from the letter of his motto, so we hny no more, and especially as the dramatic struggle Involved hangs upon the precedence of the Cocktail. And, brothers, do you realize what it means that a musical comedy not only has a plot, a logical, co- hcrent an almost jconsecutlve plot, but that this plot arises fnm the dramatic struggle between the two Opposing forces involved.

Just as the preclsecanon of the most metlc-' ulous dramaturgy! requires? Constitution and Cocktail, Cocktail and Constitution these are the elements whose fateful in-I fluences wrestle for the mastery In I life of the Sultan iof Sulu. Xo sooner is- the Sultan snatched from "the jaws of death, as he thinks, by the news that he is to be assimilated tinder ths Constitution, than he begins the assimilation of benevolent Cocktails. Ah! primordial poetry, the epic grandeur of that As represented by Mr. Frank Moulin, It Is the nightly cause of an exodus between the acts of twice the usual volume. With native intuition the Sultan -discovers that fundamental verity that one good Cocktail deserves two more, and then, his whole horizon uffuwd with the glamor of three cherries, he -see Frances Pamela Jackson to love her.

Frances Pamela is a new women, a modern Portia, who has come out Sulu as Judge Advocate. Her "heart succumbs to the ardor of the three cherries, ur.tr. the Sultan naively informs her that 1 has already a commodity of eight wives or so; and then, with the fury of a woman scorned, Pamela calls down upon him the vengeance of the law, for she Is the dramatic embodiment of the Constitution, even as he has become the embodiment of the Cocktail. in the second act the Sultan discovers that, even as the Cocktail follows the Flng, the katzertjammer and the water wagon follow the Cocktail. But the Constitution 1 still in sight.

The' law as expounded by the affronted Pamela, requires not only that Jie shall divorce all his wives, but that each wife divorced receives one-half of the hu-) band's income and this on the gray day after seventeen cocktails! The mathematical problem of the Sultan's alimonies Is too Much for him. and. falling to solve it, Pamela throws him Into a Constitutional Jail. But even as he triumph of the Constitution seems most complete, a dispatch boat arrives with the well-remembered de-tree that the rellgioCs and social institutions of Sulu shall le respected. The Constitution follows the flag only on Mondays.

"Wednesdays, and Fridays: but the Cocktail follows the flag seven days and nights in the week. The play ends in triumph for the Sultan-triumph as to the plurality of wives, triumph as to the plurality of Cock-talls-trlumph. in short, for Benevolent As-. simllatlon. Satire ana Plot in Musical Comedy, Is it not something more than the mist of fading memory thai makes the general scheme of this saline sera both more profound and more arousing than the Bcheme of the Gilbertlan pieces? To clapper-claw u.

classic with the' horny hand of common Rense is an ill thing. yt sometimes useful. And to speak common does the action of the GUbertian satires ever hinge anything more than the most, fancliul of paradoxes? Patience cannot love Grosvenor because love to be pure mut be absolutely unselfish, and there can be nothing unselfish In loving such a perfect being as h. So she dallies with Bun. thonie.

whom she does not like until Grosvenor resolves to be always a commonplace young man. This is a clever f-nough hit at the cant of modem casuistry, but is it quite enough to hang a whole piece ainon? Tot the plot of Patience" Is perhaps the most consistently reasoned of all Gilbert' plots. Frederic, the apprentice of "The rirates of Penzance." is a lave to duty, and turn in the action depends upon a new and more preposter-construction of what his duty consists in every turn, that is until the last, which where two quite new motive In atire are introduced the lovp and loyalty which even a pirate must feel for Queen Victoria, and the. indulgence which an Englishman must feel for peers, for It suddenly appears that the pirates are not; pirates, but peers. In "Pinafore-1 the denouement comes from a mere accident the' exchange of two children by their nurse, from which it has resulted that Ralph is the captain, and the captain Ralph.

-A strong sidelight has of late been thrown upon Gilbert's lack of method in his confession that "Patience' as first written was a satire against the jvngiisn curate ana ms lemimne admirers lie metamorphosed Bunthorne Into aesthete at lust moment because he feared tnat the British public would not stand for a take off on an institution of the established church. In point of fact his satire is least 1 brilliant In his plots. "Where he really scores is in his quips and his songs, and these he dealt most telling Idowsat the admiralty, at the army, at aefethetlclsm and what not as all the world remembers. 'i Does it appear that to take a comic opera thus "erioualy is to break, a butterfly? Pcrhapa It la, but; even in the matter of butterflies one. may prefer those that fjut- rter and soar according to the best brtter-fly traditions.

MjAugustin Filon, fcympntheUe a.nd tit ar-lghted history of the modern English drama, confesses that he a never yawned with so good a heart a at and the th lifeless paradoxes In the action of which DRAMA Plot as an Element of and Mr. GilbeW The Hamlet The German Hamlet. offended his reasonable Gallic taste. One may be very far froth agreeing with him. and acclaim heartily a satire' that strikes at the heart! of a Very live and enfirrosslnfl ntiMtlAn iTn -flrtff anv tatl.

leal nonsense quite aj profoundly reasoned TV 0 1 aa "The Sultan of Sulu," one would have to go to the boulevards of Paris, and per- naps to Artsiopnanesi Mr. Dooley and Mr. Dooley-oo It Will not have escaped the observant that the philosophy of I The Sultan of Sulu is the philosophy of Mr. Dooley. There is no derogation In the statement, for whose philosophy hai escaped infection 'from that admirable person? And perhaps ithere is a Chicago School of Philosophy, of which Mr Ada and Mr.

Dunne are fellow exponents, i It not so easily to be forgiven. however that the lyrics and th music of The Sultan of Sulu are, as one may say. theories and the music of Mr. Dooley-oo. Td say! nothing of Gilbert, Mr Ade's versi lacks the lilt, the sparkle and the dash pf the rhymes of Mr.

Harry B. Smith. And; as for Mr. Wathall'a music, shades of Sulljvan! it can only be said but really, can ff. he said? The success of the piece, It is nightly crowding the huge auditorium of Wallack's, is due to the satirical vigor of the story, to the drollery of the 'situations it develops, and to the -popular delight In Mr.

Ade'a slanguage. The fun bifgins with pdr. Frank Moulan'a entrance, arid keeps up steadily to the final curtain, jong life to the Sultan, and may Its success ieajeh our playwrights that brains afe not amiss, even in musical comedy, and hat the wings of the butterfly are fairest. not when they soar among the clouds of unsubstantial fancy, but when they play softly about the herb and flowers of our native earth The Twentieth Century Hmlet. To the general pubc which is flocking to the Garden Theatre to see Mr.

Soth-etn's Hamlet, and toij those in particular who, remembering tooth's tender and elevated, rendering 6t the part, are disposed censure this pevf reading as over strenuous and melodramatic, no better advice can bo given tjhan to read The "Works of Thomas K.d." as edited by F. S. Boas, (Oxford: The Clarendon Press. 190L New York: II, 4, It is only bf taklnr into the sources from whitn the play was derived, and the general temjKr of the audiences for Which it vias presented, that it is possible to arrive jut any definite and valuable conclusions kith r'gard to this men discussed of a9 of Shakespeare's plays. The undertaking is rtir.i,iQi worth whiles for it akes it possible to gei a glimpse, as It? were, into Shakespeare's workshop, add in some measure to follow the movements of his mind.

Throughout the nineteenth century it was the custom to rcgaiW "Hamlet" as a supreme, harmonious i work of art which cculd be weighed and meaured by modern standards with as much iertalnty as we weigh the deeds and Jwords of a recently departed friend. It is In this spirit that Goethe and the German critics. Coleridge and the Knglish critids. approached it. In the main, of course, they" were right, for the appeal of any great iwork of art is tr.iversal and what the nineteenth cer.tudy crklcs have had to say is of high interest and importance.

Yet they slg-nclly failed to pluck out the heart of Hamlet's mystery: they arrived, in fact, at the most diametrically opposite conclusions. The efforts! of recent scientists have changed all thls.j By becoming famil-xv with the Elizabethan drama of blood ar.d revenge, as'exenipllfled in the works of Kyd, it Is possible to determine approximately the moral aesthetic values of what Hamlet says, nnd particularly of v.hal he does. The Whole Btory of Haml as it appears in Shakespeare, and almost all of the scenes, were orlganlly devied by Kyd Thii fact alone Is suf finer. to disqualify th), theory as to Hamlet character which Goethe propounds in Wilhelm Meister." and which has exerted a profound Influence on most commentators and actorsj namely, that Hamlet's soul Is unequal the i duty of revenge which has beei laid tipon It; that he is beautiful, pure, pobjo, but weak; and thai the fact that he Achieves his revenge by accident only, an at the cost of his own life, is the result of agonized vacillation. An actor has only to take the scenes of the play frankly for the action and color there is in them.las Mr.

Sothern does, in order to show how decided and vigorous Hamlet really Is. On the other hand p. study of Kyd and the old tragedy of blood will show how infinitely ar. beyond it Shakespeare progressed, most of all jn this very play of Hamlet and this ij; the best of all reasons for clearing up jour ideas as to his debt to Thomas Ky in his works is the poetry of the5, lines so even and stately, so brimming 1th images of fervid beauty, novhere rioe the wit flash more keenly, nowhere are tjie characters drawn with so firm a handj and with such rich and varied humor, nowhere is the ideal of the princely gentldiinan so forcibly and delicately portrayed, nowhere does the mind reach out into uch vistas of soul-compelling thought, this is what hitherto has wrought confusion in the mind of the critical, this mingling of the action of a crude melodrama of revenge with the highest flights of- the human imagination. In bringing out the dramatic elements of the play.

In so far as theji do not detract from what is peculiarly Shakespearean. Mr. Sothern is splendidly right. He will be still more right whejj he combines with this a fuller measurf of the tenderness, the reverence, the wit that is pecullarl; Shakespearean. The researches of the past decade have done thi world this service that they have brushect away most, perhapf all, of the old cobweb of mystery and uncertainty spun in the blinds of the subject ive critics of the nineteenth century.

Thf aiisl Hamlet of the twentieth century need br Indefinable onlv ns snv work of tti Is undefinable.T There will be scan', room for the: new readings that lav plagued us all so In the past. Now that wt are aware of the fact in the evolution this drama. Hamlet hits become as distinct and intelligible a character i as Macbeth, Othello, or Lear. The German Hamlet. In "one partjeular Jtls possible that Mr.

Boas, in his notes on Shakespeare's debt to Kyd, is in error. Therf is extant a version of Hamlet In GerinanJ which, though incredibly contains the entire tory. and 11 but one pf thie scenes we find In Shakespeare. The great! majority of scholars have agreed In regarding this ar founded tinon Kvd's Lat hlnv n. let." Bemliardy, Cobt.

Dyce, CUrk, and trl -l a. m. v-k Wright. Latham, Fumes gnd) aollancz, all explicitly or tacitly concui In this opinion. German crttlo regard it as founded -upon Shakespear flrtt version of When he ad hi iaper on the subject before the English Shakespearean Society, Dr.

F. J. Fur nlvail remarked: The way in which Dr. nnger Jumps the fences in the way of his th ory excites only wonder. It I steej lechaslng rather than steady going in the pi th of crlliclsm." Dr.

H. Nicholson; likened 1 1 to Yet Mr: Boas accepts; Tanger's conclusions The point is of Importance, foi unless we connect the GermaniUamlet 1th, Kyd's it is not possible to nscrt, with any thing like confidence as Boas himself contends that the great renes in Hamlet were devised by Kyd. On tl le appearance of Mr. Boas's bookjfor exam le, Mr. William Archer, meeting; him on ids own ground, adduced weighty (though from decisive) reasons for attributing; tl 'scene of the play within the play to SI ikrapeare's own invention.

vThls ojuesUon ol the relationship of the German Hamlet to Kyd's play is too complicated for pres ntatlon I have treated It at length" Vblume V. the Studies and Notes 1 1 "Philology and Literature," published by larvard University. A single point 'must suffice to Indicate the kind iof assun ptlon Tanger's theory involves. The Gernu n. when told that he is to be, sent to England, retorts: "Ay, ay.

King; Just seed me oat to Portugal, so that may r. ver come back. That's the Now. in 1389. Drake led an expedition to Portugal, which he lost over half his soldiers and more than two-thirds of his mcn The los: was for a time concealed; as were so man: losses lately in South Africa, but In the end It came out and became a byword, Thisallu don is very positive evidence that the oris Inal of the German play, was an English jlay which preceded Shakespeare by a do: en years.

When Shakespeare rewrote Han let." about 1002. this allusion had Jong ceas to be topical. It does not appear. Its i etention in the German rHamletj" la sufficiently accounted for on the supposition hat the author regarded it as one, of the In: tances In which Hamlet was simulating th incoherence of madness. iTo explain away this hit of Very positive evidence; fo lowing Tanger.

urges that the Hamlet Kyd ras written two years before Drake expedition. In point of fact, nothing was commoner, then as now. than for the actors to Insert topical allusions. Thus. Lent revival of The Bella of Haalemere," an English play of a dozen years back, as vas pointed out in the columns of The Tim Scotchhigh-balls were Included in a Hi of characteristic American drinks.

Wou Mr. Boas and Herr Tanger argue that Hazlemere" was: written The Bells of of the year grace in which the Scotch Ighball came to America? To explain the rl ference to Por tugal, both Boas and Tender suggest that it was invented as a bit of simulated mad- ness by the German adapt r. It is by no means In the vein of his other additions to the play, and In an case is more likely that he let it stand than tbat he Invented it. This Is only one of a nJmber of bits ot evidence which point to Kird's Hamlet as the origin of the Gerrnjan play, all of which Tanger and Boas either ignore or explain a coincidences. jo: IN CORBIN.

TRANSATLANTIC Mme. Bernhardt announces In a Parisian journal that she has been lng her memoirs 'for the figaged In writ- dast four years. There are to be three volurii of them, and ito all modern they are to be translated tongues. She acknowledges that in prepar- lng them she has had val able help from the newspapers, but. she ingeniously InU- mates that there are maty polnts upon which she will set the newspapers right.

And. doubtless, there are few respects In which the press agent gard for Mme. Bernhardt else. hWs failed of re- ihe Every-thing i ucrtr lire some eignteen ph ntomlmes run- nlng in and about London) and they wlU feeks to come, i Mr. William the fiantomime continue to run for some After seeing two of the; Archer writes as follows oil as an art form Not for the first time, but Dorhans-fnr th xutietn.

i declare my Christmas pantomime is knvicuon that most valuable ari-iorra, wun a great futi oerore it. Jn rnrlr I us wnueuniieiy elastic fra rOOm for tXietrv ullrn lliffoonery'. fan- thoughts that do often tears If Vina lasy, ourtesque. Kabelaisla KtuKiiier, ana too deep for A recHtin av In mnt mm h. UIIUIIVIO Ul I and from those humdrunJ time and space.

imoits oi tne luslv call lha moiccuiea wnicn we pom laws of nature. There the i SOL ythlc past may imn it. as in a country proDiematic future; there may couch his deepest wi khe philosopher that shall charm the lltt v.i an Illt-U1H child. What pantomimes Shakespeare ten. had the form vnlvil wtujld have wrlt- llself In his day I "wme, ui aust, was ling toward it; nut tne fundamental merit ana grace of OStehliihlv mi me iorm mat it should 1 entertainment for children 1 aa Vet ms ruul mm.

iet me not seem to that iIA MnAlTutn, mply, however. pantbmime a Shakespeare or a Goethe. mime must be neeueu lor tne taSK. A mortal may achieve It: or OUltA ordlhnrir more nrobablv. lerhaps.

a combination of one with a rtt nf A.n ordinary mortals. Wl UlliU other with graceful and talent, a third with the ca Iantasy, an-irtventH'A Ivl ttcaturlst's the foibles uity tor seizing and symbol wie hkc. una a rourtn. i course, witn steeping the me tnaispensaDie faculty noi creation in a of muatcv sparkling atmospnere One wonders if these pinions would have seeing the been materially changed rby whole eighteen. In view of the attack the motives which led'M.

Henry Batajl le to put Tol- stors Resurrection on James Piatt Vhite sends excerpts from an article which appears In L'Art December: ask of the stage. Mr. the following M. Bataille's Theatre for some reflec- te tlons. some general Ideas apropos of Res- What can I say? It Is great- to tiie advantage of th service I have devoted my drama.

thA enmlnc wki urt to whose if, the modern rhlJh When still Volinir I v. ij 'Thy Blood' and 'The Lei the preface of ier. 1 recollect mis pnrase in regard to contemporary lyricism their wnrria fv ure poets: A spring rrom life man. modern iKld. sinister, and beautifu in new and once, fertile tiette In r.

i. must on. wii met i in its turn, the son ret stage, and re- or inspiration wiu me convenuonaiity i nust transport it with all ill Its terror. It Is path forever; our complex lives tragic tn all social classes; styles, i We settlnir. vrlth tic everywhere ire wondrouttly ur dramas and vur joys are wormy of I nrinst KMrf a.i-titris.kr...

rev Iment in their Tlhe sustained itself too large theatre has on artlflr-lul Ve must brii tudy and to the regular It back to the course of life. must, tne drama. 1 th rho I. bting the setting mak i lira rt i Participate in our deeds, a Is so connected with companies us so closely; Irama nrt, nrr in life th tint- he plot and ac- must, la the gestures, our boon fie In a. ooks.

our intonations, ou WhlK nAWw s.uknt. f's well as our consciousness which speaki With regard to the pop lar Success of cites the fol- Resurrection." Mr. Whit owing observe tlirm from Le Theatre for Iecember: The Chronio ieur' speaks of it as a very Interesting drama which Jraws the public to the receipts that are unusua Odlon. bringlna In all large for the Romain Cool us in nrnrinelni en uunt or tne Hetne." In his tliuv iliwlanu thai Resurrection the Direct has heu 4r of the'Odeoit hose enthusiastic successtl Success, one of which RIIIIRA. -rate ana nonor a theatre 'hat they enrich it," and Resurrection Is nothini rit the samit ilm at OS lsier that lews than one of most powerful, the i he noblest works of art in A An mt movlnr.

and which huva Ffench stare, and ItiAf fur a. nin It rt renew with the most diverse audiences the triumph which greeted it at its appearance I In preparing Bernhard ''Theroigne de a new play, M. Paul Her-hesls plays Uke rieu has broken away from La Course du Flambeau" and puzzle tragedies like L'Enlgme," and has entered the field of SardoiL The llfe-of the firebrand of the Revolution," with its turbulent Fiursult of pleasure and It's mad craving or popularity, easily lends itaelf to the fabrication of a series of scenes such as the firebrand of the modern theatre admires. Hervleu has not. however, as it appears, made much use ot the material ot popular tradition in his earlier acts, which are more accurately historical thari dramatic, but the last two act -are stirring enough.

At the close of the fifth act Theroigne, fallen from her popularity and power, is publicly flogged. The sixth act, which taken place twenty years later, represents her in the courtyard of a madhouse, in which, rendered insane by captivity, privation, and ill-use. she is haunted by visions of the might- dead of the Revolution. Among these Sieves, still alive, enters, by accident, and confronts her; At first she thinks him a part of the vision: but he takes her hand, and she realises that he Is in the flesh. Bernhardt' performance in this scene, and in the play as a whole, has been generally extolled as equal to the best she has done in the past "one of the most powerful end terrific achievements ever seen upon the stage." DRAMA IN MINIATURE.

i Rural Play and Sentimental Comedy In Proctor Bills. Rural drama In a sorf of saturated solution or tabloid form was. provided the patrons of Proctor's Twenty-third Street Theatre. An old oaken bucket, chickens that eat real chicken feed, a tin horn for the dinner call, flowering vines, and. the Qld homestead this time without a mortgageprovide the external wblcb Always enter into this kind of play, while the farmer's son, accused ot a forgery he did not commit, the sweet and trusting maiden, and the heart-broken but stoclal father, serve for the plot of tender romance.

In the palmy days actors used to enjoy playing such pieces as The Corslcan Brothers," which provided an opportunity for a certain show of versatility by reason ot the fact that the leading man could appear as both of the brothers. But Charles Edwards, who heads the cast in the present offering, goes the old timers one better. He plays the farmer and the farmer's son. and enjoys unique experience of staying at home and grieving In the person of the father for himself in the person ot the son, who has gone away to seek fortune in the "wide, wide world." It is-nardly necessary, then, to mention that in this play father and son never meet in sight of the audience, although there is one situation played "off scene" where the returning prodigal is welcomed by his Joyful father, and one hears first the youthful exclamation of Joy at home-coming and the tear-broken accents of the aged head of the house. Needless to say the father never see his son as others see him.

for he would have to be abnormally nearsighted to do that. The scene is the farmyard of Cloverdale, and Joseph A. Physioc has painted a really pretty- set especially for this production. The story of Ralph Dean's misfortune is rehearsed In a conversation between Farmer Dean and his ward. Sylvia, whom the audience soon recognizes as the true and trusting sweetheart of the wanderer.

But about the time that everybody is beglnlng to feel the seriousness of the situation, along comes Jonas, who does the chores. Jonas, too. is the familiar comic relief of rural drama. He misunderstands everybody and everybody misunderstands him, and he IS always up to his red. wig in mischief.

But he nas a mouth built for expansive when he laughs the house laughs with him. And when he needs a rest from his acrobatic antjes the other essential element of rural drama a singing quartet makes Its appearance in the roles of farmhands. As has already been intimated, the boy returns to his own. appearing Just in time to enter with spirit Into the husking dance, in which milkmaids, berry pickers and farmhands Join Just as the sun incidentally the curtain goes down. Cloverdale Is neither better nor worse than many more pretentious rural plays but It has one positive merit that a good many of Its predecessors lack brevity It occupies some twenty minutes In playl'nr and for persons who like that sort of thiaa-there is just enough of It to leave a relish lor more.

It is hardly likely1 that John Milton, even With his tar-seeing sightless eyes, realized that he was writing what seems to be the motto of present-day vaudeville" Hence, loathed menlancholy." 4 But It is the one theory upon which managers and performers seem to build all their acts, and though there may be a aoupcon of the serious in the whole, the PJiT 1 ffms to to the laughs. For this no effort seems to be too great, no contortion too grotesque. Take, for example, the team Cherry and Bates, who are doing a bicycle act ut the Proctor continuous Rouse. The chief requirement tn such .1 turn it wouTd seem must be and courage. All three qualities of course enter Into the act for in these days when acrobatic wheeling has reached a point of high perfection the vaudeville audiences, used to the best would not stand for mediocrity But the very fact that so much good cvclin-T has been seen makes It necessary for the performers to add some touch of noveltv to their act.

and the comedy element must be emphasized. Hh'tifJ Ane ricIer ff'r-haired boy. with the face of a cherub, who poses gracefully in the centre of the stage at everv opportunity, while his partner is doing ttie best he can to make himself ridiculous In the rfile of a weary Wraggles of most pronounced type. Although both men are evidently familiar with every turn and trick of their wheels, the boy's efforts are made the more effective by reason of the fact that the tramp first attempted to do the more difficult stunts and falls The vitality of a really clever little play is being illustrated in The Open Gate," which Una Abell Brlnker and the Proctor players are presenting in Newark this week. It was produced originally al the Comedy Theatre, London, on 1887.

with Grace Armitage. Elsie Irving. E. Glrardot. and J.

Buckstone In the cast. Since that time it has been used again and again in thin country and abroad; it has been hammered at by amateurs and used as a curtain raiser by professionals, and it Is ftiti a favorite with both classes of actors Although a little affair. It contains two stories and a plot within a plot. Garth and Jessie are sweethearts, with the usual propensity for lovers' tiffs. Just before they Indulge In a quarrel which causes the youth to go off in a huff and the girl to vow that she will remain single all her life, the explanation of the- ply's title is forthcoming In a conversation between them relative to Jessie's Aunt Hettie.

Jsi Wtiy In tiintl Hlnxle and (cry? Osxth Well. oni women are single becauna they are sad. and some ar sad becaua they are nlnsle. Je9le You are bopeleuly stupid. I fle you UP- O.rth No.

Ptay. I begin to see. Jennie You surprlne me. (rth The open gate. Jessie Well? Uarth She loved same fellow years aco.

They parted a quarrel. 1 suppose; she hoped he rnlcht return, and from that day kept the gate open as. a mute sign of welcome. And so the gate remains open, and Garth, like his uncle before him years ago. passes out after he and Jessie have had their little misunderstanding.

But not before he has brought I'ncle John to the ularr. full of tender melancholy at memory of better and happier days. And Uncle John, after he and Aunt Hettie have recognized In themselvee the lovers of old altered, older, and sadder perhaps, but Mill youthful in affection-closes the rate, shutting out all the unhai. pines and keeping in the brightness of the present with Its promise of joys in the future. And 11 young lover', of course, are reconciled, too.

so all Is merry an a marriage feast. The play la so old that playgoers "generally have probably forgotten it. This bit of verse quoted In the text seems worth repeating, as It Indicates in a manner the general theme: We severed In Autumn early, Kre the earth was torn by the plow; The wheat and th oats and the barley Ar ripe for the harvest nor. We wandered on misty momln.t. Ere tha Mi's were dimmed by the rain Through th riowera those hills adorning.

Thou comeat not back, again. THE KALTENBORN QUARTET. Tho first of the Kaltenbom Quartet's series of chamber concerts will be given In Mendelssohn Hall on Tuesday evening. Mr. Raoul Pugno will be the assisting solo artUL The quartet is made up of Franz Kaltenborn.

first violin: William Rowel violin; Uustav Bach, -vlolu. and Louis Heine, 'cellist. The programme for Tuesday evening will be as follows; BopaU la a major. Op. Jt'or Pno ni Violin.

Mr Roul Pugtio and Mr. Ynnm Kaltenbom. Quartet in major. No. 3 I vrial nJor, up.

44 Si-huniaaa 1 M. Raoul Pug no and th Kaltanbam Quartet. FIVE NEW PLAYS BID FOR i POPULAR FAVOR THISWEEK Clyde Fitch Furnishes One, So that "Two of His i Productions Will Be Dn Capt Marshall's Latest WEEK'S CALENDAR. ThJ tllr.1- in American' 8caJi of 1 1 TCEBDAT. Empire Ropert Marshall' Unforeseen." ifrtropoUUn Opera Ho use Eroae as Frahcesca.

and lajter aa Magda, Wednes- day and Friday matihees, Hodgson Burnett's Uttla Prince." TOof'DAYNW MajesUo-" Tn Wtxard ot FRIDAY. F.mph-e gpecifcj "student roaUnea, The Rlaht of Love.1' by Max Kordau. This week will be the fullest of the season as regards the Introduction of new plays, no less than being scheduled for presentation. Of course one of th number Is the work df Clyde Fitch. This playwright has not Onty had different plays running successively and successfully Broadway houses for, some months but also will now have his creations prominent theatres at the same time, and is Just possible that a third will be added to the lot in February Mr.

Fitch's new plaf. The Bird in tho Cage." which will open Monday night at the Bijou, is promised to contain his usual surprise, though Just where the Interesting -situation lies is not announced. The bird of the story is Rosalie, employed tn the home of Philip Lorlng, the head of a paper manufactory. Being in lore with Rosalie, he wishes to hold her In the matrimonial cage. His money and bis friends old him, while her lovT for a factory foreman and a rakish brotjher restrain her.

In the end she marries the factory foreman. The cast includes Sahdol Mlhiken, Grace Henderson. Jennie Satterlee. Guy Bate Post. Charles Mackayt Arnold Duly, and Kdward Harrlgan.

Air. liarrlgan'will be seen for the first tlm In many years on Broadway in a legitimate production. The part he play In Thei Bird In the Cage has been developed along lines similar to the characters wnlch Imade hlmx famous. The play will be handsomely placed upon the stage, so Charles Frohman promises. "THE UNFORESEEN AT THE EMPIRE, Charles Ftohman's Empire.

Theatre Company will return to New York this week and will open the regular Winter season at the Empire TheatN on Tuesday evening. The will be closed on Monday evening, when the filial dress rehearsal of the first play will be The company is now In the fourteenth year of Its existence, and the seasjon, which opens on Tuesday evening, is tht eleventh which it will have filled at thle Empire Theatre. The first play in whih the organization will be seen is Robert Marshall's "The Unforeseen." It Is in fur acts and Is now running at the Haymarket Theatre, London, where it was originally produced. The Unforeseen" tells the story of seme well-connected fo.k whose love affairs become entangled through innocent mistakes. A young ecru pie run away to Paris to marry each other, but the man loses his lortune and wjll not wed the girl.

He commits suicide, but before that event two men visit him andi tlje young woman In his hotel. She is introduced as hi wife One of these visitor)) I a half blind vicar, who. after becoming entirely so. marries the woman. Latersthe blind man is made to see.

He then recognise his wife as the young person of the Paris hotel. He is shocked, hitr tetter left the suicide tells that all was a it should be, and the curtain falls on happiness. viimi it-n nunman anui atariraret Antrim. who have be lore played the parts of sweet- heart at the head of company, do so again, the company who will the Empire stock Other members of be in the cast of The Unforeseen are William Courtleigh. TP-( At 1 1 1 r.

K. 1 I n.iuiij., wmaiu 1 umr, ii. Crompton. E. Y.

Backus George Osbourne, William Barnes. Beatrice Irwin. Ethel Hornlck, and Lllliun Thurgate. "THE LITTLE PRINCESS" AT THE The Criterion Theatrd. beginning next Wednesday afternoon, will be one of tho busiest playhouses in the city.

In addition to Julia Marlowe'sj regular perform ances 01 'The Cavalier" every nlaht and on Saturday afternoon, clal matinees of Mrs. there will be spe- France Hodgson Burnett's new play. The Little' Princess. These special matinees Will be given daily- except on Saturday. Mh.

Burnett's play Is now running at the Shjaftesbury Theatre, London, and Wednesday's performance will be the first In this country'. It Is produced by Charles B. Dillingham, 'lira. Burnett designed the play for children and grown-up children." ah she puts it, and thinks everybod can enjoy it ai long ns the heart is yoiing. The English papers say the play is pretty and delicate with Its pathos lightened by touches of artless roguery and hunior.

Sara Crewe, the Littje Princess. Is a pupil and a parlor boarder at Miss Mln-chln's establishment for! the daughters of the nobility and aentrvi Iter fmw immensely wealthy man Is in and I Fhe Is both good and popular. She rives iwny tg nrr school-fellows which provides an opportunity for a vast deal of pretty pleasantry, but when the fun Is at Its height, a lawyer arrives with the news of her father's financial ruin and sudden death. Minohln hereupon appears in the true colors of a feminine Wackford Squeers. and-degrade poor little Sara, the ranittsticand charming fhlld.

who make I uri un aim rules tnem as the Pr ncess of her own unaiinings, to the position of a common dru(ge. ltJ. aUlc tnat she a nfixt seen her hunger, and making friends with a monkjey from- the next house and. through hlrcu with the lndiun servant ot the Sahib wfio belong there Ermyngurde. her faithful school friend" goes up from her dormitory and provides a feast for Sara and forfBecky.

the coml" saf 1111 art' 1 A 1 a. ZiTiJ. i ejeeim in me adjacent 1 attic being communicatii-d with by taps 7 cell -rV4'' 'Vhe. PTner the next I il' J.1-!" interrupted by Mis "er Ofj.arture the little 1 rlncess goes to sleep. Thin come the Indian servants of the mnn next door.

who. TkJ mter liwirtly transforms the attic. whll Sara sleeps. Into a prettv wilh' hangings and-bctter tlll--a uppet and a fire. Sara wakes, nnd fter a while reallr.es that her dream has become reality.

The man next door turn out Ito be her father's friend, who having apparently compassed his ruin by Investing his and Sara's mont ln a rotten mine, fled somewhat Inglorious', ly to Knclan.l. broken in ihealth and spirit lather than fuce his friend. The mine has bettered. In expectations and he has searched high and low foj- Sara, once more an heiress They nre brought together, after which, with the discomfiture of Min- emn and the promise ofia happy life for the Princess, who has eome to her own JtfjVP' for Hefky. the scullery maid, the curtain Jails.

I Mr. hus enrnged for the production of The Little Princess" a coro- MMlle HHen Tracy. Mabel Taliarero.l May Davenport beymour. Pauline Chasei Mildred MorrU. ijeryt aiore ixulse C.S1 owav.

Euirenle Drmn. Francl Klng-don. Frederic Murphy, thnmai l. Handysldek Frank Relcher, and Adelaide Alexander. "THE WIZARD OF 02" AT THE MAJESTIC.

1 What to be a ay, graceful, and gorgeous extravaganza WU1 serve as the first attraction at the Ntw Majestic Theatre on Thursday night, wh.m New Yorker wlU get a view of Th Wlsard of Os." Julian Mitchell Is the mbvlng spirit upon which the success of thfe new production rest. Mr. Mitchell's pasi achievements as stage director for the lite Charles Hoyt throughout his entire series of farcical comedies and in recent seasons' with Web- at Broadway Houses Society Drama. I er A Fields' augur that Tb Wizard of sviu De an entertainment wortn seeing. I The Wlrard of Ot has its origin in a fairy tale of the same name bv a Western author, Frank Baura.

On the bajds of Mr. Bauml'a story an extravaganza has been constructed which is said to embrace all the elements of the smart musical comedies with some of old-Iashloned fun of comic pantomime. The musical number Sre the work of Paul Tietjens. OlvWed Into three acts and nine scenes, The! Wizard of Os is aid to afford brtlllain opportunities for the scenic artists ot Which John Young and Walter Bur-ridge jbelleve they have availed themselves. The first act shows a Kansas farm and its demolition by a terrific cyclone that sweeps awayjin full view of the audience a farmhouse; with the herolnejlttle Dorothy, and her pet cow; Imogene, inside of It.

Wntn the storm subside the house descend in a mythical domain known a the land of the Munchklns, where the little Kansas gh- encounters all sorts of strange adventures jaratd all kinds of whimsical and fan-tasticl creatures, beautiful and benevolent fairies, and malignant witches. One of the scene shows a poppy field in midsummer, which! has been pronounced a novel creation scenic art. At the invocation of Uorothy's protectress, the good witch of the North, the same poppy field is blighted by a Sudden snowstorm, and tn an instant the pbpples are withered and the field la bleak 1 and desolate with a mantle of Ice and snow. The second act discloses tho courtyard of the wlxard's palace, while the setting of the third and last act shows the forest of gnarled oaks, with a anique effect! of a wistaria prison. More than a hundred persons will be employed in Th Wiaard of the chief merrymakers being Indicated in the cast: I frothy Gale Anna Luhlin Hvr ivt Cow, Edwin J.

Ktone Cyntnlk Cynoh Helen Pyron Kir Dashemoff Dally Uei'Wynn Tryxle Tryfle Paula Edwards Grace Kimball Inn May Queen of tha lfunrhktna. iinam WW 1 rvppy The Pftow Queen Pastorla tha Second The Army of PastorU. BMg. Gen. Kiakitt The Guardian of tbe Gate.

Plr Wiley GyleT The ilearerrow Tho Tin Woodman Tho Ctowardly Lion Oz, th Wonderful Wizard Baron Gibson Gilbert Clayton Joseph Schrode Harold Morey Fairrhlld Htve Water Fred Btone Montgomery Hill Bobby Gaylor EMPIRE SCHOOL'S NOROAU MATINEE. On Friday afternoon, Jan. 10, at the Empire Theatre, "The Right to Love," by Max Nordau, author of Degeneration," will have Its first production In this country'- jThls performance is the second of the series of remarkable problem plays 'o be presented this season by the American Academy of Dramatic Arts. Lonely by Gerard Hauptmann, having been produced In December. MMEi DUSE AS MAGDA.

Tbe second and last week of Eleonora Duse at the Metropolitan Opera House will be devoted to a final performance of Ftaacesea da Rimini on Tuesday evening arid two performances of Magda on Wednesday aud Friday afternoons. The re-appearancauif Mme. Duse as the heroine of the Sudermann play will be the first time this season that the Italian actress has consented to abandon her plan of confining her representations solely to the plays written for her by Gabriele d'Annunzlo. Mme. performance In "Magda" is remembered here, and It was a nota- I ble achievement during her first tour of (hi.

trayal; of the successful actress, who returns to her former narrow life in a little German town, wits considered a marvelous piece of, acting. During the recent engage, ment Gt Mme. Duse in Vienna she was prevailed upon to give one performance of Magda" at the end of her season in the Annunzio repertoire, and her ucces in the role waa a revelation to the Viennese public, who not understand that. -a 1-atln artist could enter so thoroughly into a character so essentially German. The cast for Magda Is as follows: Schwartz; Ettore Maxzanti Eleonora Duae Angelina Pagano I nosaapina I Kl8D'ca GusUemlna Max de iiefterlnr Baron Keller Prof, tieekmann Von Kl-ben Frau fClebrn fTau tliik Frau jTumanii Teresa Uvto Pavanelli Koaasplna Ciro Galvanl Lulgl Unlearn I.uclo Corradinl Oonaalea Maria I'araaelll Ida Campasnano liergoozio "THE SCALES OF JUSTICE" AT THE AMERICAN.

A play new to New York, The Scales of Justlcf," will be produced at the American Theatre this week and the full strength of the stdck company will be seen In the cast. The story deals with the trials of a young District Attorney, forced to prosecute for murder the woman he loves. The author, John Reinhart, is said to have constructed a plot; with some Intensely dramatic situations! blended wjih a delightful vein of comedy It la the intention of the Green-wall Theatrical Company to send the play ennSl0 tn cities after the Amtriin- The scenic produc er vy oi. jonn uewts and his staff. In the cast will Vw "rt humming.

Bert Lytell. Paul Reynolds. FYank Jamison. John Jlavold. Lillian Bayer.

jSlii Sffi Frances Innes. Helen Campbell, and PLAYS THAT CONTINUE. 1 Mrs.fFlske to-morrow will begin the third month, of her appearance in Mary of at the Manhattan. Th Darling of the Gods remains at the Betasco Theatre. Broadway and A Chinese Honeymoon promise to stay close together the rest of the season.

The performance la varied Just kV aonK- "Perhaps." which Is WheeW Slone and VttQ Rensselaer Aubrey Bouclcault and When All the World Young remain at the Princess. The play treats In a romantic nranner of the loves Of German Prince and a girl of the Jeojiet When Johnny Comes Marching Home enters upon Its second month at the New York. Lovers of musical drama of a pop- frt entertained by certain feature of the pioduction. Julian Edwards ts cottipoker. will conduct the orchestra at everul performance this week.

The Sultan oi Sulu has mad a decided hit. -and large audiences attend each performance at WaUack's. George Ade la cn- it lines, and Will introduce this week a new song. Th Queer jLitUe Ostrich." Julia; Marlowe is drawing good houses with George W. Cable's war drama, "The Cavalier." at the Criterion, Because of the Play's atmosphere a series of Southern nights will begin Feb.

when Gov. Terrell of-Georgla has promised 'to attend. I nichird Mansfield remains to play Julius Caesar this week at the Herald Square and then moves) to Boston. I Another to rZepart thl week Mrs Lang-try, who vacates the Garrick in favor of Annie IRusaell. Mrs.

Tjingtry wilt continue her presentation of The Still others to leave are N. C. Goodwin and Maxine Elliott, who have been playir In lhe eomedy The Altar of Friendship at tha Knickerbocker. At the S.ivoy Mrs. Clara Cioodgood enters upon her third week as a star, her play being Clyde Fitch's "The Girl With the Green Eyes." Tbe comedy is don in an amusing fashion, and creates much enter- Ulnment by eertalrr scene, for in-' stance, that In the Vatican Oallery.

where a party of tourists give their impressions. i Tb burlesques Twlrly-Whirly soJ The Stickiness of Gelatine continue te amuse tho audiences at Weber Fields'; Music HalL Despite all rumors, there is! no Intention dn th part of the managers to change the second fcrt of the entertain-i ment TheVeport probably grew oet of the fact that within a short lime a brief skit i burlesquing The Girl With the Green! in the early part of tbe performance. Robert Hilliard has scored a popular "hit! cs JUn Eludso at the Fourteenth Street 1 Theatre. The melodrama, contains I exciting scene-, including a steamboat race i on the Mississippi. Elizabeth Tyree'a Impersonation of the' winsome, willful Dolly Erskine of Green succeeds In attracting at the Madl- i son Square If.

Sothern to-morrow enter upon his last two weeks at the Garden Theatre a Hamlet. Cecilia; Loftus aa Ophelia, Jennie Eustace aa the Queen. Henry CarvCl as Horatio, and Edwin V-vi-rey as Polonius ara th most conspicuous members of the supporting company. 1 Klaw ErLinra ttininnlM fa a popular hit at Daly's. Its feature is a bur kwjuo oi a iirst night audience.

TheUlver Slipper." the musical comedy by the authors of is playing toward Its hundredth performacc at the Hroadway. A rhhmrui rna Hmiio ta If a ea kure. Hall Calne's melodrama of modern Rome; The Eternal City. Is playing to good audiences at tho Victoria. Viola Allen, Jdi ward De Belleville, and other well-known actors are in th cast.

The production will leave the theatre about Feb. 1 1 A real locomotive feature tha run ot The Ninety and Nine at the Academy oi Music. It will remain ther twn vf-pfe longer. I Ferdinand Ponn. the German Mnr enn t'nues this week at the Irving- Place ir Felix PbiUppi's Great Light.

One of the feature of the performance la let Hallelujah15? In the last Unioiu memher of the People's Choral, AT OTHER HOUSES. 1 1 The feature at Proctor's Twenty-third Street house this week will be what Is dei Scribed as a gorgeous production of-- Liv4 lng 'Art James F. Cook and cornet the keuh "oln li 1 The attraction at tho Ptfii. n. be a revival of the ambus melodramai Margaret Mayo hav novel dramatisation Ouida'a the World.

in Eighty Days WiU be given at the Fifty-eighth Streei-j Whfle "Aunt Jack." Ralph R. Lumley's. comedy, will be seen -at the One Hundred and Twenty-fifth Street house. "umr I 1 "Camllle." with Miss Marie Walnwrigel! the title role, will be the week's rrW Hill compaalr the-MtuTayi 1 Bertha Galland in "Notre Dame" wUt play her first engagement at the Grand) Opera House this week, with Wednesday and Saturday matinees. The spectacular Hugo'.

romtScS rJ ia3t eaaon wilt vaaw Sat- The attraction at the virnnaii rv, this week will be Brandon Tynan in his roJ mantle Irish play. "Robert Emmet, the? Days of 18." The oroduetinn win w. Lrentially the same as that seen at the? -Sail 'f. street Theatre the FaJlj run of twelve weeks. There' Will ISe nvf Kitn.lMl a.

stage and Mr. Tynan will the supW port of the original cast. -i The New Star announces for the the Zeb and Zarrow Company in a new? trick pantomime, Zig-zag Alley." Eight Bells." which cbmea to the Wes End on Monday, described as full off funny scenes pf ship life. i This week at the Third Avenue Manager D.rxcn will revive Frank Harvey's; melodrama. The Land of the with all the original scenery and many of! me imi, inciuamg raux ivar- rington and Jessie Wallack Dixon.

i' I Alter two weeks in Philadelphia, Ethe.l; Barrj'more returns to New York and Willi' p'iy at tne Harlem -Opera' House this I week, giving Carrots and A Country; I Mouse. IN VAUDEVILLE HOUSES. i 7 "The Merry Maldena" Burlesque Conv pany is the attraction to appear at the! Dewey Theatre on Monday afternoon and' then for the ensuisr week. This organlza-l tion Is headed by Nellie Hanley. She will-' ba seen in two spsrk'ing burlesques.

The' olio Is said to be a good one. i ri At Hurtig Seamon's Music Hall or this week the bill is beaded by Valerie Ber-' gere and company in "Her First" Love.f The Four Great Lukcns. In their rrmnastlo: fents; Ward and a humoriuv rumi-u 1 irrrioie juajt, and' McMahon and Chapelle. singing and danc-i lng duo. are some of the features.

1 I 1 The Keith bill for the coming week lai beaded by Howell Haaaell and company il oe aian up stairs, and the Five Juggling Johnsons, who are said to do some really mirvelous work. Mark Murphy and hi! wife in a comedy "Why Doogan Swore Off; Billy 8. Clifford, the monol cglst; the World's Trio. In Ringing, dancing 1 and comedy work: the llasun Quarteu-1 vocalists; Orouiril and Murrsv. singing an.

dancing; the Golden Gat Quintet, colored' vocalists, and other attractive features, in-i vtereopticon, are on the programme. 4: 5 The Korean Twins entertained many atr Hiiber's Fourteenth Street Museum last' week, and continue there this week Other features in the curio hall ar' Miller the broom maker; Dtsalle, vegetable king; Glovannio' troupe of trained birds. and rerman Rose. in the theatr tb Huber Stv-k Company, headed JE11. E1 Lynne." Tho? vaudeville bdl Includes V-ra Marlowe.

serio-comic: Phillip. t.nd aoveitv; sketch, and James Robinson, in illustrated The European representatives of the Ederv Mosee have secured photographs of rtat Durbar at Delhi. India, showing Lady Curzoa (formerly Miss Leiur) appearing la: all, the glory of her vice regal position. Th: picture are said to bo finefcne. nn i a first-class representation of the gorgeoun scne of the Durbar.

The films are now: on. the way to thi country, and It I ex-? pected they ill I in New York by thert.t of 1 he mnnth ie enl V- in corona-: Uon of King Kdward will then taken nil i I 8unday Night Entertainment The following theatres announce Sunday night bills- Americau. Dewey. Grand Opera, House, Harlem Opera House. Hurtig Fes-men's, Huber's Museum.

Irving Place Xrlt' I VvU I 1 I 1 1 -t 1 5 A i I i 1 1 1 f' j. I i 1 Si i 1.