The Washington Post from Washington, District of Columbia • Page 1

THEATRICAL MD SPORTING SECTION jfx itJ SECTION WASHINGTON SUNDAY DECEMBER 4 JAMES K. IiACKETT AS CHARLES STUART. JL LAS. poor Charles II Historically he was considerably or a libertine. politically he was the hero of all roonar- Va A chlsts.

while on the stage If In the summing up he have aught to account for all of his sins. moral and political have been more- than expiated for no other king In history not even LZuls XIV has had so much attention at the hands of dramatists serious satirical liintoricaJ farcical. traglcal and comical- as the Merry Monarch. And. there is good and sufficient reason why.

He was the hero or one of the most romantic upheavals In English history he reigned as sovereign In a period or reaction from purltanism hypocrisy persecuting and singing he was the head of a meretricious court lie was personally the beau ideal of a lonyslan prince he had amours with actresses and he was. the patron of the-stage. What other' points' could be assembled in one man and that man a King that would be bound to' commend him more completely to the attention and the enthusi- asm or the professional purveyor of plays A- qharacter to be lit for dramatic treat. merit is as rare as a good subject for a painter or a photographer. Charles ftuart happened to be one of these rarely endowed Individuals.

and the penalty he must pay was graphically demonstrated In Tie Fortunes of the King by Mrs. oremus and Mr. Westervelt. In which Mr. James K.

Hackfett appeared here last week. We think that In this piece the sword and cloak drama has finally reached its coda and for some time to come we hope to be delivered front any. more like it. seemed as It the authors with the aid of Mr. Hackett had gone through all the dead' chapters of obsolete.

plays to form the last syllabus or a moribund literature typifying the spurred' and booted chevalier of the sword. Not content with Invoking the ghosts of these swashing knights of the past halt century they apparently scrupled not to violate the sanctity of anonymous authorship and consciously or unconsciously but certainly not benevolently assimilated situations of plays not yet unfolded to the. view ft the public. Such patchwork of literary old clothes has seldom been on exhibition In one pattern. There were scraps from The Three Musketeers suggestions from As You Like It hints from Don Caesar de Ba- zan familiar glimpses of Robert of Mentzau the climacteric scene from Mistress Nell and again the familiar faces of.

Don Caesar DArtlgnan Ruy Bias. Rassendall. From each. and sundry others something had been abstracted and welded Into an inconsequential story of Charles' escape to the coast. Of course the piece ends happily as ell these soothing pieces are sure to end.

Charles tails in love with the sister of of his cavaliers while passing as a common yeoman. It Is hard to understand why a seeming lady like Jane Lane should become so completely infatuated with a character of no more consequence than a common trooper. pf the Kings Guard for as such Charles passes with hen But It Is more mystifying to determine in what. other capacity than as one of Charles' multiplicity of mistresses the gentle Jane accompanies him to France. for there is no record of Jane Lane ever becoming Queen of England.

That subtle-minded philosopher. Israel ZangwllI. cynically put the happy-ending theory to the blush recently when he Observed that marriage. in which most of the soothing plays of sillabub and treacle terminate is often but the beginning of real unhappiness. He had not then seen The Fortunes' of a King.

or he would have been asked to share in sweet Jane's Infinite bliss because the play ends by her going aboard still hypothetically a virgin and unwedded with the fugitive pre tender and setting sail with him for France In real life this would so damage the lady's reputation that her best' friends would be obliged to cut her for. with all Jier benovolence and all her charm. vivacity talent and beauty Mistress Gwyn has not after 300 years recovered from the- stigma of her Intimacy with this identical prince. It Is a matter of regret that Mr. Hackett cannot apparently find a play in which to shine.

for outside of The Crisis. he bas not sustained a. character of the. slightest material interest for a period of years. The.

swashbuckler has had his ciay. The romantic land was al lowable as offering something out of tha tdlnary but the thing was overdone and Mr. Hackett helped to overdo it. Fiction strained to the point has palled upon the palate and the folk who go to see such. plays as The For.

tunes of a King" go out ot compliment to Mr. Hackett and not because they are entertained exalted. or exhilarated by this mokalc of old rubble. But they will tire of paying tribute to personality and sooner or later insist on Ihe Inevitable quid pro quo between thee actor and his audience. The trouble with' Hackett et al.

FeerrLS to be that they Judge a play by the number of theatrical tricks which are woven into the story. The- nearer It tomes to resemble Sur or Humpty I Dumpty. with tneir magical cupboards I vampire- traps. secret doors. moving panels.

and mysterious chests. the more con- I vlcced they are that they have got hold of a thriller. They forget that th public knows these tricks quite ns well. as they do. and that the- great paying clientele is not composed entirely of dunces.

And while hundreds of plays fortified with these and many mote expedients of surprise are failures one touch of human nature. like the poetic fusion of- evil and Rood in a play like Rip Van Winkle. will net as a spark to vitalize and make it a thing of Joy for half a century. Mechanical technique. In other words.

Is mistaken for the spiritual power which springs from the inner nature of art und Is permanent cause recognized by every human being with brains to absorb differentials and analyze. AU theatrical tricks are limited in the possibility of their supply. They rnuet therefore become' more or less familiar to all playgoers. The only thlrg that Is fundamentally the ki tr. yet all the time changing in Us attributes and manifestations.

is human character. And a play that disregards hi distinction Is destined to pall upon the senses. Long go the cavalier v-lilt ostrich pluynes and Cordova boots armed with clanking spurs and with his good Toledo blade at his side was exhausted as a medium of entertainment. If he have' nothing In his blood but fighting microbes we can only smile at him as we do at Don Quixote while for Sancho Panza. Is sooth a perfect vagrant and raga- mutjln we have something akin to respect.

If. by ahappy reversal of usage our dramatists would Quip Mr. Hackett with a character bawd In general upon the strong characteristic elements entering Into rhQ composition of Sanho Paxiza and' throw away the mold In which so many of his previous personalities were cast perhaps It may bring out in him latent powers of portrayal that made his lather a famous Falstaff. Mme. Franzlska Janausehek died at the Brunswick Home AmUyvUle I.

last week aged seventy-four and In poverty- stricken circumstances. Although the papers In their obituaries continually referred to her as a Bohemian actress and ft Is true she was born In Prague 1S30 yet her triumphs until she was thirty-six years of age were won on the speaking stage and principally In German and Shakespearean classics. She come to the United States when she was thirty-six and first attracted attention on the German stage In New York. So cordial and enthusiastic was her reception that she resolved to learn Ergllsh and mastered a number of great roles in that tongue in an incredibly short time. Her triumph on the American stage was complete.

In her day the ovations paid her were as demonstrative as those paid to Duse or Bernhardt. In the opinion of this writer. she never had a superior as Lady Macbeth in the annals of the stage and no peer In her own generation. She combined the expressive composure of Duse with the sensual fire of Bernhardt. and whether she played Meg Merrilfes Lady Macbeth or the moth- er in Mother and Son.

her quiet effects were as thrilling and penetrating as her most demonstrative moments. Since age and Infirmities compelled her to give up the classic school her acting has never been approached by her successors. Even Rlstorl her contemporary never expressed the wonderful Intensity with which Janauechek was endowed. She had the most wonderful pair of eyes ever set In the face of a woman. Such eyes as might have burned In the sockets of Luther Cromwell Frederick the Great or Bismarck for they were masculine eyes like those of the eagle.

Her voice possessed the same masculine quality as the eyes. It was masculine in that it was deep and resonant but It might have belonged to A great singer It was feminine In texture and flexibility. It could roll and peal and thunder or It could sigh and vibrate' with pathos and assume exquisite inflections in short with such eyes such voice and the instinct of a born genius to direct both. Her soul as so divinely wrought That one might almost say her body thought. FRED.

F. SCHRADmt. CURRENT THOUGHT. I feel sonic doubt says Clara Morris in the Theater Magazine for Christmas whether really fine acting can be the result of mere rhemory and unintelligent imitation. There are indeed great authorities against me.

Johnson said of Prltchard that she was a vulgar idiot that her playing was quite mechanical and that she no more thought of reading the play out of which her part was taken than a shoemaker thinks of the eking out of which the piece of leather or which he is making a pair of shoes Is cut. And Diderot has written an essay to prove- that perfect self-possession and cold in sensibility to the emotions which he represents are essential to a great actor. It must be remembered however. that a French tragedy differs essentially from the dramatic representation which goes by that name in America and England. So much so that in the essay from which I have been quoting.

Dlderot admits that a man who can act Shakespeare perfectly s. In all probability absolutely incapable of rendering Racine ne salt pas le pre mier mot de la declamation dune scene de Racine. It is possible that things-so different as French and English acting may require different habits of mind. and different modes of study and execution and that the long tirades of Phedre may be best declaimed by an actor who is really indifferent and merely simulates passion. while the rapid natural dialogue of Shakespeare must be felt In order to he adequately expressed.

And absolutely without denying the possibility of the mechanical acting of Prltchard I must affirm also the compatabillty of the deepest real emotion with the most representation of It. When Jenny Lind pulled to pieces the rose In Somnambula Dickens averred that he saw real tears running down her cheeks. And It Is known that she declared that when on the stage she never saw the audience. and that if she ever thought of their presence It spoiled the truth of her act. trig.

All the great performers that occur to my recollection have enjoyed the dangerous privileges and have been subject to the painful Joys of the poetic temperament. There are only two classes of people who don't go to see vaudeville. The people who are too Puritan and the people wno are too clever said Israel ZangwllI ft a reporter of the New York American last week. You would think now wouldn't you that the managers would at least attempt to attract these people. They don't.

They act as If the dollars of the Puritan and the clever were not as good as the dollars of the vulgar. Dollars Is the thing. continued Mr. ZangwllI. I don't attempt to talk anything but dollars to managers.

I don't talk art. I harp on dollars and It is just this particular subject of dollars upon Which they appear to me densely stupid. It seems to me that every man In the world wants to increase his business but the theatrical manager. He Is content to. fill the same old clientele with the same.

old stock of. mental pabulum. nthe man who is selling crackers gets up new varieties to sharpen the appetites of the customers he already has. The theatrical manager assumes that there Is only one class of people and only one set of tastes In the whole world and he caters lively to that class. He hears the guffaw that follows the removal of the chair from under the man who is about to sit down and he assumes that that is what the public likes.

The theatrical managers are constantly and persistently underwriting the In telligence of their audiences. Intelligent people are actually kept way from the houses because everything but the broadest stick' comedy Is carefully excluded. Instead of enlarging their and getting new custom they are actually restricting them- to a comparatively small class. Eleven years ago I wrote this little cornedietta based on Oliver Wendel Holmes' Idea that there are six persons engaged In every conversation what each of the two is. what he thinks he is and what he thinks the other person thinks he is.

It- was produced by Fred Kerr am Irene Vanbrugh at the Hayrnarket Theatre in London and ran for 100 nights with the greatest success. Since I nave been In this country Isabelle Irving approached me with the BUS getlon. that she should put on this corn- edletta in vaudeville to fill in a period ten weeks. The week on Twenty-third street and Fifth avenue was very successful but when she presented her pro- I grammes to a manager in Brooklyn said he would rather have her appear In something broader and more intelllgibl to Ills audiences. Miss Irving accepted an Invitation to play Six Persons' as a curtain raiser to Miss Blnghams The Climb- ers.

It has resulted in no loss to Miss Irving but the idea that the play wn thought too subtle and intellectual for an' American audience astonished us both. SONG OF THE CITIES" IN THE PRINCE OF PlLSEN. AT THE COLUMBIA. i STAGE ANTHOLOGY. More art than nature.

John Burroughs. A good play needs no epilogue. Shake- speare. Whoever thinks a faultless piece to see. Thinks what ne'er was nor Is nor eer shall be.

Pope. Some neither can for lts nor critics pass Au heary mules are neither horse nor ass. Jope. All common exhibitions open lie Fun praise or censure to the common eye. Churchill.

Mrs. Oldfleld was the woman there Is always one who used the tones of nature upon the stage In that day 1715 Charles Reade. The man Is of more Importance than he method. A born critic can bend any- theory of his art to suit his Brander Matthews. We ought not to consider excellence In the technical arrangement of incidents as a certain proof the highest order of art.

Lord Bulwer. Shylock Is a grasping and relentless miser yet he can give up avarice to revenge. He has sublime passions that ele- vate his mean ones Bulwer. When an author kisses his family good- jy and starts for the first night of his play he never knows whether he will re- urn In a cab or an ambulance. George Ade.

Theophlle Gautier who disliked the theater said that an Idea never found its way on the stage until it was worn threadbare In newspapers and in Brander Matthews. Underneath his' Rip Van Winkles defects the human nature Is sound and bright and It Is out of this Interior beauty that the charm of Jefferson's personation arises. William Winter. In art that alms at beauty the parts must be subordinated to Ideal Nature. and everything Individual abstracted so that.

It shall be the production or the universal soul. Emerson. The principles of good taste when ap- lled to art are not fixed and absolute like those' of mathematics or the exact sciences. They are vital and elastic. They Imply a certain fitness and John Burroughs.

The elementary passions themselves. like the elements. are few It Is the modifications they take In passing through different bodies that give us so inexhaustible a variety of lights and shadows of loveliness and glory. Lord Bulwer. The drama Is really the noblest form of literature because It Is the most dl- recto It calls forth the highest of lit- erary facullties In the.

highest degree the creation of character standing firm on Its own feet and speaking for Itself. Bran der Matthews. Shakespeare ehocked the classic taste of the French critics. He violated the unities and mixed prose and poetry. But what was good taste in Shakespeare that 3 In keeping with his spirit and aim- might be bad taste In Racine.

John Burroughs. He who acknowledges Shakespeare's genius. and yet denies him the. gift or artistic composition contradicts himself for Is In fact the cosmleal the natural and the absolute necessity of his creations that are the first and surest criteria of genius. Ulrlcl.

To arrange a piece in such a form that admits of being easily and convenently represented without losing Its effect In the representation depends chiefly upon the drama. Itself being drastic 1. e. developing a. living.

rapid. and also externally- visible action hence that something Is really accomplished on the stage. and that the persons do not merely as the proverb has it speak like books. Ulrlcl. I observe still another distinction between the ghosts of the English and French poets.

Voltaire's ghost Is nothing but a poetic machine which Is there merely for the complications sake. It Is powerless to inspire us with the least 4i terest In Itself. Shakespeare's ghost on the oth- er hand is a real person of action In whose fate we are interested it awakens terror. but at the same time also Leasing. Plays like The Tempest" and A Midsummer Nights Dream' are particularly In need of explanatory criticism for on the one- hand they possess the character of the fairy tale which is apparently quite beyond explanation but on the other hand this fairy.

tale character of the representation Is merely woven into a common reality like a couple of fragrant exotic flowers into a Northern wreath of oak leaves. Ulrlci. In a certain sense of the word all representations of passion in fiction may be considered typical. In Juliet it Is' not the picture of love solely and abstractedly It is the picture of love in its fullest. ef feet on youth.

In Antony it is love as wild and as frantic and as self-sacrificing but It Is love. not emanating from the enthusiasm of youth but already touched with something of the blindness and infirmity of dotage. Bulwer. The early English dramatists before Shakespeare were led to form an errone- oils conception of tragedy. In order to secure for it Its due importance and the greatest possible effect tlrey exaggerated the tragic element to such a degree as to make It hideous and horrible and to accomplish this they had recourse to the most forced situations to the delineation of coarse outbursts of passion and jto a' diction which was unnatural forced and bombastic Ulrlcl.

Aristotle long ago decided to what hx- tent the tragic" poet Is to be governed by historic truth no farther then that It shall resemble a well-developed table with which he may combine his purpose. He draws on history not because. It hap- pendd but because it happened such manner that he could scarcely nave In vented It better fer his present purpose. he find this availability In a real case he real case Is welcome to him but to ansack the pages of history for one Is a waste of time. Legging.

NOTES OP THE STAGE. A Chicago correspondent writes the Telegraph Lulu Glaser in A Madcap Princess' was rewarded by being called the whole show and some of the reviewers advised Charles Dlllingham to give her a talking to and hold her individual monopoly of the stage and the piece down tt reason. Judging from reports of the Glaser temper it isn't likely that the suave Dlllingham will accept the advice. Charles B. Hanford In a number of In- ttrviews has reiterated his opinion that a national theater will eventually be tee- cgnlzed and a practical factor in the art life of America.

He believes that public sentiment would favor such an Institution and that It would be no more ha- ble to political corruption than the Smith- sonian Institution. or the National Mu- seum at Washington. He believes that Washington representing as it does the national rather than the commercial life of the country. Is the plate for such a theatre. Hugh Morton has decided to call his new play for Mrs.

Fiske. Leah Klesch- na. Mrs. Fiske will play the daughter of a clever criminal. who has taught her i the fine points of his profession.

The play Is a drama of modern life and for the. first time In Mrs. Fiskes productions of recent yeals it ends happily so far as the central figure is concerned. Mrs. Fiske is authority.

for the statement that her role Is quite different from any she has previously portrayed. There are five acts laid In Paris and Neustadt. Austria. The first performance will take place at the Manhattan Theater December 13. In the cast of Leah Klesehna" will be George Arliss John Mason Charles Cartwright.

Etienne Glrardot Robert B. Ferguson. William B. Mack Scott Cooper. Monroe Salisbury.

Cecilia Radcliffe Emily Ste- yeas and Francis Welstead. Mrs. H. G. Gilbert remained a dancer until two or three years after her arrival here.

and was then given the part of the fairy in The Cricket on the Hearth. receiving congratulations upon her work from Peter Rlchlngs and other well- known stage people. She was willing to take Insignificant and undesirable parts in addition to dancing between the acts. and In consequence received an excellent and varied training in the entire repertory of the day. My greatest successes were in old woman parts even then she said because I made myself up well without regard to ray looks and before that It had been almost Impossible to get a young woman who was willing to really disguise her age.

While In Mr. Ellsler' company of which ray husband was the stage manager while I did the heavy business and old women roles I played many parts but madfiniy first great hit In 1857 when I played WIcha vender In Broughams Pocahontas to Broughams Powhatan which i to my appearance at the Broadway Tater in New York. York Is progressing rapldY in Convention Hall for tie transformation of that lace Into a stage and auditorium for Mr. Belascos forthcoming production of Mrs. Carters new play Adrea A number of obstacles were arbitrarily interposed through outside influences antagonistic to Belasco.

to prevent the use of Convention Hall for the production but were finally dropped. Some prominent members of Congress were drawn Into the situation and are standing by to see fair play. and as eVery legal condition has been complied with Adrea will receive' Its first production In Washington as all of Belasco's plays have In the past. Rehearsals have been under way at the Belasco Theater In New York for two weeks. and It Is1 confidently expected that I the first performance will be given on Monday night of the week Instead of Wednesday as heretofore.

Nothing has as" yet leaked out regarding the subject. of the new play MME. JANAUSCHEK. Mme. Janauschek who died" Wednesday.

was born at Prague In 1830 and entered the profession when eighteen years old. By 1867 her fame. was world-wide and she was induced to come to America and appear In German roles. So great was her mastery of the art of acting that thousands who could not follow the words of the play flocked to see her. No Other actress except Bernhardt and perhaps Rejane ever succeeded so completely In captivating an audience to whom' In an unknown tongue.

To show her appreciation of the kindness she had received on this side she announced that she would study English and interpret her art In that language. Many persons were skeptical but she persevered and in 1873 gave her first performance. Her success was InstantaSr neous for years she held first place as a tragic character actress. She played the leading woman roles in Medea Macbeth Mary Stuart. Marie Meg Merrllles.

and Leah the Forsaken. Although she commanded a. high salary she had no business faculty and unscrupulous managers repeatedly swindled her. It is said. It became known three years ago that she was la financial straits and a benefit perform- anee was given for her at Wallacks nearly all the best known members of the profession In New York appearing.

The receipts amounted to 5000. A year ago Mme. Janausehek who had remained an Invalid was again pressed for funds and with many bitter regrets consented to the sale of her wardrobe and her collection of Jewels and curios. She had always been a spirited and proud woman and had up to that time re sented any Intimation that she should become a charge of the Actors' Fund. The collection contained many articles that were presented to the actress by persons of note.

There were stage costumes pictures books. Jewelry rings tapestries laces. curios and furniture In fact everything from Jewel boxes to carved tables and sideboards. To the curio hunter nothing was of greater InUrest than the collection of jewelry. each piece with a history of Its own.

Among tile articles were a golJ bi set with a large sapphire and dla- i monds. which was presented to the art- I less by the old King of Saxony a fill- gree gold decoration of elaborate pat- tern. came from King John of Saxony I and a set or heavy Etruscan gold bracelets brooches. and tiara set with pxquis- He medallions of red coral a gift of the late Princess Alice. Mme.

Janauschek was an accomplished musician. Her first appearance In public was as a child pianist at. the age of ten. Mme. Janauschek was transferred to Amityville from the Actors' Fund Home.

on Staten Island. when It became apparent that her malady was Incurable as It was believed she would receive more careful attention than was possible In the regular retreat for infirm members of the theatrical profession. The immediate cause. of her death' was general debility superinduced by several strokes of paralysis the first four years ago. Miss Vera Birke Married.

Miss Vera Blrks a member of Charles 1 Fishers Champagne dance. and Mr. Louis H. Konst. who for the past five seasons- has been master mechanic of i tianlons Superba company were Ihar- rled last Sunday morning at the Little Church Around the Corner in New- York after which they immediately left for Washington with the company.

Miss Birks was one of eight English girls whom the Hanlons brought over from England three seasons ago and featured as the Eight Diamonds. It was then that i the happy couple first met. Strange to say out of eight original Diamonds four have married members of Hanlons "Superba" company. jsvIVs- kSAr JOSEPH. CAWTHORN In lOaw A Eziinga mljhty beauty spectacle Mother Oooae.

at the SationaJ. December It. PERSONAL MENTION. Miss Katherine Hayes who Is playing one of the principal female roles with The Liberty Belles has made a decided hit In Milwaukee by her conception of the part of Mrs. Dr.

Sproul principal of a. young ladles' seminary. All the critics are loud In their praise of her character work. Miss Hayes is a Washington girl and her friends will be pleased to hear of her' success. Robert Hickman announces a series of high matinee performances of Ibsen Sudermann.

and other plays to be given at the Lafayette Theater. beginning In January by' the pupils of his school of acting. The first play of the series will be Ibsens strange drama The Master Builder which has not yet been presented on any stage in this country. Following this will be an untried Sudermann play. which Is now under translation.

Much Interest Is being attached to the performance of these plays by lovers' of high-class dramatic literature In Washington. In addition to the matinees at the Lafayette several comedies and light. er plays are now in preparation to be given at Old Point Comfort and Newport News also for the benefit of the Minutemen. Army Relief Society and other or ganizations. The excellent performance or last year by his pupils at the National Theater will be well remembered.

and this year Mr. Hickman promises still. more Interesting work by the school. The performances will be under the management of Miss Harriet E. Hawley.

of the Washington Entertainment Bureau. Jess Dandy the Hans Wagner of The Prince of Pilsen" cast is not a stranger in Washington having appeared here In vaudeville several times. His first stage experience was as a monologist and he happened to enter this field of work by reason of the importunities of his friends who enjoyed his telling and deemed him one of the best among commercial travelers. Years ago Jess' Dandy found that a funny story would do more to sell a bill of goods than all sorts of commercial arguments and he soon became more or less prominent in his territory for his success In disposing of his firms product by means of his' Jolty stories. He was finally called to New York where he mixed up In ward and district politics and again his sense of litimor and unctuous comedy won him a place of prominence.

Finally he' began to think of telling as. an occupation and when the Strong administration was defeated by Tammany he made an' appeal to B. F. Keith for a trial as a monologist. This was re fused.

His first engagement however was on the roof othe American Theater in New York and he met with success. In less than two months he was a headliner In vaudeville as a Hebrew impersonator and his ambition finally drifted him into musical comedy where he has been a most positive success. Mr. Dandy is commercially valuable to a management not only for his ability but' on account of his very large acquaintance among commercial travelers and his popularity throughout the country east of the Mississippi which he made" for- so many years. SOME OLD PROGRAMMES.

Lafayette Square Opera House. week of February 1. 1897 Mr. John Drew presenting for the first time in Washington a play In four' acts entitled Rose mary. "That's for Remembrance.

By. Louis N. Parker and Murray Carson. Sir Jasper Thorndyke John Drew Prof. Jogram.

Daniel Harking Capt. Crulckshank. R. Harry wood William Westwood Arthur on George Minlfle Grahtme Henderson Abraham Frank E. Lamb Walter.

Victor Moore Mrs. Crulckshank. Mri. Annie Adams Mrs. Mlnifle Mr Deloss King Prlscllla Ethel more Dorothy Crulckahank Maude Adams The first public performance by the Boston Ideals was at the Boston The ater April 14 1879 when Pinafore was given with the following cast Sir Joseph Porter H.

C. Barnabee Ralph Rackstraw Tom Karl Capt. Corcoran M. W. Whitney Dick Deadeye George Frothlngham Bill Sobstay Arthur Hitchcock Bob Beckett Frank L.

swell Tom Bowline George R. Titus Tom Tucker Gertrude Calef Hebe. Geortfe Cayvan Buttercup. Isabella HcCuIlooh Jolephl Mary Beebe Mother Goose' Coming. Some account of the splendors of the colossal production.

the Drury- Lane spectacle Mother Goose which will be seen In this city at the National Theater Monday December 12 may be interesting. Some idea of the immensity of' the organization may be gleaned from the fact that upward of 400 men and women are employed to present Mother Goose This does pot Include forty-five children who have been engaged in this city and thirty dressers who attend them. Of the number twenty-four are stage carpenters above the stage thirty are stage carpenters on the stage level and ten are stage carpenters below the stage or In the basement. There are twenty electrical operators seventeen property men and twelve special artisans who do nothing but atten the mechanism of the Grlgolatls aerial ballet. This makes a total of 133.

men who are never seeen by the audience. The fly men stage hands and call boys bring the number up to 150. For the seventeen scenes which comprise the play there are seven enormous drops sixty feet high and as wide as the stage. The scenery or set pieces as they are called fill twelve big carts. For spectacular beauty nothing superior to this made scenery has.

perhaps ever been seen in America. One of the most beautiful settings Is almost entirely of glass. an effect obtained by tons of glass beads sewn against the canvas. The costumes number in the thousands and fill several hundred crates. Fronman Has Kyrle Bellew at Lass.

Charles Frohman has at last mated a sought arrangement with Lienler Co. whereby he. will present Mr. Kyrle Bellew at one of Mr. Frohmans London theatres in September In "Raffles the Amateur Cracksman" the hero of the or that name.

TIME FAVORITES ON GOTHAMS STAGE Special Correspondence of The Sunday Post. NEW YORK. Dec. 3. TWO actors older and fatter than.

they used to be Nat Goodwin and McKee Rankln reintroduce themselves In Broadway this week. Twenty-five years ago Goddwln was the' very best of the' singing and dancing mimics. He began in vaudeville as an Imitator of famous actors. went. therefrom Into.

Inimitable clowning In burlesques. passed up thence with easy facility to comedy without antics and even reached the height of Shakespeare although he could not hold it. Now he Is engaged again In the' congenial persona- tion of an American in England by far the most satisfactory thing to the public. If not to himself. that he can do with his.

drollery. Of course he would tickle us more It he were to break out once In awhile In a song or dance but at his years and dlgnlty we cant ask him to do that No doubt he would. In his artistic ambition like to get rid of his unpolished' individuality but no one. else wants him to. That Is all that makes the hero of The Usurper" acceptable while the play Is rejected.

McKee Rankin was In his heyday the handsomest actor on the American stage. That was a third of a. century ago. He had been a lieutenant in the British army stationed in Canada during his brief. service and he resigned to go on the stage with Shakespearean and other fond aspir.

ations but he put theta aside to make money a great deal of it with' Joaquin Millers melodrama of the Rockies The Danltes. That' fortune oozed away. and since then he' has done all sorts of things with his talent. I dropped into a Denver theater a dozen years ago and found him playing Sir Anthony In The Rivals. with his daughter Gladys as Lydia her' husband Sydney Drew as Bob Acres Sydney's mother.

Mrs John Drew. as Mrs. Malaprop Mrs. Drew's granddaughter Ethel Barrymore as Sophia and her grandson Lionel as Capt. Absolute.

Wasn't that' a family party also a training school Later Rankin led a. rate stock company to ruin in this city but from the debris saved Nance ONell It Is with her this week In Fires of St. John" that the' matinee Idol or other days Is on view. Rankin is not merely tat but grotesquely huge. He plays an obdurate father yet smug and genial without any agonies and so the pitfalls of ridicule were not in the road for him to fall into.

His acting Is in the old manner of making points and Insisting on discovering In eaph sentence a keynote of farce melodrama or something else clearly defined but never realizing the variety consistent with every speech. His ambling pursuit of forgotten words and his substitution of whatever comes into his mind may be an Infirmity of memory instead of carelessness yet. business is business even In amusements and when you pay the price to hear a play you are entitled to every line of it. Although a thorough knowledge of mod- ern literature demands a familiarity with Sudermann in all his phases you need not regard a brief account of Fires of St. John" as an Insult to your Intelligence.

The day before St. Johns Night is two days before a wedding In rural Prussian family. An ingenious petulant silly girl is to be bound to her cousin a free-thinking anarchistic fellow who chafes under the despotism of the German home a theme that Sudermann hat upon. In the household Is a calamity child. a gypsy who has been brought up by the brides father as his own offspring.

The iVlng natures of these persons amplified by minor types brings about the catastrophe unaided by external occur- rence. The problem of Independent ideals bowed by domestic conventionality is similar to Magda but the Instances and the climax are like that in moral effect only. The foster-daughter loves the genially anarchistic cousin but Is held to silence by respect for her one reverential feeling for her wandering1 mother. The old hag drunk and pleading to her daughter for money to buy more drink lies. and steals and the girls last rock of hope crumblesunder her feet.

It Is St. Johns night the wedding eve when the fires on the hilt light the dark sky and symbolize lawless love as their dead embers foretoken the black wastes of the afterwards. AU have retired save the. two wild spirits who are one in revolt and in passion. Across a table.

In a room unlighted but for a single candle shining on their faces this man and this woman discuss their duty to their home. to the old father. and. to the bride of the morrow. They see It clearly that life means to them bitterness sacrifice the death of Ideals.

But on St. Johns night. In the glow of the fires on the hill the primeval nature of the lovers Is dominant. They are each others' then. at least.

The last act Is tne marriage morn and. amid the details of preparation and departure for the church the sinning two discuss what to do. The Idea of their own union is dismissed as" ignoble be- cause it would entail the wreckage of their mutual home and so is the easy refuge of suicide. The debt to duty is realized und faced. The man goes to church to be wedded to an uhloved wife and the woman he loves remains behind with her hopeless love of him.

Nat Goodwin has not yet taken on so many years and pounds that they disqualify him for one of those audacious Americans whose hard business cheek can blush softly with love. This time ho places the familiar fellow In a play that falls so surely with Broadway audiences anyway that a less agreeable would have. to discard It at once. But while The Usurper" as a whole is rejected. Goodwin a Its hero la accepted al though with none of the heartiness that he' is accustomed to.

It is fair to assume that the. play as I. N. Morris wrote it was a melodrama outright and unequivocal for Mr. Morris's compositions have been In that line and that Goodwin see In" a role for himself In.

the former cowboy now a Croesus who crosses the Atlantic In quest of the tourist whom he fell In love with ten years ago had It adapted with comedy intent. It an original resourceful American humorist had done the writing thoroughly the re sult would be I am sure a very valuable play for Goodwin. The enriched cowpuncher leases the. country home of an Impoverished old English family and In sists that the widow and her niece shall remain as his guests his purpose being to gel at the niece for courtship. Preposterous Of course.

But you-know what a knaeltGoodwin has at making absurdities seem plausible. The girl of his choice- It Is' better to call her a woman as with a shrewd avoidance of matching the middle-aged actor with an actress under the legal age of consent full maturity Is giv- en to the heroine In. the performance as well as In the manuscript Is betrothed al ready to a nobleman' who is white outside and black Inside and the Job under taken by the American Is to turn this bad Briton inside out so that his fiancee may see his contents. That he does it is a matter of no doubt from the start. ItIs easy to say that Good winr with his money and experience need never put himself In any play that isn't pretty nearly what he.

wants. But the truth Is dif. ferent. To begin with the character for him can be nothing but a. typo of American which authors cant create.

That restricts him to native dramatists. and the best of them those whose out. put finds a ready sale know him to be hard to please and prone to do whimsical things with even satisfactory" pieces. Augustus Thomas fell out with him over In Missouri. So did Clyde Pitch over The Cowboy and the Lady.

However for all you who have Godwin plots In your heads he is a mark worth while for you to aim at. New plays come and go at the low price ff hFS Without Vetting the attention which for one reason or another they sometimes deserve. I went to the northeast corner of the city to see Plo Plo and found It interesting because It was midway in grade between the musical comedies of the best houses and the vaudeville burlesques of the worst houses. with distinct characteristics of both yet lacking the positive qualities of either. Like the J2 shows of Broadway.

It had rows or girls singing choruses dancing pantomlmically wearing changes of fan- cltui costumes and peopling picturesque scenes. Like the halt-dollar shows of the Bowery it had an Irishman a Hebrew an Englishman and a Yankee and a ne gro the only absentee from the familiar set of caricatures being the German. The connecting link between Bowery and Broadway In Plo Plo" was Stella Mayhew. a May Irwin for coon singing and a Pay Templeton for mlznlcry as fat. as either and as fine as neither but doing' their kinds of work In roughly effectual ways.

Miss Mayhew thus stood for broadly wholesome humor on the one hand and for the portly leader of such female companies as the Midnight Maids and the Morning Glory Widows on the tlier. But there were no indecent dregs at the bet- torn of the concoction any more than there was delicate froth at the top and. worse still the Ingredients between' were not of any particular flavor so the respectable but not fashionable audiences wouldn't swallow It. and Miss IMajrhew will try something else. The most ingenious' of Miss Mayhews new Jokes were played with the spot light which aimed from the gallery.

with the accuracy of a sharpshooter hit her face during the most active of her gambols as surely as when she stood stllL But when she sanga ballad that hail a range of two octaves the bright spot went up above her head with the high notes and down below her feet for the low ones. Again when- she whistled to an Imaginary dog. and called him Spot the light danced around her in responsive capers. And finally when she aimed a goo-goo song' at a man In an upper box the Illumination went from her to him and disclosed a bald old fellow In a' state of In tense admiration. Of course the butt or tho Joke had been placed there for the purpose.

yet I grinned at It. But most of the audience saw more fun in some of the old things that are never never omitted from a show of the Naughty Nightingales or the Cuckoo Coquettes such for In stance as one fellow telling a story to another with a slap in the face at the' point of humor that other fellow getting even by repeating the' process on a third. with a down blow at the climax and then the fourth fellow. In a similar attempt getting keeled heels over head himself instead of his intended victim. A congenial audience will no more fall to laugh at that familiar trick than a Shake- spearean audience will date wlthold ap plause from even the worst possible de livery of Mercutlos Queen Mab speech or Jacques' on the seven ages.

Israel' ZangwllI author of good books that make poor plays asserted for publication that the vaudeville stage is better than the legitimate stage for experiments In literary drama. Zangwlll strikingly resembles the late Benjamin Disraeli as to the outside of his head especially the face at the front and he seems to know' that there is a similarity as to the Intellectual contents. Anyway he is a champion of the uncommercial art. So I wont think that he when he made the remark. was influenced by the fact that he was In a vaudeville theater where a play of hi own was about to be acted.

Nor will I suggest that. the title Six persons was not quite square In a business way be- cause it promised six characters when there were only two. What is the use of being querulous even though ZangwuT play was billed as a satirical comediet- ta It was qlilte as literary as anything he has ever written and It was based en our own Autocrat of the Breafast. Table epigram In every Conversation between two persons' six persons are engaged as each to as each thinks he Is and as each thinks the other thinks he la. ZangwllI writes out that Idea to the length of twenty minutes' dialogue between a Charles' and an Eugenia who are lovingly betrothed yet mutually desirous of breaking the engagement because each has menat to marry money.

Charles has a soliloquy In which he Is as he to fol lowed by a talk with Eugenia. In which he Is as he thinks he la. and by another In which he Is as he thinks she thinks he Is. Simultaneously. Eugenia passes through the same mental process.

The upshot is a sentimental reunion. The writing would be pleasant reading but It yields little diversion as spoken even. by so clever a couple as Isabel Irving and Wilfred North It la without movement and the end In plain sight at the beginning. This is a dialogue not a play and people don't care a rap If Israel Zangwill did write it they don't want It and wouldn't accept it front Shakespeare. But ZangwllI hasn't changed his mind about the value of his play although he thinks differently as to the vaudeville stage be ing the right place to offer It.

He has taken Six Persons" to a dramatic theater. where it 1 used as a preface to The Climbers" before fashionable audiences with no better result. The Progressive Stage Society has un dertaken to lift uplift not audiences but the drama. It put It Jackscrews under the stage last Sunday afternoon and gave a turn of the lever wtth The Miner and the Soldier. Tola Dorlkn.

the writer of this elevating piece was a tumultuous as ZangwUl was motionless. Her play. reddened a half hour with gore enough for a three-hour melodrama. The problem of capital and labor was discussed awhile In a lodge of striking Swedes and a member was sent out to assassinate their hateful boss. The agent went on his errand with a dark lantern.

In one hand and a long knife In the other. It happened that the soldier on. guard was the assassins son. It made the father feel like throwing up the Job. but he decided after a mental struggle that it was his higher than pa.

rental duty to put the soldier out of the way. The on was a stickler for duty. too. and he had a bayonet on his gun. So It was father against ton knife against bay- onet till both lay dead In the moonlight with the wife and mother kneeling over the corpses.

The problem of capital and labor wa left unsolved and the stage re- malned an unchanged-even Belasco has gained another point on his opponents by securing a- leiise on Jhs Lyric Theater In Baltimore for the production of his new play and will follow his engagement In Washington by' a weeks performance at that place of amusement. The date of the opening per tqrmance here is now announced as De cember 26. followed by a week In' Bait- more January In Baltimore a party of private citizens actively' interested them. selves In securing the theater. 0 Ri- t.

tpltJ q1i1 j7c7ZZ i7f.r/ f- lHEATRICALAn SPORTNGEcr ON Iht iu' to. t0 mAT I i AiSR iN SEOION JJ WAHGTO SUAY DE ER4 19Q4 I I ALAS. I i. I HistoricalY lbertne. poltcaly wa al whie 1 th.

hve t. ae ount al morl ad poUtcal not XIV ha attenton th tands dramatstsserlous. satrical lllltorica. farccal. and Ierr" Monach.

And sufcient hY was hero. romantc Eglsh relged soverelgn a racton puritnism hypocrl persecutm psalm wa meretrcous le tersonaly idel actreses the man-and tht King mor atenion pureyor A' hracter ft dramatc Chrles Stuat rrely Individuals. penaly must pa wa gapllcab' Dormus Ir. Weserel. whl Ir.

Hacket appeaed week the. clok dra fnaly is cod. tme dlvered lke J. 1 athors r. ha though al obsolet.

sylabus It- wih ghost swashng knight cetury the parenty ollte tly sclQusly benevolenty almJated siuatons et to te publc. lterary hs exhiblon tern. were scrap suggestons I zar tamiar glmpses clmacteric scene Nel famIlar tace D' Artgnan Rasendal. rom other som thng ind in seQuenta cost. happiy al sooting toend tail slst ont cavalerswhle yeoma.

I ftand lke Ihould caracter more thn Kngs a ler. mystf1ng one mUltplcy mistreses genle I minded phlosopher Zangll clcaly theor recenty ed In soothng slabub terlnate begnnig I unhapplness. seen' Jng. Jould aked shae swet I Infnte blsS be aue th end-by I aboard hpothetcaly ad with fugitve tenter settng sai wih fo Frace las reputaton that bst oblged wih al olence ad al talent. and lstress Ias ater 3 recovere the stgma Intmacy wih I mater reget Ir.

Hck- apparenty fnd In whlh t' Te ba sustined chacter flghtest pero hd hs fa romantc al- oterlng someting wa rHacket helpd it ton stained tle point hs aled ad complment Ir. Hakett becse Entertaned. exaled. exhiarated thi moalc old wi prsonalt soner Ifter on. he Ineviable pr wih' a1 FEem the judg numbr tleatrlca trlckswhlcb en stcr The i reseble' I thIt aplre mstetiou I Itcd the ve I thrier The the I lc th quie fS wel plng clen- ompsEd entrcly.

dUnCES" nd whie fortfed wih expdients faiures touchf lke lke lat vitlze i tbln jO centur fe. spiitual btUIP reolnized. hUrltn ih dltErntaI lmited posslblty The mu. therefor tamlar. 11 I thir fundamentnI al is manifestatons AJd pia diseard.

11. dllncton Wl senss. ao cavaler vth otrlch I Ilumes Cordova rme wih pur wih Itdo hl sidE wa exhalsled a. a meium I fghtig Crobes ea onl smie lt whie z. rag- mutn akl ahpp dra- a tsts Uacktt Itb tad caracteristc compslton San bo Plza.

throwaway I man personaltes perhaps It ma hi Falstat. runswlckiome Atile 1 lt I. I pover- Alhough te prs teir obituaies contnualy refered actres wa br Prage 80 ut yea spaking ad paly Germa classl te Unie sh tblry-slx ad fst atrat- atenton Geran Ne" York' enthuiastc wa htr reepton resole lear. Elglsh ad mastere nuber great tat tonge increibly tme. Aercan as ovatons tald demonstratve a thoe Bernhadt.

I wter. prior Ly Macbth te aals ste ad per eraton. te compsure fre Berhardt. plRye errlfes tr etects. thrlA ad pnetrtng demonstratve Infrmites compeled Shool.

actng ha ben aIproached iUC- contmporary expreed Janau9hek endowe. wonerful ees a te socket Crmwel masculne lke olce pOisesd th maculne qualty masculne vas resonat nger a fexlblty. I rol exqulte voic stnct 01 geniu both ui dllnel" wrught mos tought" FED. SCHRAE. 1 orrs Teater Magaine Chrstmas realy fne actng resul ere uninte1gent imitaton.

inded. thortes againt e. Johnon Prichard wa as thouht pIa pat te he makng shos writen prove prfect in- senslb1ty emotion ae essental I dlters esentaly dramatc represe taton esa quotng I a al probab1t renderng Racne pre- declamaton I dlterentas Fenc Englsh actng I dlterent habit diferent executon I trades ma caimed real merel asion whie ordEr HI expre ed dnlng posslblty actng mut afrm compatabity emoton m0t resentaton en pul- edto cheeks I tae presnce I spoied Al gat performer recolection privieges ben poetc perent clases gto vaudevie. I Purian Zangv11 think-now lent atempt tese dolars Prtan dolars Dolars contnued Zangwl. dolars dolars partcular' dolars denselystupld I worl theatricl maager.

tl clentele wih sme. selng crakers tes sharpn appettes tomer alread hs. aSlumes tht. cters exclu hear gutaw folows unfer wh i' wht pu bl' lkes. th trlcal lanaeers constnt- persistenty underwritng In- tellgence audience.

Intelgent actualy a house slap coiedy carefuly cludl. tHes gettng ctualy restrictng a tvely smal ao lite ccmedleta Oiver that ar persors engged eveI. what I think I- wa prouced Fed and I Lndon. 10 nght te geatest success ths county bele Iring wlb su gelton. tis edlett vaudev1e fl of weeks I Ffth.

ver I. cesful se preented Broklyn he sd I more' IntelglQlt lsa accpted Imitaton lx Perons' Ms Clmb- er I ha resuled U3E I nIng Ide w. subte ad. Intelectuator Amerc Audence astonhec bot" oFniE PILSEN' TH ply 1 Whoee fultess wa shal Pop. neiher.

wll critcs pss hey mul. neiher hore as. Al comon ehlbloI le pral" censur Churchl. Oldteld wa tone 75 the sit Brader Mathews. excl ncp arrangeent of' the Lord relentess I can avarlcetn sublme ones.

1 klssEs h' Camly by thE frs' wi turn George Theophle Gauter dlslked aer sid unti I Mattews. Undereath und bauty char Jetersons pernaton i arises. 1 I th ust Idel every thing abstraced. shal producton pled ar txed lke mathematcs Te vial Iastc. ftne Burrough.

elerenta themsEles lke I fcatons 11 diterent tble lghts 10velness Lord Te alt' lerture bEcause I I cals It- I facultes the the creaton chaater frm ovm Bran easlc Fench ritcs. tes mied that is. wih spiri a RaclneJohn rouh. ShakespeRes et denle him th g1t tstc compoton cntradicts himslf I necesity creatons frst crieria Ulrlcl fch It admis convenenty repr Bnte Is efect represen taton chiefy upn I lvlng. and a acton real persns as speak lke books.

oberve sti distncton Englsh Volaires poetc I complcatons I erlt wih leat dlterst isdf. Shakeseares ghost pErson acton i sae Lsing. lke Id- partcularl critcIsm for one posses fair explanaton ontbe oter rsentaton reaiy lke I otc fower 0 wreat lea leaves. a certin lense rd al p- I resentatons fcton I tplcal II Julet abstatedly I is fulest. ef- I Id fratic sl-sacrlfc- I emanatng blndneh Infrty dotage.

Te Englsh dramatsts Pore Shaepeae a concepton secre Impqnce ad getest pSibleetect ty exgerated gc degee I rcous force situatons. te deUneat care outburts psson ad a icton unaturl. force bombtcUllc Arlstote decide x- poet govere no farher shal wel-developd my hs drws hlstoO becus pnd beue i hppne manne tat coud scrly hve in- ente 1 bter hs prt puose. fd ths' vabWt I ra rea cs i hm nsck te pges hlstoO chicgo Crrespondent wries wa caled i advise Dllngha stagE to Judgng om the' lkely DIUngham wl I Chrle numbr rierated that' natonal thater wi eventualy practcal ar beleves lc sentment Inst- I tuton la- poltca corrupton InsUtuton. latonal eeum beleves Vnshlngon.

represntng dos. lfe untr a heatre decded cal forlrs. Fske. Fske wi I fne profession I lfe i frst tme yet happly fgre authoriy. Qultedlterent has.

fve i frst w1 Manhatan eah wi GEorge rlss. ason Etenne llam Salsbury Cecia Radclte Emiy Frncis 1lrs. Gibert unti afer wa on Hearh congratulatons upon' wel- wllng Insignifcant undelrabl addltcm dancng conscquencelecelved excelent tralI1g ly geatEst successe oll wl vthcut loks. bfore ayolng wllag real- Whie Elsler' whie I. i many prts ma my frst i 187.

Ye lchavender I PoC onta' Povhatan appearace I ew I prog essln I ten Hal transtonion sta Belcos for hcOmlng' producton Carters i obstales. arbitrariy I Infuences antagonistc I Conventon I Hal producton fnaly daw he siuaton I fall legl conditon pled drea" wi is frst producton ashngton. al lasc ben Belaso is' confdenty the' frst performace wi gven as regrding me. 183 In uced core te ax- lr actng folow word 10cked see othr perhps completey captvatng audence' appeciaton shE Englsh langage. skeptcal Jersevered 18 frst succss Instt and for frst pIa Iedea Iary Stuat.

Atoinete Merrlles Alhough commanded sah faculy I I becme thee 11 fnancial beneft Walacks al apparing. 0. ear Invald was ad wih biter wardrob colecton curos. high time re- intmaton colecton artcles stge cos- ringS furltre ta 1 sideboardS. nothlrg Intrest coleton hstor Is te artcles bieelet wih fl- decoraton elabrate came Saony.

tara. le medaloDs coral. PrlncEss Alee. Imf. accomplshed musican.

trstappearance publc chid me. wa transferrd Amityyle Fnd Staten becme Incurble beleved reeive atenton tha wa Infr thea trlcal deblty frst Mis Vera Manied Birk Champage Lu pat fve' Iar- Lite Curch Cornerln i93 wa on Englsh i i seans featurd I i frst I marrlEd membrs 9 CAWTHOR I Elcea. mh btae Kae Mis playng principl wih Llbrty Beles ha mae a decded ht ilwauke concepton prt Mr. prncDalf youn Al crtcs Iss Washingon grl frends wi succes. na lnee performces Januay pupis schol actng frst wi strage draa Mastel Bulder cuntry.

Folow- wi Suderman tranlaton. to class dramatc lterture Irgton. addton matnees Lfayette lgb- preparaton PolnComfort beneft Relef Socety or- ganlztons. excelent pupis wil wel stl. interstng the sch ol.

wil Vahlngton Entert ment Bureu. Plsen" cat ha vaudevie severl frst stge wa monologist happned feld Importunites story demea bt comercal rs Dady tat a sel bl al sors promlent terriory lposlng frms a. ffsjolty fmaly caled poltcs 1is htmor Finaly bEgan story occupaton administraton re- frst roo 01 the tw and lner a imper- ambiton tnaly drifed ele hs positve success. Ir. commercaly ablty acquaintnce cmmercial IOP ularly througholt' mae" tor may PROGRAMMES.

Lafayete Oera 1 18 pre sentng frt tme Washngton entteo Rose Thts fC Luis Paker urray' Cason. Po Dnll N. Hr Harood WIlam Westwod. rbur Brrn Henderon Lmb Mrs AnIe Adms Mr. Ylnle.

11. Dloss Irlscm. BQmore Dorth" Adms Te frst publc perform nce th Apri 189 wa folowing Rackstr Kal Capt Wlte" Dick' Dedee Oore Frothlnchm Bi Eobst Artu Crowel Tius Tucker. Gettrde Oora Iabla cCuUoc e. Ma1 Cmig.

th producton. Dur. Le Gose whch w1 cty NaUonalTheter Decmber 1 b' Imenity organizaton 0 wmn Goose" fve chidn nd atend them numbe le carpnters stge level careter Tlere re twe ty electical propty spcial artsans attentthe mechansm Grlolats bale. Tia make 1. audl nce.

fy stag hand. cal bya brig numberup seveneen whch prie ae drop sty hgh ad wde stge. Te scener caled fU crs spe tclr bauty supeor' ts mde scener hs. bn sen. Amerc.

bautful st- tngs I entrely a fet obtined gl bads sew agant cnva. Te costumesnu- br thousand ad fl severa crate. Frhm as Kyl Jeew Las Chrles Fohma hs a lst cons aragement wih Liebe hwU Kyle Belew MroFhai Lndon theatres I I tes Amteur he tle PUre asa tu fll tt ne. OLD GOTHA STAGE. Specil Corre ndence Sandarlost YOR.

Dc. fater th' Godwin nln rentroduce slves Twenty a6dwln singng mimics imttor therefrom Inimiable c0wnlng I wih eay facly wthout antcs rache I alhough I. persna- ton Aerican by trJ satifactory pUblc I himsel wih doler. cours ticke I awhie butat ad dlgt hm tht. woud artstc.

ambiton. Ike unpUshed' Indvidualty al Te Usurer" accpable whle I rejecte. McKe wa hadsomest stge. Tht wa thrd centur ago. le tenant Britsh ary.

statoned hs brief resiged stge Shakespearea apir- atons I a wih' Mlers melodraa Rocies Danles. al toun 1m Si Acr s. rs a rs. gnddaugh- Brrore gadon Lonel Barryore Absolute famiy prty a Lter a. cty.

ONei I wih week1n matnee dys gotesque- fater Ytt wihout ny pltfals ridltule hm fal actng maner makng I ad Insistng ea drma cearly defntd realzing ever tpech. amblng purllt forgoten words substtuton comes Infrmity 4stead car- Busements wh nyou prl entted lne Atlough I kMwle ge er lierature famlariy Suderann al a. bre accQu InsTl yb Intelgence. lhe 1 famiy. Inlenlous siy gfl br a anarchisic telow despotsm home-a hars Is' a chid.

a. otspring warIng naturs ampl- fed the ctatrophe domestc conventonalty. similr agda thelntnces clrax ae lke etect onl cor- genialy anarchistc sience ental for drnk fo les. ad girls crumbles' under berfeet. I night weddng fres hl lght nd symbolze a ember or aferwards retred wtd spirts ae tble unlghted cndle ths woman teir ofthe Tey I clerly bitteress.

scrfce St nlht. I- gow fres hi te eah then least lat at the mariage mor. aid detais prepaaton ide I a' Igoble use enta I elr mutua reug suicde. relzed Te oes weddedto uhlovedwle. remans behnd wih hoples loe hl.

tken QUaly hi audcious Aedcans softy tme famlar felow fals Ith that acto uld I whle Usurr" as al- hearlneS I I asume aI I a uneuivo- r. fors' compo ltons hvo see a lantc girl fel wih year agohad I orgi- re humrist re sul vauable pl Goodwn. Te I leaea te. Englsh famiy. In.

slts nie a rma a gest. hi purose bing niec prePs- te. youkow kc Godwin makng aburdtes plauible grl choice cl het a woma a wih matchn mid- die atres le al cnsnt ful maturty gv- herne perforance a wel I manusript-i betroted a- rey a whie IJsldeand tken AmerIcnls thlsbad Brton In ide ut 8 tfhls fncee hs rntent. Tht esils frm thl stl. IVI eay tosytht wlh hlmoney ad expience.

nd himsel tanyplaythat Int prety ne8- lYht hE. wats trth I df- ftrnt Tobegl wih theehter hmcan nthlngbut Aer- canwhch torI utor rte ht t. 1. lye cu bst themthose whos Pt fnd ryS j. r.

I 0 I i A I a j3 IIpfltGfl IOL TATRJcALYANDSpORTINc I I' :1 Charlezlfl 0 XIV-has bands dramatists fl st that A 3orethus ap- As 1 toend. 8 eri de- often-but lng. endsby still iA th i aic qUidprO quq judge-a R1 Ital1zeand thesptritual tLe. To Hackettwlth perhaps I St EeS0lv su- ere and was Tb au- 1ot canact is ofstudy de- you-that asif ne t1cea what is Londonand cur- tam wes C- I 5 needsrio Shake faultlespiece er sits ope. Charles more of ele- George hisRIp per nation William.

plied I Bran him it Ulrici. teented merely-as books. ex- isnotthe ac- Ulric1. truth-no Tf time I bein yeas Ste- I nd Poc4ontas' lsd andauditorilim 1 died she lnstant bestknewn I iar- I Su 2'- I 3 r- 2 7 I i P. ss rs i- sf te' Lic itbte 0 ec f' ci4i 5 4.

AK i 0 5 e- a e' 5es si. te 4 t1'-ez te r4 Pk ir5 I- is rtr tL4 Cf a lw stth. I Hickmanannounces men of" sense ac- Mlni5a.Grahame CruickshaakMacdo 33 to KylBellew MrFr hnan' tbe th 4stIzth Go dwIn England-by i dign1tywe money-a with' 5 em f. a a waMng for re- aa' hasnot dis- that hale I see. had re- getat forcourtship tercvsOt ha lsbetter ageof inanus is al- isto it.

tb It. to Goodwinwitk ut anyplaythat I lywhat himcan buta r' those know Godwin YOUtOajnaL theaters of ne- asfine forbrod- humoron tb it sang whenshe a in- such in. I I I ap- de- hiveryof poorplays embles I his iite rhe A ocrat engaged-as' thinkshe I I a i 101. thins thl ks they be- is 1th nn- itp as unchanged level FRANKLIN PYLES. he otthe openingper De- byii Januaryf.

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