San Francisco dramatic review (1899)

May II, 1901 THE SAN FRANCISCO DRAMATIC REVIEW 5 The Columbia Tf you want to thoroughly enjoy *■ yourself you should see Sag Har- bor. If you take pleasure in the everyday doings of everyday folks, finding the finest thing in the world is the study of mankind, you will not be disappointed if you give free rein to your feelings and sympathies and let the homely sound folks of Sag Har- bor play with them, as they live the days and nights of their quiet lives. Ah! the atmosphere of the piece! It is as evident as the steaming aroma that comes from the clam pie that is brought on the table. While it lacks a great deal of that quiet, though intensely dramatic vein that runs through Shore Acres, it may be said by many to be a better play. Its characters are more evenly drawn, and with a firmer grasp, and there is plenty of opportu- nity for all concerned to do full.justice to their talents. Frank Munro, as Wm. Turner, was typical of his kind. You've seen him often. Hard and unbending and tenacious of his opin- ions, yet softened by a sort of grim humor that escapes like the steam from a safety valve. Ben Turner, the son, who marries the girl who loves his young brother, is such a man as many living today are^—the strength and support of the family and the one whose sense of responsibility makes him sometimes a little too self-deny- ing and retiring. In the hands of Forrest Robinson the character was given a careful portrayal. Capt. Dan Marble was the part created by the au- thor for himself. In his enforced re- tirement,the part is given an admirable portrayal by George Woodward. He follows the Herne model very closely, and adds a touch of robustness here and there that is an echo of his more sturdy frame. The Captain is a char- acter that cannot fail to appeal to the feelings and is portrayed in a manner that fits nicely in with the environ- ment of the play. W. T. Hodge plays the part of Freeman Whitemarsh, a sort of know-it-all character. We understand that a year ago Mr. Hodge was one of the possibilities. Today his Freeman Whitemarsh has brought him into the limelight. He gives to the character an individuality so strong as to make it almost, if not quite, the most important in the play. Mrs. Sol Smith was a thoroughly enjoyable Widow Russell, so good, in fact, that we could not wish a better. Marion Abbott portrayed Elizabeth Ann Tur- ner in a natural, convincing manner, that showed her to be an actress of good training and sound judgment. Fanchon Campbell, who played Mar- tha, the orphan, who married Ben Turner, was charmingly natural in her delineation, and Chrystal Herne is surely a young woman of much talent to be able to make such a showing with such an improbable, peculiar character as her father has given to Jane Cauldwell, the music teacher. The scenery is worth a mention, and the production, in every detail, from the wee baby, who wins every mother heart in the audience, to the leading characters whose life evolves the play, is a lesson in stage entertainment. The Central 'T'he great success of the revival of * Uncle Tom's Cabin and also Ten Nights in a Bar-room caused the man- agement of the Central to put on this week another old time drama, The Octoroon. The play is by Dion Bouci- cault, and is one of the best that Belas- co and Thall have put on at their new theatre. The characters are well taken care of, and the Central forces have been considerably augmented to pro- vide the large cast necessary for the play. Mason Mitchell did clever work as Wahnotee, and with Robert Cum- mings, who acted the part of Jacob McClosky, won a curtain call which was well deserved. Stanley Ross was well cast as George Peyton, which part he carried out with his usual gentlemanly, dignified manner. L,or. ena Atwood, as the melancholy Zoe, was attractive and sufiiciently mourn- ful. James Corrigan was good as Salem Scudder. Two sweet little tots of girls sang and danced with unusual ability, displaying great talent for ones so young. Of course, they were applauded to the echo. The minor parts, slaves, children, dancers, planters and singers were well done. In the levee scene especially there was some clever dancing and some good juvenile work. The play has very ef- fective settings, the scenery and- mountings being on an unusually elaborate scale, especially in the bayou and canebreak scenes. The Alcazar THE third week of the tremendously successful play, The Conquerors, is drawiag to a close. The play is acted with uncommon strength and staged with lavish prodigality, but its success is rather a sad commentary on the measure of public taste. While it is not as vulgar as Zaza, it displays a brutal plainness that is to be de- plored. The success of the piece is emphasized when we consider that both London and New York would have none of it. As The Review has said before. The Conquerors serves best to show what a strong organiza- tion the Alcazar Stock is. And it may be said that it is doubtful if there is a stronger company of stock players in America. Friends was played Mon- day night, the house being sold to a church organization. be a long time before an equally good vehicle will be found to fit the talents of the company. Next week a new opera. The Toy Maker, will receive its first American presentation. Grand Opera House ALONG play of seven acts, the Son of Napoleon, an adaptation of L'Aig- lon, is being put on at Morosco's this week. Bernhardt and Coquelin were here so recently with L'Aiglon that it is rather presuming to present this copy now, but all historical plays are invested with a certain amount of in- terest, especially those dealing with Napoleon, and, though this adapta- tion is not strong by any means, it is pleasing and intelligently given. The scenic effects are fine, being beautiful and elaborate. The stage manager is deserving of great praise for the good form and correct style of pre- sentation. Florence Stone, as the Duke de Reichstadt, gave an excellent impersonation of the weak and vacill- ating King of Rome, Napoleon's son, her work being strong and effective; she does the boy character well, and, being an emotional actress, gives the necessary pathos to the part, which makes it touching and real. Her acting in the death scene is espe- cially strong, and is most heartily ap- plauded. Mathilde Choate, as Jeanne Muller, and Mona Carrington, as Countess Beaumaison, faithfully de- picted these historical characters; Jack Webster, as Michel Lambert, a soldier of the old guard, was excellent; his portrayal of the character was done with a warmth and feeling that carried conviction with it; Frederick Hartley as Napoleon, T. J. McGrane as Arch- duke Charles of Austria, Frederick Esnielton as Marshal Berthier, and George Bloomquest as Count Ferranto, were well placed, and add much to the finished performance given. The molt Subscribe for The Dramatic Review THIS is the last week of what has probably been the greatest comic opera success at the Tivoli. It will James Neill in the Lot- tery of Love This week the Neill Company are giving The Lottery of Love, an adap- tation from the French, by Augustin Daly, who has furnished a clean, sweet comedy—light, airy and clever, but not up to the standard of what these excellent people have been giv- ing us, or what they are worthy of do- ing. It might well have been named Too Much Mother-in-law. That much abused member of the human family, who is so necessary in the present social status of our so-called civiliza- tion, is very much in evidence, and were she an exponent of the class as a whole, I fear the whole fabric of the marriage relation so carefully reared by the church and cultured by legal rites, would fall helplessly to earth, a shattered memory. James Neill, in his quiet, masterly way, gives a charm to the character of Adolphus Double- dot. Being twice married, he has the unhappy lot to possess two mothers- in-law, and thereby hangs the tail of the play. The complications arising from the unexpected marriage of his own father-in-law to his first wife, creates fun enough to carry any farce through an evening, and it is handled with a delicacy of touch and expres- sion that give the farce an indescrib- able charm. John W. Burton, as- Buttercorn, the father-in-law, fur- nishes a fine study in make-up and action. His genial manner and in- tense endeavor to tell the facts of his marriage constitute a story in itself. Frank McVicars, as Captain Merri- mac, is a genuine old sea-dog, with a hearty manner and towering form. This characterization is one of the best he has given us. Handsome Donald Bowles, as Tom Dangerous, the flirt, gave a breezy, engaging im- personation. Lillian Andrews, as Mrs. Sherramy, the mother-in-law, was a perfect tartar, the ideal of caric- ature of song and story, and gave a broadly humerous character that set the house wild with laughter. Ed ythe Chapman, as Diana, her daughter, was very charming in her delineation, bolstering up a weak character through exquisite tact and skillful acting. Her recitation at the close of the per- formance was exquisite. Julia Dean, as Buttercorn's daughter, was very winning, and certainly maintains the character of the prize In the lottery. She is chic, vivacious and stylish. Mary Elizabeth Forbes was the pretty maid, and sustained the character with a grace that is all her own.