San Francisco dramatic review (1899)

6 November i8th, 1899 AT THE * * * bOCAb THEATERS T/ie 7rWr Monday evening the Comic Opera Company at the Tivoli gave Gilbert and Sullivan's aesthetic opera, Patience, which meant much more to the lovers of opera a generation ago when the aesthetic craze, started and nurtured with care for egotistic aims by the apostle of the sunflower, was at its height; but though passe, its spirit of fun was as efficacious as ever in bringing to the listners pleasure of the genuine old-fashioned sort unadulterated by the suggestive ideas of the modern art. It opens with an idyllic, dreamy tableau. Reginald Bunthorne [Al. Wheelan], an aesthetic poet, is adored by a bevy of maidens who haunt his footsteps or sitting at his feet, hanging upon his every word in an ecstasy of emotion, pander to his egotism and bring down the maledictions of the Officers of the Dragoons who had up to this time been able to lead captive, as brass buttons always do [Why? Who knows?], these selfsame maidens. Wm. Schuster as Colonel of the Dragoons, was able to show off his fine bass in the dashing Dragoon song, which the approving audience forced him to repeat, and as a Briton in a British uniform, he seemed inspired in singing British praises. Tom Green as Lieutenant had small opportunity to show off his sweet tenor, but used that little with good effect. Wheelan was as funny as the part of the aesthetic poet will allow — he can look all manner of funny things. Phil. Branson as an idyllic poet, in his Fauntleroy costume, was very taking, and won the maidens from the love-lorn Bunthorne. Ada Palmer-Walker as Patience, the milk-maid, was very clever and graceful, and in good voice, her duo with Branson was particularly well rendered and applauded, as was also her duo with Charlotte Beckwith, whose sweet voice and grace are winning for her the plaudits of the public. Caroline Knowles, as Lady Jane, made a typical virago. The costuming was exceptionally good, and the chorus outdid itself not only in its coloring and melody, but the stage arrangement was especially artistic, and the male chorus of Dragoons were in unusually good form. Tuesday the Italian Opera Company gave Verdi's Historical Opera, The Masked Ball, with Salassa, Avedona, and Anna Lichter in the cast. Next week farewell to Grand Opera with Othello, Aida, Pagliacci and Cavalleria. The California JONES is with us once again, and with him large and enthusiastic audiences. These few words really and completely tell the story of Harry Corson Clarke's success this week at the California. What Happened to Jones is described by the author as a "hilarious sufficiency" and it has been all of that. .Such is the personal popularity of Mr. Clarke in San Francisco that the opening night rush was so large that many people were turned away, and throughout the week, through bad weather and good weather, the attendance has been very large. Harry Corson Clarke's humor is of that dry, unctions kind, that can cause laughter from a chuckle or a wink of the eye — it is real humor, ingrained in the man and tempered with just the necessary skill of the genuine artist. Since the days of the Frawley Company's earliest venture in San Francisco, when we grew to know and appreciate Harry Corson Clarke in a wide range of comedy creations, we have never yet been disappointed in his work and in Jones we have no reason for the slightest complaint, for he has given us in that part one of the most artistic, most delightful, clean cut characterizations that we of San Francisco have ever witnessed. The company itself is well balanced — made up of handsome women, handsomely dressed, and a male cast of more than average excellence. Willis Marks, the scientifically absorbed professor, with a wife who rules, was good. Scott Seaton, the Rev. Anthony Goodly, does a bit of acting that marks a great advance in his work and it has been recognized on all sides as one of the most commendable features of the performance. Daniel Halifax is one of the young men on the stage who has a future and he acted Richard Heatherly with much discretion and fine effect. In the small part of the policeman Charles Terriss was a first class stage policeman. Marie Bishop was the professor's spouse and was sufficiently autocratic to meet the views of the author. Laura Crews, dainty and winsome, assumed the part of the dashing and heedless Cissy and gave a finished performance. Madeline Bruiguire and Cecelia Casielle were thoroughly charming as the daughters of the professor's household, and Ida Banning disguised her handsome self with the makeup of a corkscrew curls old maid and acted with decided spirit and intelligence. Last, and worthy of notice, was the Swedish maid of all work, by Carrol Marshall. It was an assumption very laughable and picturesque and met with decided approval. What Happened to Jones is the same big money maker all over the country. In Kansas City the other night the S. R. O. sign was hung out. and Harry Corson Clarke had the same gratifying experience on his San Francisco opening. Ne<w cAlhambra ONE of the strongest plays seen in San Francisco in many a day was A Lady of (Quality, which closes the week to-night at the New Al hambra Theater. It is doubtful if Julia Arthur, who made her greatest success in the play, could have been more acceptable, or could have created more enthusiasm than did the handsome Eugenie Blair as Clorinda Wildairs. Indeed, Miss Blair appeared at her best, and her work was rewarded by the applause of crowded houses all week. Her naturalness on the stage is one of Miss Blair's strong points, and at no time did she seem to force herself into emotionalism. There was no overdoing, no useless action, and but few inaudible lines. The dramatization is from Mrs. Hodgson Burnett's story — a dramatization that in less capable hands would fail utterly, for while its dramatic quality is strong and interesting, it is necessary to have most capable people to interpret it properly. This Miss Blair and her company do. She is supported by William Bramwell as Sir John Oxon. Despite the injury to Mr. Bramwell's leg while en route, and considering that he was in much pain on the opening night, his performance was most creditable. He would make not a bad looking stage hero, but the villainous part in A Lady of Quality he portrays so realistically strong was so despicable as to almost lose good feeling for his acting. Lee Baker as the Duke of Osmonde, was also especially creditable; also Bouic Clark as Sir Geoffery Wildairs, Geo. Robinson as Sir Humphrey Ware, and Miss Ida May Park as the sister. The stage settings were exquisite, among the best ever seen in this city. Especially so were those of the first act, in which Clorinda in breeches and Sir John Oxon engage in a fencing bout, and in the second act where they quarrel in the rose-garden. Miss Blair's physical charms are amply displayed in her boyish costume, and her beauty and attractiveness increase when she appears from time to time in different costly gowns. The costumes are a splendid feature of the performance. Much credit is due the Alhambra orchestra under the direction of C. Miltner for some of the best music it has ever been our good fortune to hear. The Alcazar My Friend From India has been delighting large audiences at the Alcazar all week. L. R. Stockwell was, of course, the hit of the performance. He received three curtain calls on the opening night, beside a big bouquet of chrysanthemums. It is safe to say that Mr. Stockwell never appeared in a more laughable role and his reception was unanimous and unbounded. Eugene Ormonde as Erastus Underholt was particularly good, considering that the part is a very trying one. Frank Denithorne was Charlie Underholt, a character that afforded him ample opportunity to show his friends what he is really capable of. Geo. Webster as Tom Valentine was exceedingly clever, as also were Clarence Montaine as Tweedle, Chas. W. King as Jennings, and Carlyle Moore asFinnerty. Miss Gertrude Foster in the character of Marian Hayste, was very bewitching though her opportunities were not great. Miss Helen Henry was as dainty and piquant as ever as Gertie Underholt. Miss Marie Howe, also an Underholt, was especially good. But of the feminine members of the cast Miss Juliet Crosby and Miss Margaret Marshall had the best roles. Miss Marshall took the part of Arabella Beekman-Steete and.very cleverly did she acquit herself. Miss Crosby, however, is entitled to the honors, for her portrayal of Tilly, the German maid, was all that could have been desired. The play will run another week. Grand Opera House THE Merry Monarch drew so well at the Grand last week that the management wisely concluded to continue the opera for another week. It seems an odd thing that there is no tenor role in the opera and also a pity that Persse is out of the cast for that reason. The company all render the same good account of themselves as before and the comicalities were enjoyed by large audiences throughout the week. Next week Evangeline. The Columbia A good play is the farce, Why Smith Left Home. It has created much hilarity at the Columbia Theater this week. Frank Tannehill, Jr., carries the bulk of the work, and Lizzie May Ulmer as the cook lady is decidedly humorous. Lottie Williams Salter, who was a favorite in Morosco melodrama, is the young bride, and the other roles are, generally speaking, adequately filled. The Comedy THE German comedy, In Weiszen Roeszl, in three acts, was given at the Comedy Theater last Sunday night to a crowded house. All members of the company were well received. The principal feminine roles were taken by Miss Von Hofstetter and Miss di Rovey. The male roles were taken by Bennio Hirsch, Josef Greran and R. G. Leng. These Sunday night German comedies seem to have been successful from the start.