San Francisco dramatic review (1899)

January 15, 1910 THE SAX FRANCISCO DRAMATIC REVIEW 9 Columbia Theatre It is more than three years since this paper has had the pleasure of writing the name Columbia in connection with a current play and occasion. On Monday night there was presented at the New Columbia a spectacle that was impressive of the best wishes of a community for the enterprise and splendid taste that has dominated the erection and restoration of a new Columbia, dedicated to the enjoyment of the people of San Francisco. It was a gala occasion in every sense of the word, and the wealth and beauty and brains of the city were very much in evidence in their best bib and tucker, not to mention a sprinkling of official life, headed by the newly elected labor mayor, who in the glory of white front became for the moment one of the throng of high-brows. The short and interesting ceremonies were opened bJJJgtlelville Marx, who stepped before "the footlights and made a few reiArrks of welcome and appreciation, aitfr! road two telegrams — one from RosJjLStahl. who wired her sentiments in tlk> phrase, "God bless the heartland." and some others— and Blanche Bates, who remembered the opening by telegraphing. "I wish I were there." Mr. Marx was a splendid surprise as a speech-maker, and got a rousing reception. And it was coming to him. For through the months of discouragement, when money was tight, following the panic, he sold stock in the new building by .sheer force of enthusiasm, and when enough money was on hand to construct the building, he was always present to see that construction was done properly. And it was Melville Marx, too, whose keen appreciation of beauty, combined with practical knowledge of utility, furnished the artistic features of one of the most beautiful theatres in America — the Xew Columbia as it stands today. The interior is in gold and blue. The curtain is a rich and subdued gray, tasseled with golden cords and topped with a classic painting. From the dome, high overhead, a flood of light is flashed from a glorious sunburst brilliant from a thousand or more electric lights. Otherwise, throughout the house all lights are sunk behind their fixtures and a reflected, softened yet brilliant glow fills the theatre. There are no posts on the orchestra floor nor balcony nor gallery to get between playgoer and player, and the seats are soft and wide and comfortable, being specially made and designed by the Whitaker & Ray-Wiggin Co. In addition to the beauty and the creature comforts of the auditorium, the actors have been considered, and the dressing-rooms are housed in a separate three-story building that abuts the theatre on Mason Street. These are the finest dressingrooms in the United States. As to the play and the star, George Ade made a good little comedy of Father and the Boys, but it is not overly strong, and as for the star, in our memory it has been a sort of tradition in San Francisco that Crane is a great comedian, but his popularity here has not been in keeping with the tradition. Margaret Dale in his support is a beautiful and accomplished actress who is a great favorite here. But she is not a low comedy comedienne, and it is rather a jar to one's nerves to see her kicking up her heels and reeling off slang and vulgarity. Now Ada Lewis, who long ago took to herself that kind of characterization, with the additional feature of being born funny, would be a great hit in the part. Louis Massen, as the bogus Mayor, is a fine actor who is always good. The little blonde girl who played the part of the sweetheart of Tom bears a strong resemblance to Billy Burke and is a dainty and clever young actress. The balance of the cast were satisfactory, and the play was beautifully and effectively mounted. Alcazar Theatre In the production of St. Elmo, a play founded on the famous novel of the same name, written by Augusta Evans-Wilson, the Xewr Alcazar Stock Company have scored another success, many of which have marked the career of that theatre. St. Elmo, the character, is an instrument by which John luce is shown to best advantage. He fits the part nicely, portraying the sinister, ironical character just as it should be. The sardonical chuckle which I nee employs is a fine bit of "business," as it aids greatly in expressing the hatred and malice that St. Elmo bears to his fellowmen. Evelyn Vaughn, as Edna Earl, the blacksmith's granddaughter, played her part admirably well and was at all times the character. The play centers entirely upon the passions of St. Elmo, whose heart has become wicked because of the disappointment of finding a supposed friend false. This it was that caused the duel scene in Act f. St. Elmo's word has always been law. and it is Edna Earl, who first disregards his commands. It is then that he rather realizes a sterling bit of character on the part of the girl, and seemingly, unknowingly, the two have and are becoming the more attached to each other, although we see Edna Earl fighting strongly against it, because of St. Elmo's cruelty and hardheartedness. Finally St. Elmo realizes his personal peril, and in overcoming the black side of affairs, rightly wins the girl he has so set his heart upon. All the favorites were in the cast. Among them particularly prominent in their respective parts were, Howard Hickman, as the village blacksmith: E. L. Bennison, as the pastor, and Grace Travers as the haughty, cynical Agnes Powell. The scenic effects and musical program are of the usual Alcazar standard. Van Ness Theatre The Writing on the Wall, in which Olga Xethersole is starring this season, as a play is the complete opposite to anything she has appeared in heretofore. This play is distinctly American and gives Miss Xethersole ample opportunity to rise in all her great power in a real womanly role. The play itself is intended as an expose of the terrible conditions existing in Xew York's tenement districts, where human beings are housed worse than cattle, owing to the greed of unscrupulous landlords. In the first act, Barbara Lawrence (Miss Xethersole) is made acquainted with these heartbreaking conditions by Lincoln Schuyyer (Albert Perry), a young man who is devoting his time to bettering the conditions of the poor. In a slumming expedition Barbara Lawrence discovers that some of the very worst of these houses are owned by her busband. She exacts a promise from him Arthur S. Williams Mr. \\ illiams, who is one of the best advance men in the show business, is this year found back with The Wolf, that he will order new fire-escapes put on the houses, which order he subsequently rescinds without the knowledge of his wife, and only comes to the realization of the terrible thing he has done when their only child is killed in a fire which takes place in one of these houses where the child has gone to distribute Christmas presents to the poor children. The house burns down and a hundred lives are lost. In the role of Barbara Lawrence Miss Xethersole does some of the greatest work of her very successful career, and in the second and third acts rises to a height which left the audience spellbound. At the close of the second act, after eight curtain calls, Miss Xethersole. in a few well-chosen words, told that since appearing in this play last season. Trinity Church, the owner of most of the worst tenements in Xew York, had torn down no less than seventy. Miss Xethersole is supported by an excellent cast. Xotable among these are Harrison Hunter, as the husband: Albert Perry, as Lincoln Schuyler: Hamilton Mott, as the Secretary : Charlotte Tittle, as the governess; and little Miss Joe Wallace, as Harry, the child. Savoy Theatre The Wolf, as produced by Andrew Robson & Company, is very well acted and beautifully. staged. It retains its grip upon the audience throughout, being filled with tense moments and invested with all the realism of life itself. The same human interest that has characterized all of Walter's plays is apparent in every line of The Wolf. At times the words are brutal, the situations melodramatic and the truths are hammered home with a vengeance. The underlying motive of the play, the triumph of Jules' love over the machinations of McDonald, The Wolf, is good, and one leaves the theatre in a. pleasant frame of mind. Jules has won the hand of the yellow haired Hilda: MacTavish, the villianous American, has been killed, and his being one of the interested parties. Mr. Williams numbers his friends by the score in every city he visits. Particularly in San Francisco are his visits enjoyable. body left for the pack of wolves to devour. The spirit of revenge has been satisfied in the heart of Batiste, the nomad of the North. The play proves an excellent vehicle for Mr. Robson in the part of Jules Beaubien, a character which makes strong demands upon the actor. Mr. Robson succeeds in doing it full justice. The work of the entire group of men was excellent, and the play is good to see. Miss Johnson, who essayed the part of Hilda, is a hard working young actress, and this is her chief fault. She was altogether too vociferous in her elocution. Again, she showed a strange anamoly. a backwoods girl, raised without any visible educational advantages is heard to pronounce the purest English. It is an incongruity that is insistent throughout the play. Princess Theatre Manager Sam Loverich opened his newly decorated theatre on Monday night with the Kolb and Dill company in a double bill — Higgled v Piggledy and The College Widower. In addition to the tasty renovating, Mr. Loverich has had installed ? fine steam heating plant, and the Princess Theatre is now one of the warmest and most comfortable houses in the city. The two pieces, which were revived from the repertoire of the German comedians, serve the purpose of allowing the various members of the company to do much interesting and effective work, and the individual efforts of Kolb and Dill. Maud Lillian Herri, Olga Stech, Dick Stanton, Sydney de Gray. Bud Duncan and I'ronson met with great favor. Miss Berri was particularly happy in some singing numbers, and more than a passing mention must be made of the work of the chorus. They have never been seen to greater advantage in their singing or ensembles. In particular their drilling called forth loud applause. The production, as a whole, is one of decided merit, and business has been more than pleasing.