San Francisco dramatic review (1899)

January 2. 1909. THE SAN FRANCISCO DRAMATIC REVIEW > Van Ness From the size of the curtain upon the scene in the desert, where Balthazar, the Egyptian. Gaspar, the Greek, and Malchoir, the Hindoo, heheld the star in the east, which shone over Bethlehem, heralding the birth of the Christ, to the finale where His power was revealed, accompanied by the hosannas of the multitudes in proclamation of His divinity, the masterful product of General Lew Wallace, who treates of the dawn of the Christian era in Ben Hur, the patrons of the Van Ness were entertained during the holiday week just closing. The very conception of the book inspires one with such a sense of sacred awe that it seems almost sacrilegious to descant upon it : and yet, having read the book and then witnessed its dramatic presentation upon the stage, one feels like resenting the liberties taken with it by the dramatist. While the dramatization of such bonks as Quo Vadis, The Prison^' of Zenda and others adds a certajjnthrill to some of the scenes, like Ben*$ur much of the essence in detail is sacrificed to emotion, glamour, sensuality and tinsel. The music, the casfTftg of Ben Hur, the young Jew. into the Roman galleys for a fancied crime, his rescue, the scene in the Grove of Daphne, and his triumph over Messala, the Roman, in the great chariot race, fairly made you tingle with amazement, admiration and delight, yet when we remember the sterling and sturdy qualities of Ben Hur, as depicted in the book, and while the whole tenor of his creation argues so strongly for every phase of morality, we do not appreciate the necessity of causing him to fall a prey to the seductiveness of the sensuous Iras, in order to add to the glint of the drama. However, eliminating the leper scene (where the very horror of it is too long-drawn), Ben Hur is one of the grandest, most spectacular, moral drama ever placed before the public. It will run another week, and if you want exquisite music, entrancing scenery, thrilling situations and a drama that yields full measure for the price of admission, go and see Ben Hur. Princess Kolb and Dill have changed the articles in the menu this week, but it smacks very largely of the former offerings, inasmuch as it is very largely Kolb and Dill and is as funny as anything they have done this engagement. The title of the play is The Politician, and its story doesn't matter. The new offering brings into local notice several prominent and new actors and a stage director who knows his business. To Jack Mason is due much of the credit for the excellence of many of the novelties introduced in the performance. The work of the chorus is especially good, and the variety of the ensemble work is a tribute to his ability. Particularly is this so in the barn dance at the opening of the third act. Of the new principals, chief interest centers in Adele Rafter, a handsome woman and a good actress. Vocally, she has had no opportunity, but what she did was entirely satisfactory and augurs well for the future. Percy V. Bronson, the juvenile man, has the real juvenile appearance and is a splendid addition to the company. Sydney DeGray does his usual clever work, and Charles Swickard is most satisfactory. The new soubrette. Myrtle Boyne, is a decidedly engaging and pretty young woman, who bids to become very popular. The Politicians is doing a tremendous business and will run several weeks. Alcazar Beginning with this week's offering of The Girl of the Golden West, the management has started on a programme that probably has never been approached by another stock house. There has never been such a list of great successes following each other so closely as has been planned at this house. As to the performance of the week's play, it is in every way admirable, repeating in detail the great success achieved when it was presented last season. The only change of any consequence to be noted is that Evelyn Vaughan is substituted for Thais Lawton. Miss Vaughan gives to the part a totally different idea, and in the first two acts she is much superior to her predecessor. In the last two, she does not bring out as vividly the yearning and the pathos of the part as did Miss Lawton. However, it would be a captious critic, indeed, who would find fault with the work of the Alcazar's charming leading woman, who, everything considered, is by far the best leading woman in the history of this playhouse. Bertram Lytell repeated his admirable, well-poised impersonation of the road agent, and Will Walling was seen again as the gambler-sheriff, one of the very best of his impersonations. Burt Wesner, Ernest Glendinning, Walter Whipple, I Iarry Cashman, Herbert Farjeon and Christie McLean have developed their portrayals until they are examples of good acting. The scenic investiture is one of the most striking triumphs we have ever seen, and the music of the orchestra fits in most happily with the spirit of the play. Business is immense, and a second week of the same piece has been arranged for. Valencia The second stock performance of The College Widow is to the credit and the nerve of a San Francisco playhouse. The judgment that prompted the payment of the tremendous royalty demanded for the play has been more than justified by a tremendous business all week — a business so great as to run the bill for a second week. In comparing the performance with those furnished by three road companies that have appeared here befor, it is surprising to find how high the performance rates. Individually, the stock company is superior to any of the road companies, and if the ensemble work suffers at the hands of stock, owing to the short time allowed for rehearsal, the individual characterization holds its own without qualification. Robert Warwick plays the part of Billy Bolton, the star halfback. The part is not a star one, and the best an actor can do with it is to look handsome and make ardent love. Warwick does both. The College Widow is the central figure in the play. This vivacious and fascinating young woman is given the best characterization she ever knew. For the first time in her history she has been played by an actress of ability and charm. She has been favored with plenty of charm before, but the Stoddard abil ity has been lacking. And Miss Stoddard looks her handsomest and dresses the part with exquisite taste and style. The comedy hit of the play was made by Charles Dow Clark, who was seen as Bub Hicks, the awkward freshman, lie was so funny — and so legitimately so — that the wheels of progress Stopped, and the play stood still while he was on the stage. Helen Lackayc. too, was a comedy treat as Flora Wiggins, the waitress. With splendid method and a real funny vein. Miss Lackayc takes advantage of every Opportunity. Gerald Harcourt was extremely pleasing as Stub Tahnage. the busy undergraduate. It looks very much as though Sedley Brown had discovered a juvenile man who is of exceptionally good calibre. Robert Homans played the part of Bolton senior with much ability. His make-up was not so good. Thomas McLarnie gave a real characterization to the part of the football coach, which part in itself is one of small possibilities to an actor of ordinary ability. George Baldwin, Jr., was exceedingly funny as the Hon. Elam Hicks, from the cow counties, and Robert Leonard surprised and delighted his admirers by the way he made the part of Silent Murphy stand out. This young actor demonstrated that, given material to work on, he can make good abundantly. Grace Travers played the athletic girl with the necessary vim and showed that she is possessed of an abundance of temperament and ability. The scenery was a triumph, and I lerman Heller again captured the plaudits of his audience by some exceedingly clever solo work in connection with the regular work of his orchestra. American After passing us by one season, Murray and Mack return to the town that was always good to them, and, thanks to the clientele of Manager Abe Cohn's playhouse, their business has been immense during the entire week. The Sunny Side of Broadway is as good a title as any other for the melange of song, comedy, scenery and shapes that have long been identified with the firm of mirth providers. Murray and Mack contribute nearly all of the business that has been associated with them for the past ten years, and through long practice they are funny and entertaining. The stage management is good, and the chorus comely. Through a disagreement with the stage director, the company is shy of a German comedian and a prima donna, but these roles were taken very acceptably the latter half of the week by understudies. Following this show. Arizona, that standard drama of Western life, comes for a week's stay, and then the big Cohan & Harris show, Fifty Miles from Boston. Evelyn Greenleaf Sutherland, co-author of the drama. The Substitute, now being used by Max Figman, died suddenly at her home in Boston last week. She was engaged in writing a new play. She also collaborated on The Road to Vcsterdav. Fred Belasco Back From New York Fred Belasco returned from New York Thursday evening, after an absence of six weeks, and announced that he had secured for exclusive production at the Alcazar a number of important plays which have had most successful runs in the East. Among the plays are Blue Grass, by Paul Armstrong which has created a sensation in \ew Yo"rk; The Girl W ho Has Everything; The Man from Home; The Squaw Man. Edwin Milton Royle's drama, which was seen here some months ago at the Van Xess ; Audrey, dramatized by E. F, C. Boddington from Mary Johnston's novel, and The Gentleman of France. Options on a number of other plavs which have not yet been released for stock were secured by Belasco. The Warrens of Virginia, a David Belasco play which has had a phenomenal run. will be another of the importations which will be seen at the Alcazar. All the costumes and properties for The Darling of the Gods, which will shortly be produced at the local playhouse, are now on their way to this city, where they will be used in a sumptuous production outlined. Theatrical business has been unusually dull in New York during the last month, according to Mr. Belasco. The reasons for this, he said, were partly that the financial depression had not entirely worn off in the East, partly that the holidays had followed closely upon the elections, and partly because the moving picture shows were cutting into the theatres. Cheap melodrama had almost entirely died out. Maxine Elliott Theatre Maxine Elliott opened her new New York theatre on Broadway Wednesday night before one of the most brilliant society audiences ever seen in that city. Weeks ago. when the chart for the new Maxine Elliott Theatre was thrown open to the public, practically every seat was taken for some person prominently known in society. The play selected by Miss Elliott was The Chaperon, which she first put on in Boston three weeks ago. With the opening of this theatre it will present for the first time an actress as her own builder and manager, and with the theatre with a seating capacity for 700 persons. The building is said by architects to be entirely fireproof. The interior decorations are very elegant and modern in every respect. The seats are larger than those ordinarily in use and give perfect comfort to those using them. The house was built at a cost of $750,000. The entire front is of marble, presenting an elegant appearance, and being distinctly different from anything else of its kind in New York. Miss Elliott expects to have a long run in her own playhouse. It is her desire to have a permanent theatre in New York that she might introduce new plays there and be spared the tedious trips through the country that are the lot of other stars of the theatrical profession. Robert Leonard Valencia Stock San Francisco