San Francisco dramatic review (1899)

6 THE SAN FRANCISCO DRAMATIC REVIEW April 24, 1909 Dates Ahead A Husband on Salary. — Elko, April 24 25; Wells. 26; Kaysville. Utah, 27; Morgan, 28; Coalville. 2!); Park City, May 1; Toole, 3; Grantsville, 4; Stockton, 5; Eureka, 6; Mammoth. 7; Payson, 8; American Forks, springville. 11; Provo, 12; Sandy, 14; Brigham Junction, 15; Brigham City, 16; Salt bake City, 3, week. Allen Curtis Musical Comedy Co. — Reno, Nev.. March 14— April 25. Annie Russell in Stronger Sex. — St. Louis, indefinite. Arthur Cunningham (Xerry Gow and Shaun Rime), (Charles V. Kavanagh, mgr.) — Billings, April 24: Miles City. 26; Glendive, NT. I>ak., 27; Dickinson, 28; Mandan, 29; Bismarck. 30. Belasco Stock. — Belasco Theatre, Los Angeles. Bishop's Flayers. — In stock. Ye Liberty Playhouse. Oakland. Black Patti Show (R. Voelckel. mgr.) — Kelso, April 26; Centralia, 27; Aberdeen, 28; Hoqulam. 29; Elma, 30; Olympia, May 1; Seattle, 2-8; Tacoma. 9; Roslyn, 10; Cle Elum. 11; Ellensburg, 12; Yakima, 13; Sprague, 14; Lewlston. 15; Pullman, 17; Colfax. 18; Spokane, 19; Wallace. 20; Missoula. 21; Anaconda, 22; Butte, 23; Helena, 24; Bozeman, 25; Livingston, 26; Big Timber, 27; Billings, 28; Miles City, 29; Glendive, 30; Dickinson, 31; Mandan, June 1; Bismarck. 2; Jamestown, 3; Fargo, 4. Brewster's Millions. — Peoria, April 26; Streator. 27; Bloomlngton. 28; Champaign, 29; Danville, 30; Crawfordsville, May 1; Terre Haute, 2; Vincennes, 3; Bedford City, 4; Columbus, 5; Shelbyville, 6; Connorsville. 7; Richmond, 8; Hamilton, 9; Dayton, 10; Cbillicothe, 11; Newark, 12; Zanesville, 13; Wheeling, 14; Youngstown, 15. Charles B. Hanford (management F. Lawrence Walker) — Grand Island, Neb.. April 26; Lincoln. 27-28; Fremont, 29; Omaha, 30May 1; Des Moines. Iowa, 3; Cedar Rapids, 4; Iowa City, 5; Davenport, G; Mollne, 111., 7: Decatur. 8. Tour ends at Decatur, May 8. Ethel Barrymore (('has. Frohman, mgr.) Chicago, April 26-May 1. Florence Gear (Jules Murry, mgr.) — Valley City. April 24; St. Cloud. 25; Stillwater, 26; Eau Claire, 27; Winona, 28; La Crosse. 29; Dubuque, 30. Gertie Dunlap Stock Co. — Empire, Fresno, indefinite. Gingerbread Man. — Seattle, April 18, two weeks. Girls (Sam & Lee Shubert, inc., mgrs.) — Butte. April 23-25. Graustark 1 Eastern 1 — Portland. Me., April 26-28; Lewiston, 29-30. Graustark (Western) — Chicago, indefinite. John Drew (Charles Frohman, mgr.) — Grand Rapids. April 24; Fort Wayne, 26; Terre Haute, 27; Peoria, 28; Davenport, 29; Cedar Rapids, 30. Iiambardi Grand Opera Co. — (S. M. Berry, mgr.) — Memphis, April 19-24; Nashville, 26-28; Chattanooga. 29; Atlanta, 30-May 1. Close season in Atlanta. Lillian Russell (Joseph Brooks, mgr.) — Seattle. April 23-May 1. Mills of the Gods 1 Ernest Shuter Amusement Co.) — Salem, April 24; Portland, 25May 1; Astoria, 2; South Bend, 3; Aberdeen, 4: ll'M|uiam, 5; Olympia, 6; Tacoma, 7-8; Yakima. 10; Sprague. 11; Lewiston, 12; Colfax, 1::. Walla Walla, ll; Pullman, i:>; Spokane, 16-18; Wallace, 19; Missoula, 20; Great Falls, 21; Helena, 22; Butte, 24; Anaconda, 25; Pucatello, 26; Boise, 27-28; Ogden, 29; Salt Lake. 30-June 3. Mine. Nazimova (Sam & Lee Shubert, Inc., mgrs.) — Astoria, April 24; Portland. 25-27; Tacoma, 28; Victoria, 29; Vancouver, 30. Morosco Stock. -Burbank Theatre, Los Angeles. Norman Hackett (Jules Murry. mgr.) — Astoria. April 24; Portland, 25-27; Tacoma, 28; Victoria, 29; Vancouver, 30-May 1. R. J. Jose (Fred Cutler, mgr.; Col. Steiner, ahead) — Salinas. April 24; Paso Robles, 26; San Luis. 27; Santa Maria, 28; Lompoc. 29; Santa Barbara, 30; Oxnard, May 1; San Diego, 2-3; Santa Ana, 4; Riverside, 5; Redlands, 6; San Bernardino, 7; Pomona, 8; Bakersfield, 10; Porterville, 11; Vlsalia, 12; Tulare, 13; Hanford, 14; Coalinga. 15; Selma, 17; Sanger, 18; Fresno, 19; Madera. 20; Merced, 21; Modesto, 22; Stockton, 23-24; Sulsun. 25; Vacaville, 26; Winters, 27; Dixon, 28; Woodland, 29. Paul Gilmore (Jules Murry, mgr.) — Des Moines, April 24; Webster City, 26; Sioux Falls, 27; Sioux City, 28; Creston, 29; Nebraska City. 30. Richard Carle (Charles Marks, mgr.) — Victoria, April 27; Vancouver, 28; Whatcom, 29; Everett. 30. Right of Way ( Klaw & Erlanger, mgrs.) — Palmer, April 24; Great Falls. 25; Butte, 26-28; Livingston, 29; Billings, 30. Rose Melville (Sis Hopkins), (J. R. Stirling)— Buffalo. N. Y., May 3-8; Baltimore, 10-15; Washington, 17-22; Altoona, 24; Youngstown, 25; Canton, 26; Lima, 27; Ft. Wayne, 28; South Bend, 29, and close. The Burgomaster. — -Provo, April 24-25; Salt Lake. May 1; Elko, 2; Winnemucca, 3; Virginia, 4; Carson, 5; Reno, 6; Auburn, 7; Sacramento, 8; Stockton, 9; Merced, 10; Fresno, 11; Hanford, 12; Coalinga, 13; Visalia. 14; Porterville, 15; Bakersfield, 16; Oxnard, 17; Ventura, 18; Santa Barbara, 19; San Luis Obispo, 20; Salinas, 21; Monterey, 22. The Call of the West. — Merced. April 24; Selma, 25; Hanford, 26; Porterville, 27; Visalia, 28; Tulare, 29; Bakersfield, 30; Santa Ana, May 1; San Bernardino, 2; Colton, 3. The riower of the Ranch (H. H. Frazee, prop.) — Frankfort, April 24; Ft. Wayne, 26. The Girl Question (Askin & Singer, mgrs.) — Boulder, April 24; Denver, 25-May 1; Trinidad, 2; Rocky Ford, 3; La Junta, 4; Dodge City, 5; Wichita, 6; Junction City, 7; Topeka, 8. The Thief (Special) (Chas. Frohman, mgr.) — Galesburg, April 24; Milwaukee, 26May 1. The Players, (S. Terry McKean, mgr.) — Gilroy, April 26-28; Livermore, 29; Turlock, 30-May 1; Merced, 3-5; Madera, 6-8. The R. E. French Stock Company — Third Avenue Theatre, Seattle, Wash., permanent. The Right of Way.— Helena, April 24; Ureal Falls, 25; Butte, 26-27; Bozeman, 28; Livingston, 29; Billings, 30; Miles City, May 1; Winnipeg, 3-6; Grand Forks, 7; Fargo, s; Minneapolis, 9-12; St. Paul, 13-15; Superior, 16; Duluth. 17-19; Lawrence, 20; Madison. 21; South Bend, 22, and close. Correspondence New York, April 11. — New operettas may come, new operettas may go — many of them the sooner the better — but so long as there is any love of good music and of real humor left such a minor masterpiece as Audran's Mascot is pretty sure to fill an audience with joy. Last week in the New Amsterdam Theatre, where Raymond Hltcheock appeared as the central figure in this old-time favorite, a crowd that packed the house encored most of the songs twice, and even three times, and laughed till it was tired over the antics of Lorenzo XVII and his adventures with the pretty turkeytender, who brings him luck till the tide turns with a vengeance. Mr. Hitchcock never had much of a singing voice, but Is an excellent comedian. His Lorenzo is as disreputable and amusing an old scapegrace as can be remembered in the part these many years. It is a "fat" part for any comedian, and he makes it tell without resort to any excess of horseplay or too much local color. The reading of the treatise on mascots, Lorenzo's courtship of Bettina and the deposed Prince's effort as a wandering musician, who knows he can't play luit does his worst, kept the audience laughing. Mr. Hitchcock's support includes Flora Zabelle. who, as Bettina, acts with vivacity. The famous Gobble song had to be repeated three times. Edward Favor as Rocco played a good second to the star, and Edgar Atchinson-Ely, as Frederic, sang his couplets with much, taste. Estelle Wentworth was a pretty Fiametta. The production is an elaborate one as to chorus and costumes, and there was some mighty good choral work in the finale of the first act and the pages' song that opens the second. After the second act Mr. Hitchcock made a little speech of thanks, in wdiieh he said he was so bad at talking out of his part that when he succumbed to the temptation his audience was always sure of one laugh — at him. His audience laughed with him. « • • Grace George and her company, for the first time here this season, revived Divorcons last week at a special matinee in the Hackett Theatre, and kept a large audience laughing through the three acts of Sardou's famous comedy. Miss George's Cyprienne is recognized as a portrayal in which grace, vivacity and arch humor prove to be delightfully effective. The petulant impatience of the scene in the first act with Des I'ninelles and her recital of her many wrongs were as usual most amusing. Mr. Worthing as Des Prunelles was again capital, and Max Freeman's waiter can hardly be improved upon. • * • i^ast Monday's matinee audience at Weber's Theatre was treated to a singing lesson, a throat examination and some hearty laughs. They were all part and parcel of a play called The Climax, which was produced here for the first time. The author is Edward Locke, and the incidental music, which is a very essential part of the plot, was composed by Joseph Breil. It is a novel idea the plot unfolds, as it revolves amusingly and interestingly about a set of vocal chords. A girl from a village in Ohio is possessed of a voice, and she comes to X. w York and studies singing with a distant relative, an Italian, who had once been a famous tenor. Full of ambition for the operatic stage, she refuses to even contemplate marriage to a young doctor, who has been her devoted admirer ever since childhood. He attempts to dissuade her from her career, for he believes the stage no plaCe for a perfect lady. But — here the plot thickens — her voice is not quite right and there is need of a slight operation, which is performed by a colleague of the doctor. Ami then, by means of mental suggestion and an atomizer he persuades the girl to believe she has lost her voice. Then she readily consents to marry him and has her trunk packed and her wedding dress on when she finds that her voice has returned. The doctor admits his deception, and the girl sings a sentimental song, and you are sure she is going to pursue her artistic career. But her voice is broken by sobs, for she loves the physician. Upon that scene the curtain falls and you have several guesses as to the outcome of it all. But never mind, for while the curtain is up there are amusing episodes, some sentimental passages and some that are sheer sentimentality. The idea is far from stale, I Hie lines are very g 1. There are only four characters and all were well acted. Leona Watson, as the girl with the voice, was admirable, and she had the voice and knew how to use it. Albert Brunning. as the singing teacher, refrained from overacting and still made much of his part, while Effingham A. Pinto, as his son, was full of the "artistic temperament" and displayed it convincingly. Then there was William Lewers. as the physician, who did a capital bit of acting. The music is sentimentally attractive, too. • • • The Brass Bowl, dramatized by Wlnchell Smith from Joseph Vance's novel of the same name, was produced in Court Square Theatre. Springfield. Mass.. last week. The play is full of action and the love interest and comedy are not neglected. Cyril Scott, who has the leading part, plays the role of Mr. Maltland, a young millionaire, and also that of handsome Dan Anisty, a cracksman. In the dual character he has great opportunities. He had to make many rapid changes of costume in portraying these widely different parts. Lillian Kemble as Sylvia Greame has a strong role which she plays well. • • • Mary Mannering appeared for the first time at the Belasco Theatre in Washington in The Truants, an English play by Wilfred Coleby, which was produced in England by Lena Ashwell. The atmosphere is decidedly English, the scenes Charles Swickard Offers When Love is Young WITH VIRGINIA SHELTON 1 (tie r SuCCBBBes THE FIRES OTAISF ST. JOHN,', THE GREAT LIGHT being laid in Kent, and there are dramatic situations involving a frustrated elopement, a mystery of parentage and a thrilling dfjcmma for the heroine. There was a large aidienoe. and Miss Mannering was verv xvpll received. In the company are Zelda Sqars, Robert Conness. White Whittlesey and Mary Nash. • • * When J. E. Dodson decided .after a rather long absence from the New York stage, to return in The House Next Door, he made no mistake. J. Hartley Manners' comely, announced as taken from the German, proved a most entertaining piece of work, and the "star" quickly convinced the audience that filled the Gaiety Theatre last evening that the author had given him a part for which he was peculiarly adapted. It was known that The House Next Door dealt with social relations of the Jew and the Gentile, and the audience appeared, when the curtain rose, to be decidedly more anxious to see how the subject would be treated than it was to see how Mr. Dodson would act. But that feeling of curiosity speedily gave way to interest in the player's presentation of an exceedingly irascible English baronet, proud of his ancestors, his birth and his country, hating the Jews with every breath he drew, with empty purse and owing the very roof over his head to the Jew he hated most of all, who lived in the house next door. Mr. Dodson, the Sir John Cotswold of the play, was ably supported. Thomas Findlay, as Sir Isaac Jacobson. M. P.. was a Jew who respected high birth, but with his own proper pride of race and achievement. William J. Kelley, as Sir John's son; Regan Hughston, as Sir Isaac's son; Mabel Roebuck and Annie Marinoff made a very acceptable quartet of sweethearts, while Herbert Standing as a breezy Presbyterian among the Jews, helped a lot in keeping up the fun. In short, Jew or Gentile will surely enjoy a visit to The House Next Door. * * • William Faversham and Walter Damrosch will make a joint production next season of the Greek tragedy. Orestes. An English version has been made by Richard Le Gallienne. which will be used in conjuction with Mr. Massenet's music, originally composed for the Count de Lisle version of the music play. It is the purpose of Mr. Faversham and Mr. Damrosch to present Orestes at matinees during the run of the former's production of Stephen Phillips' Herod at the Broadway Theatre. The cast of Orestes will be made up from Mr. Faversham's company and Mr. Damrosch and his New York Symphony Orchestra will provide the music. • * • E. H. Sothern gave his familiar and acceptable rendering of Justin H. McCarthy's play of romance and adventure. If I Were King, at Daly's Theatre last Monday, and pleased a large number of his admirers will his well-sustained portrayal of duty and honor aroused in a vagabond with glorious services for a crafty and almost senile king, all for the love of woman far above the deceit and guile of the Louis XI time in which they all live 1. Mr. Sothern was assisted by a company of capable actors. Gladys Hanson looked quite regal as the noble and pure-minded Katherine de Vaucelles. and in the gallows scene at the end was truly convincing in her interpretation of what sacrifice by a woman of rank means to marry a brawler who has proved himself a man and saved a kingdom to its people. Virginia Hammond deserves an especial word of praise for her work as the vagabond girl dying for the love of the vagabond man who had grown to too great a height for her love and devotion. The play was staged with the care that Mr. Sothern usually displays on his productions and the spectacle was presented in a manner that marks the high level which the work of this excellent actor has reached in recent years. * • * Going Some Is the title of a new comedy by Messrs. Paul Armstrong and Rex Beach, produced for the first time in New York last week in the Belasco Theatre by the Messrs. Shubert. The title is a Western expression, whence come both the authors. After the fall of the final curtain the large and enthusiastic audience was glad the authors had come from the West, glad because they have written a wholesome, clever comedy that is a winner, if applause and laughter are fair barometers of the rise and fall of enjoyment. Just where Mr. Armstrong began and where Mr. Beach left off matters not. The collaborators have written a play that, while it is made comic by all sorts of familiar stage means, is nevertheless true to life and enjoyable. The whole plot — and there is one of sufficient size to be noticed — hinges on a footrace to be run in New Mexico by a fly young man — athlete from Yale, who poses, but cannot run. The cowboys at Flying Heart ranch stake their all in J. Wallingford Speed of Yale, against Skinner, the Meet cook of the rival Centipede corral. Skinner throws the race to Speed for money and the young bluffer wins the voting woman with wdiom he has fallen in love. The comedy lines come fast and furiously. There is cowboy slang. New York sporting lingo and Mexican dialect that is refreshing on Broadway. The scenes are all laid in New Mexico and have the real flavor of ranch life, with only its comedv trimmings, save when the "bad man" of the Flving Heart ranch insists on exhibiting his shooting hardware. Seldom has a company better cast been seen in a modern comedy in New York, surely not for many months. It would be unfair to one to sav another member of the cast carried off the honors. Lawrence Wheat, as J. Wallingford Speed, the pink tea foot racer; Walter Jones, as his trainer, and Oza Waldrop, as his sweetheart, were e<cellent; so was Herbert Corthell as a col-, lege man from California. Culver Covington, as a Yale intercollegiate champion runner: George Leach, as a "bad man," and E. L. Fernandez, as a cow puncher, were types that made one scent the plains. Qo* ing Some will enjoy a long tenancy of the Belasco Theatre, because it affords amusement and laughter for four rapid-fire acts. It does not point a moral nor preach a sermon; it simply causes enjoyment, and that, as they say in the West, is "going some." * • * It takes two to make * marriage, and by the same rule of arithmetic— with logic added — it takes two happy ones to make a happv marriage happy. If this seems to be a puzzle look in at the Garrick Theatre some night and see how happy Clyde Fitch makes The Happy Marriage. Last Mondav night's performance was the first here of this new: comedy, and the happy marriage really cohV sisted in wedding Clyde Fitch's clever lines to a clever situation. At the close of the play, when the audience called the author before the curtain, he modestly thanked R for the applause, and added: "We hope another happy marriage has been made bj wedding us" — meaning the author and company, of course — "to the audience." The Happ> Marriage is a very interesting Play. There is the customary amount of Fitch froth on the dramatic goblet, and what there is bubbles effervescently, and what is beneath the froth is quite worth drinking and pondering over. Doris Keane was the wife, and she acted excellently, her naturalness being one of the most appealing features of the evening. Mr. Arden. as the husband, was admirable in his unromantic presentation of the character of the business man. Milton Sills was the matrimonial "butter-in." and he did it as fervently as possible. Then, besides others, there was the fine old Annie, who gave advice in brogue that would have been just as good in any other language — she was acted by May Donahue. The stage settings were handsome. The Happy Marriage "audit to raise a generation of happy theatregoer* * * • The New York Hippodrome I" -'an last week the fifth year of its history, The performance was the 1909th In the big playhouse. Since it opened, nine productions have been made, and on an average of 900 persons have been employed every season. * * * Summer has come. The calendar may say differently, but the signs are here. At the Herald Square Theatre last week the first so-callled "summer show." The Beauty Spot, was produced. Irk a musical play, and Reginald De Koveh wrote that end of it. wdiile Joseph W. Herbert did the libretto. And as it is impossible to have a summer play without a comedian that necessary role is filled by Jefferson Cm Angelis. The Beauty Spot will entertain you and its tunes jingle merrily, and there are girls, girls, girls. In costumes that art so long that they have to be lifted and in others that require no such care, girls In bathing suits — in fact, everything that belongs to a summer attraction. The lines are snappy and bright most of the time. The stage pictures are pretty, too. and there are some novel effects. Mr. De Angel i s was amusing as General Samovar. The little Miss Marguerite Clark, as his daughter, was charming in her pretty poses and graceful dancing. Viola Gillette, as the same Samovar's wife, was the focus of about as many opera glasses as were In the audience. George J. MacFarlane. as an American painter, sang sonorously, and Frank Doane, as Chickoree, his negro valet, added a touch of the burnt cork comedian that went well with everything else that goes well with a summer show. There was a lot of dash to the dancing, and the Boulevard Glide probably will be talked about The song. She Sells Sea Shells, invites manv a tongue twist. And what actually • The 'Beauty Spot of the title? It's a mole that is taked about but Isn't seen because it's on a woman's knee. • • • Robert Mantell moved from the New Amsterdam Theatre to the Academy of Music last week, and opened his repertoire with Julius Ca sar. Mr. Mantell presented a powerful interpretation of the role of Brutus. His supporting company was the same as" that seen at the New Amsterdam, including M"rl* Booth Russell. Lillian Kingsbury. Edith Campbell. L. Rogers Lytton, EthelDJg Hales. Fritz Leiber and Guy Lindsley. Tne Fourteenth Street audience gave Mr. Mantell a royal welcome. He continues at the Academy for several weeks. ROB ROY. Chicago, April 20. — Six Chicago theatrBS figure todav in (barges of violating the child labor law. On the complaint of Edgar T Davies, chief of the department of factory inspection, warrants c harging misdemeanor were issued against M. Cory, manager of the Chicago Opera House, and against Augustus Pitou at the Illinois 1 neatre. Managers of the People's, Marlow, Thirtv-nrst Street and the New Grand rneatre will answer charges of violating tne child labor law in the municipal courtThis round-up of theatres Is the result or s vigorous campaign waged by the factor) inspection bureau during the last re» weeks It was undertaken in an effort to determine just how much child labor was employed in Chicago theatres, and is or particular significance at present in Mew