The Billboard 1910-10-22: Vol 22 Iss 43 (1910-10-22)

OCTOBER 22, 1910. The Bi llboard 15 THE EUROPEAN STAGE AND ACTOR Oswald Stoll Plans the Erection of Several Music Halls in London---English Theatre for Paris Next Season During the past few days, we have been visited with a perfect avalanche of new plays of all kinds—good, bad and indifferent. fPerhaps, taken altogether, they have stood the ordeal well, but whether any one of them will ever create a furore, is more than doubtful. Up to the present they seem not to have affected the older plays in the slightest, and even those of last season's plays still running seem to be going as strongly as ever. Taking them more or less in chronologica) order, we start with A Poet from the Blue, Cosmo Hamilton's adaptation of Triskan Bernard’s, and Alfred <Athis’ Le Costand des Bpinettes, produced by Vion Boucicault and esented by Charles Frohman at the Duke of ork’s. The best thing to be sald about the piece Is that it was not worth all the trouble taken over it. I understand that in the original play really did present a realistic picture of the phase of French life, but in the adapta tion it becomes simply impossible surdly melodramatic. The story is of Irma Laurette, a rather less than mediocre actress, but at the same time of great beauty, who had in her possession a bundle of letters, the contents of which are sufficient to send a distinguished banker to penal servitude. To recover them the banker can concelve of no better method than of sending an Apache to kill Irma—why they could not have en stolen is not explained. But it seems the common type of Apache Is not good enough fof this little job. So Claude Brebin, a ne’erdo-well of good family, who bes sunk to the gutter, is engaged for a consideration of 10,0000 francs, to go and stab Irma and get the letters back. Claude, ww strikes u with Irma at a ball, and goes home with her to her flat, she having fallen in love with him right away. This gives rise to the only dramatic situation in the piss. for while Clande is making up bis mind for the murder, another —and real—Apache appears on the scene, also intent on killing the unfortunate lady, although his motives were of the simple kind— of ordinary burglary. Claude goes for the intruder and quickly puts him to flight; then he makes a clean breast of his own infamy. But even this does not daunt the love of Irma, who swears she adores him all the more because of it, and not only hands him the letters, but tells him to go and draw the 10,000 francs, innocent of her blood. He gets the notes, and then the quixotic couple suddenly determine to burn them and start a new life. It is pretty easy to see that this might make & good twenty minutes’ sketch for a variety theatre; but at the Duke of York's, it is expanded into three acts, opening with a scene at an Apacne cafe, where a characteristic Apache refuses the job, because he would have to make himself pleasant to the lady first. This declaration and a few remarks by a lady Apache the effect that her brothers in arms have degenerated since they took up the English system of boxing, are the only two points of interest In one of the most tedious first acts I ever remember seeing. Only Claude—played by Arthur Wontner— Teally has much to do in the piece, over thirty names appear on the bill. He plays with great energy, and ives ai vivid exposition of the tortured state of mind of the man who has undertaken a task from which he shrinks. Irene Vanbrugh, despite ber limited cpecrtaniticn, is a success as Irma. Arthur Holmes Gore makes the most of the part of the Apache who was not a ladies’ man, and Dennis Eadie is as admirable as usual in his study of the scoundrelly Doizeau. ap plause on the first night was very limited, and at that seemed more for an especially clever combination of actors, rather than for the plece Itself. Three plays which have light on your side, have just been produced bere, and each has met with enthusiasm. Thompson Buchan’s A Woman's Way met with & great reception at the Comedy, and although the journalistic end of it was a trifle unfamiliar to the audience—even to the newspaper element of it—it was, nevertheless, exceptionally entertaining. The hit of the lece is Alexandra Carlisle as Mrs. Waldron. bhroughout her acting is clever, piquant and yet reStrained. A less skilled actress might perhaps have overdone the part, and although she is trying not only to bring back the affection of her husband, but also to hush up a scandal, she never loses the sympathy of the audience. Alan Waldron, the gentleman with more money than brains, is admirably represented by Charles Quarterman, Frederick Lioyd plays the part of the ‘ournalist with great dignity, while the ungrateful character of Mrs. Verney is undertaken by Miss Marguerite Leslie, and made the most of. Edmund Maurice gives a vigorous and racy representation of the choleric old general, Sir Harry Dundas. Altogether the play looks Iike making a very big success indeed. At the Strand, Stanley Cooke has just put on the Man from Mexico. When it appeared in London two years ago, it hardly seemed to me that the company was adequate to the plece, but since then ther have apparently wakened up and playing with terrific energy and verve, they quite take an audience by storm. I hear that packed houses are the rule, and It may be that this farce till put this most unlucky of all theatres on {ts feet again, F. C. Whitney produced The Chocolate Soldier at the Lyric last Saturday. Most people were naturally curious to see how Shaw's play would already seen the rank among comic operas, and there was just as) much curiosity regarding Oscar Strauss’ music, Both turned out a success, As regards the plece Itself, we had for once a comic opera with an intelligible story and a coherent plot, and the music struck everyone as tip-top. Con Stance Drever, as the leading lady. and C. H. Workman as representing the comic element Were the two main features and the rest of the company did themselves proud. I fancy The Chocolate soldier is going to be the ‘comic opera of the season, | with Frederick Koss, and ab-| a friendship | although | The Lyceum has definitely taken its place as the home of melodrama, but The Sins of London, just staged at Irving's old theatre, has not quite 6o nowerful a cast as usual. In | Walker Melville’s new play, also we see rather more than suthcient of the sins of London. Very little is left to the imagination. Apart from this, it is the usual story of the dishonest guardian, his scheming son, and persecuted ward, as Jack Pemberton, the hero, always at hand. The play was well presented, a sinking ship being one of the ‘‘thrills,’’ and a desert isle scene, one of the most pleasing effects. Of course, the triumph of virtue made its usual appeal to a crowded house— that was not too exacting in its demands— and the may will probably have a good run. Eric Wayne was the villain, as usual, and Miss Brandon Thomas, daughter of the author of Charley's Aunt, was the heroine. Both they and the rest of the company got an enthusiastic reception. The most interesting event of the past week has been the announcement that Mr. John Calvin Brown—who has so successfully run the White City at Manchester—has secured the buildings and grounds at LEarl’s Court. By this acquisition he becomes possessed of four places for om» alr amusement—the White “ity at Manchester, the Magic City in Paris, a large park at Barcelona, and Earl’s Court. By a systematic interchange of attractions. he hopes to keep different parks full of novelty and interest. PARIS AMUSEMENTS. ‘Well, things are picking up a bit. then one even sees what corresponds to a billboard platered with ‘‘amches,’’ telling to the world that a new production is just about to be made. It is perfectly true that the Eiffel Tower hasn’t ~et been seen walking down the Boulevards towards any of these first-nights, nor has the Seine turned and started flowin in the other direction; but, the main idea is N THINGS HAVE STARTED. That’s the bug. For example, — speak of what one sees at the Palais-Royal. ‘Enfant du Mystere, (The Mysterious Baby) is it. De Alevy and Eugene Joullot are the authors. It is just a farce with the usual trimmings. Charlotte, a modiste, is in love with her lover, She wants him to marry her. He doesn’t seem eager to get caught in the matrimonial net. But even God must where woman wills, so what can mere man do. Answer: Nothing. Durandin is a mere man. Charlotte introduces on the scene a fake baby. and by its aid, after being claimed by three fathers an. three mothers, and a whole lot of other happenings. all of which aiding in keeping the audience in a scream, the curtain went down on what will probably prove a money-maker. 1: is in three acts. Most of the scenes and jokes have been seen and heard fore. COMEDIE-FRANCAISE. Durandin. Now and. | until Oct. Comme Ils Sont Tous (As They All Are) is) the title of a new piece at the Comedie-Fran RACHEL LOWE. Singer of the most popular songs in England. MLLE. LATHELME. Star in her own theatre, BouffeParisien, Paris. Earl's Court has been shut this season, after, having had a continuous existence of about fifteen years It was the pioneer in London of the modern system of amusement parks, and when it was first opened, and for a long time afterwards, it enjoyed a large measure of popularity. It is small. compact and homely, and although when the White City came into being with the inauguration of the Anglo-French Exhibition, Earl's Court suffered badly. Many thousands of Londoners still prefer it to the vast expanse at Shepherd's Bush, which is run by Mr. Kiralfy. I have no doubt that, under Mr. Brown's manavement, Earl’s Court will give Kiralfy’s show the best run for its money it has ever had. In any event, it may be tegarded as certain that the Londen public will give the new enterprise a very good trial. I am sometimes inclined to think it would be as well if Americans coming to England— and Englishmen going to America, for that matter—would take the trouble to make themselves a trifle conversant with the country they are visiting before venturing on rash statements concerning it. The latest example of this is Mr. Sam McKee, the theatrical writer. After a stay of less than a week in England, he has committed himself to statements of this kind: “The customs of Bnglish and continental mu| sic-halls would not be tolerated in America by the police, even if the public would take the shows. _ “The average Enclish manager believes that a music hall coukl not exist without bars filled with the class of women who formerly frequented the Haymarket, and pursue in the halls more insistent methods than ever were permitted In the Haymarket. In England, one of the main purposes of the music hall is apparently to solve the so-called problem of the social evil.’’ How a man in his senses can stand for such childish twaddle as this, amazes anyone who knows conditions here. Everyone is, of course, aware that there are certainly two music halls in London which are deserving of the general charge Mr. McKee has made against them. But these correspond to just about five pet cent. or less of the music halls scattered about London. If Mr. McKee had taken the trouble to look around him, he would have found that just the very epneeie the remainder. wonder if he ever happened to look In at the Palace, the Hippodrome, the Coliseum, or any of the large suburban halls? if he did, I don’t mind laying heavy odds that condition prevailed in he never saw a woman promenading in any one of these. In fact, supposing that Mr. McKee had taken the trouble to study the (Continued on page 50.) tance from its premiere. line or so here. The piece is a comedy in four acts. Adolphe Aderer and M. Evhbraim are its makers. Like all other French a Lord. when, Ob when will anyone in this land write on any other subject!—is deals with a couple, one of which is unfaithful to the marriage vow. Ginette marries the Comte de Latour-Guyon. The Count meets up a short time later with a former mistress, the Baroness de Chanceney, and once again falls ‘a victim to her charms. The outraged wife wishes to leap into the divorce business right off, but a friend gives her some good advice about how to keep and hold a husband hard and f.st, so, just as the final curtain falls, Ginette wins back the erring hubby. Aderer and Ephraim know how to build scenes. They don’t fai in Comme Ils Sont Tout. It is the principal piece at present in the repertoire at the Comedie-Francaise. I might mention in passine that Business is Business (Les Affaires sont les Affairs) has been put back for the time being, for presentation once a week at this house. 1 will give it just a THE CASINO DE PARIS. A new management has taken hold of the Casino de Paris, and the house threatens to become once again one of the most popular of the Paris “laces of amusement. Since their opening, crowded houses have been the rule. The program is a good one. One of the principal acts is called a ‘‘mimodrama,’’ and is only a new way of staging a Salome dance. But the fact that it is new is a big merit, and with the newness there is not a little excellence. Mme. Sahary-Djeli has the title role, and she does everything with a charm, which really gets out over the footlights. Jacquinet plays Herod, Rosario, Heridiade, and Pascual, John the Baptist. The act is the work of Leon Xanrof. =: Abomah, the negress from America, is one of the ‘“‘big’’ attractions. She is 8 feet 2 inches in the stocking feet, yet she does a sort of song and dance stunt, which brings down the house— almost literally. Howard and Kennedy, comedy acrobats, are big favorites, while another weil liked number is furnished by Floridylle and Company, who present a delightful mimo-ballet. It is in one act. and the -outhful chorus is a big feature. Kolas Wanis troupe of Russian dancers; Mlle. Marcelle .aidd, singer: Mlle. Fernande d’Elb, comedienne; Lite le Poucette (The Little Flea) a tiny woman-dwarf; Miss Belny and John Tom, conjurors, all help in making out a corkir~ bill. Albert Cailar, the | managing director, shows a good head. | | the revival. | the revival. | weakening. SOME PROMISES. Gout de Plaisir (Taste of Pleasure) is in rehearsal now at the Athenee, where Le Dansaur Inconnu is reaching out after its 300th performance. This latter piece is to come off soon, as I am told that Gout de Plaisir is irrevocably set for one of the early days of October. Mme. Jeanne kolly, Mlle. Alice Norry and Gaston Dubos¢ are to take the leading roles |in this riece, which is by Louis Artus. Chantecler, it seems, is showing signs of Of course, it can’t run forever though, and looking toward the event of its being taken off, Messrs. Hertz and Coqguelin, managers of the Porte-Saint-Martin have started off in a leisurely manner, getting ready for their next production. ‘This will be l’Aventurier (The Adventurer), by Alfred Capus. far as know, this piece may have been disposed of by this time to a well known American manager, whom I heard was negotiating for the English speaking rights. Still, it may not be sold, the information I had not being positive. Lucian Guitry this week came back to town after a long vacation, and in the absence of the author read the play to the full cast, minus two players unavoidably away. These were Mme. Juliette Daramene, on the ocean, returning from South America, and Mme. Emilienne Dux, playing at the Michael Theatre in St. Petersburg 1 No date, even an a~»roximate one, has been set for the premiere of this Capus work. Mondavr. Oct. 3, is the date of the opening of the Varietes Theatre. It will warm up with a warm-over—just as all the other playhouses have done and are doing—Le Bois Sacre being Miss Hattie Williams is playing this piece in America, Doris Keane appearin, in the English version. In both America England, it goes under the name of Decorating Clementine. As all of the works of Gaston de Caillavat and Robert de Flers do here, this piece has had a big success and is well worth Mlle. ) * Lavalliere will be Clementine, as usual, and Max Dearly will be the Russian dancing master. Or (in the American version, is it a Frenchman?) Albert Brasseur and M. Guy will both appear, this quartette having created their particular roles. The Bouffes-Parisiena, Cora Laparcerie’s theatre, has a season of revivals ahead of it, it ms. La Dame de Chez Maxim’s (a revival) | will give wav to La Bonne Intention (a revival) which will in November drop out in favor of Xantho Chez les Courtisanes (another revival). L’Aiglon, at the Sarah Bernhardt, will soon | attain its 600th performance. This will make | the last of the piece, | Albert de Bois’s new production, | @’Athenes is scheduled to go on. * | place about the middle of October. for the time being, ts La Conquete This will take Mme. Bernhardt herself will not appear in this work. At the time of writing the remarkable woman is /in London, but she has in store for those who frequent her theatre, some excellent things. For example, the Divine Sarah herself will create the role of Merhistopleles in a new_Faust of Edmond Rostand’s making. M. Le Bargy, the great actor from the Comedie-Francaise, will play Faust. I understand that Rostand has followed closely Goethe’s original. But, before this is produced. I have Mme. Bernhardt’s word for it in spite of newspaper talk to the contrary, Mme. Bernhardt will create another Rostand work (which he is now writing) in conjunction with Le Bargy. What the nature of this piece /is, I ean’t say, not to mention its name-to-be. caise. I spoke of it beirore, but at some dis And in the meantime, before either of these plays is produced, the great actress is to make a trip to America. She returns from London about the middle of October. and will rest a few days at Paris before leaving for the other side, about Oct. \ Bargy is also tourin now, his return being set for Oct —abou the middle. He still has some months to play at the Comedie-Francaise yet before going to the Bernhardt. AN PNGLISH THEATRE. A London manager is planning a stunt which seems more like the energetic action of an American than that of a Britisher. I heard this week that, on account of not being able to play in London on a Sunday, this manager proposes crossing the channel and giving a performance in Paris. The journey requires seven hours each way. Odd as it may seem, there are no sleepers to be taken, for no one has had energy sufficient to organize a_ train-ferry service between Calais and Dover. So the London manager would have a mighty tiresome trip of it getting his players to Paris on Sunday. playing a night performance (a matinee would be impossible on account of the time of arrival. at Paris) and getting back to London on Monday after a very short night’s rest following the |} show Sunday night. This would give a company playing far-apart, jerkwater-town dates cards and spades, then beat it for downright tiresomeness. BESSIE CLAYTON. The Olympia will soon throw open their doors on a new show. a revue called, Vive Paris! One of the principal attractions will be Miss Bessie Clayton, the American artist. I was_ rather amu at the enthusiastic way in which one of the papers went at the news. It said: “A name magic is that of Bessie Clayton. When one pronounces it before an American, bis face lights up until in gleams, and when a theatre announces her name on its Dill, in “he twinkling of an eye the house is full. Bessie Clayton, the queen of the stars of American dancing, has arrived at Paris.’’ The new revue goes on about the middle of October. Messrs. Victor de Cottens and H. B. Marinelli, managers of the Olympia, say they are goine to have the greatest revue that ever hit Paris in the eye and ear. Until the new show is put on, the semi-side-show-ballet musicalwhat-you-may-call’em, with its Rosa-Josefa twins of the Siamese variety, will be the attraction. These women, one of whom nurses her infant while the oiaer plays a lullaby on a fiddle, are really attracting huge crowds. Even Jules Claretie. of the Comedie-Francaise wrote four columns about them, in Le Tempo, France’s Official gazette. (Continued on page 50.)