San Francisco dramatic review (1899)

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6 THE SAN FRANCISCO DRAMATIC REVIEW March io, 1900 AT TJ4E bOCAb THEATERS i0~O0/tt A CO SI The Columbia rrin: Columbia has crowded houses ■ this week, which fully testifies to the drawing qualities of the pure, clean drama. The Old Homestead is what Richard Grant White would call a homely play by homely people. Have you ever spent a winter among the snow clad hills of old New England? Its people are so simple, so rugged and hearty — and yet so narrow. Is it possible that with only nature to communicate with, one can become so little! Yet one's experiences in the country towns and on farms throughout the land leads to the very sad conclusion that when there is but little if any education, life is narrow. The details of every day life — the milking, the cooking, the haying, all seem to fill the mind's eye as though it were the end and not the means. An anylitical study of this life, so well presented in this play shows how constant contemplation of little things destroys the beauties and brings out only the ugliness in human nature. I don't know that civilization really does much else. Culture gives a polish, but the veneer is all too easily rubbed off. Joshua Whitcomb is a character, however, that stands out as the one above the rest in sweetness and strength as though further advanced in true living, though ever so simple the surroundings. The double male quartette gives some very sympathetic old fashioned songs that touch the heart. Altogether one goes away with a more cheerful mind, the cares of the day have slipped away under the benign influences of this fun provoking play and one is better for having these little heart touches shown up in a clean, simple story. The Alcazar K bout the Frenchiest, funniest and ** liveliest farce ever put on at the Alcazar has been seen there this week. It is called Never Again, and from the quickness of its action and the quality of its humor it might well have been given another name. It gave Ernest Hastings an opportunity to disguise himself in a character the like of which he has never heen seen in before. He was a German 'cello virtuose with the name of Katzenjammer. His dialect was a great sur prise and his humor was of the bubbling, instantaneous sort that always has the desired effect. Jeffrey Williams was certainly well cast as the sportive old husband with a past, and he made a most laughable character of a part that in less capable hands would have fallen flat. His opposite was admirably taken by Marie Howe, who plays "old woman" better than any one we know of. Mary Hampton, as Katzenjammer's wife, was in a part that suited her, for it was a severe task and one in which she acquitted herself with great credit In her usual interesting way, Miss Blayney was the bride of the young sculptor Vignon, impersonated by Howard Scott, and both were excellent. Laura Crews was the model and Georgia Woodthorpe, the maid, but they had but little to do, though they did that little well, as did also Lanoline Robertson, another maid for about a minute. The remainder of the cast was as follows: Mme. Lavrille, Maggie F. Leavey; Scullion, George Connor; Chamois, Jack Morris; Seraphin, Carlyle Moore; Larville, Will J. Irvin; Planchette, Geo. P. Webster. And here let it be said that Mr. Webster is just about perfect in his old men characters. The farce is in three acts, with the second funnier than the first and the third funnier than the second. It is a story where a lot of married people in Paris get mixed up in the usual scandalous Parisian way, but while it is somewhat naughty, it is not of the nasty type of French pieces that we are sometimes called upon to see. Briefly, Never Again is a big success. The molt TV/l krrily, merrily does The Idol's Eye roll along toward the hunddredth mark. Without a doubt it is the best thing the Tivoli people have ever done in the way of frivolous opera. The popular parodies that are so amusing, are largely the result of John P. Wilson's muse, and he continues to add new verses each week. For a good pleasant evening that will drive the blues away, just try the Tivoli. From London comes the news that the Grand Theatre, Islington, where Henry Irving and other actors have been in the habit of beginning provincial tours, was gutted by fire last week. Grand Opera House IT aving completed the opera season ' 1 Manager Morosco's forces have turned to musical comedy, presenting this week The Girl from Paris. The transition has been accomplished very successfully and the company has presented the Girl very entertainingly. Two very clever bits of character work are revealed during the performance. The servant part of Ruth, by Bella Hart, was a gem of finished acting, and the Frenchman impersonation by a new man, Edwin Hanford, was exceedingly well done, portraying to the life the volatile characteristics so peculiarly Gallic. Arthur Wooley, half the time in citizen's clothes and the other half in regular comic opera attire, was his usual humorous self, while Wm. Wolff labored hard with the part of Hans, the innkeeper. Thomas Persse was livelier and showed less of Persse than was his wont, while Winfred Goff did some good acting and some splendid singing. Hattie Belle Ladd was a charming daughter of an irascable mother and a muchly worried father. Edith Mason was quite lively and Frenchy as the Girl and Bessie Fairbairn brought into use her ability as an actress in the part of Mrs. Honeycomb. The attendance has been very satisfactory all week, and during the few weeks left the company in San Francisco, we may expect something very good of the new pieces to follow. The California \\7hetiier pure and hungry melo* ' drama pleases the critics or not, it pleases the people; that is, when they get it unadulterated. Melodrama has gotten to a place that savors of ridicule among the critics, but as a matter of fact, it appears to me that an actor on the melodramatic stage earns his salary if anybody in the profession does. In Darkest Russia they all work, and work hard, and so did the audience, boots, hands and voice. There is no giggling and tittering when they want "revenge," but the great earnestness which might accompany the action portrayed in this production, is given in all completeness. Melodrama requires study and work; some people are suited to producing it, both as managers and artists. Never does a play of this kind appear in San Francisco that the papers do not set up a howl for the god of melodrama south of Market. My recollection of melodrama dates far back. The first theatre I ever attended in my life was the Boston Theatre, twenty-five years ago. Kiralfy Brothers had put on Michael Strogoff, the Courier of the Czar. Since then I never heard of melodrama that I do not think of Russia, and with the thought comes Couriers — all Russian plays have Couriers. They must use a lot of these people in Russia, and an American gentleman always happens at that time to be aimlessly traveling through that desolate country, with no object or purpose— so common, you know, to American gentlemen at home and abroad. But aside from all, this In Darkest Russia is well presented, well staged, is interesting, and by the public will be pronounced a success. Kate Jepson, the revengeful wife, was exceedingly good, and not to slight the balance of the cast, it can be said they may be put on the same category. Nezu cAlhambra This popular theatre will re-open tomorrow afternoon with the newest and funniest farce comedy that has been seen in this city, Have You Seen Smith. The play is making its first visit to the coast. Have You Seen Smith is a ludicrous satire on married life. The three elements of farce, specialty performance and spectacular show are combined in Have You Seen Smith, and incidentally are introduced a perfect avalanche of songs, dances, and marches. The company is a versatile one. John Tierney, the Irish comedian, very favorably known in this city, will be seen in the leading comedy role. Have You Seen Smith will continue for the week and will be followed by a very elaborate production of the beautiful and stirring drama, The Three Musketeers. J. E. Dodson, the star of Because She Loved Him So, to be presented Monday evening at the Columbia Theatre, first came to this country some years ago as the leading support of Mr. and Mrs. Kendal. Alfred Hickman is playing the role of Frank Chilleigh in Willie Collier's production of Mr. Smooth.