San Francisco dramatic review (1899)

6 THE SAN FRANCISCO DRAMATIC REVIEW April 28, 1900 AT THE «#» ♦ *» hOCALi THEATRES Oi-BO/tft '4 CO Sfi The Columbia \ \ 7ard and Vokes, as the Floor Walkers, with their large company, presented a very amusing and lively entertainment at the Columbia this week. It is a combination of a vaudeville show and a comic opera. The stage effects and the costumes were strikingly handsome. A great deal of merriment is created by the Dusty Rhodes and Weary Willie, characters who do the tramp act to perfection. The Hebrew character ot Isy Mark provokes many a laugh, and is a realistically acted hit of low comedy. Margaret Daly Vokes displays much talent in her splendid character work. Lucy Daly is very entertaining and a lithe and graceful dancer. Bertha Hollenbeck, Josephine Comstock, Sadie L Farley and Alice Merrill Raymond, composing the Chicago Ladies' Quartet, rendered several selections which were warmly encored by enthusiastic audiences. The California HPhe Neills have been giving us 1 Marguerite Merrington's little comedy, Captain Letterblair this week to a succession of well-filled houses The personality of the company, which was made most pleasantly manifest during the previous two weeks, was evidently the reason for this good attendance, as the play, while agreeable and pleasant, is not in any way particularly striking. It does, though, give an opportunity to Miss Chapman to demonstrate her decided ability and for Mr. Neill to live up to the claim of versatility that has become associated with the mention of his name. Mr. Neill assumes the role of Captain Letterblair Lytton, of the Royal Irish Fusiliers. His cheerful and kindly Irish heart goes out to Fanny Hadden, the neice of Dean Ambrose. A debt of honor, a legacy from a dead father, cries out for him to strip himself of his possessions to satisfy the claim and in consequence to resign his commission, as it is well-known a fine broth of an Irish lad could not very well keep his position on nothing. It is also wellknown — in plays, principally — that no spirited young fellow in his position could propose to a rich girl, so off to the war he goes and comes back with the Victoria Cross. And after more or less circumlocution he ends his miseries, by an acknowledgement. In the meantime, the villian appears — in this instance, a remarkably lifelike, plausible villian, who talks and acts quite as we would expect a real soured, disgruntled villian of a suitor to. He wears an auburn wig and as several enthusiastic femininities were heard to utter, his villianly was done so smoothly that it was hard to believe he was a villian. So while Benjamin Howard did the character very well, the matinee girls refuse to accept him in such roles. Miss Chapman, in a favorite part, made amost charming Fanny Hadden, and in the scene in the Captain's room, where her dress becomes caught in the door, she certainly exhibited much appreciation of the possibilities of the situation, and made a decided success of the scene, being most artistically natural, if the term may be used. Mr. Neill's brogue was rich and facile, and it would not take much to believe with our friends in Victoria, who will not be convinced that Neill the man, is not every bit as Irish as Neill the name. Frank MacVicars, as the Dean, gave a most agreeable and artistic impersonation, and Robert Morris was a well-conceived, well-executed Mr. Seton, the lawyer. John W. Burton handled very effectively the part of Smithers, the cockney law clerk; Emmet Shackelford as Jorkins; George Bloomquest, as Pinckney; Julia Dean, as Polly Messiter, and Lillian Andrews, as Miss Hyacinth Messiter, completed the cast. Grand Opera House HTiie second week of Morosco's new * opera company has clearly demonstrated its popularity, for the attendance seems to be on the increase. Taken as a whole, absolutely no fault can be found with it, and the individual singers are received with more enthusiasm each evening. Especially has this been the case with Louise Royce, Ida Hawley, Mabel Russell and Blanche Chapman. Miss Hawley is particularly striking as Virginia in the Arabian Girl this week and Miss Russell and Chris Bruno made a great hit in a cake walk done as the French dancers would do it. Mr. Cashman and Mr Lyding each scored a success in solo parts. But the chorus and the ballets ! San Francisco has never seen anything like them. They are simply "great," and Stage Director Jones should be complimented on his ability to pick and judge good voices and divinely human figures. The new company should last a year without tiring, and we believe it will. The pieces now being staged at the Grand are put on with magnificence and elaborateness never before attempted. The Alcazar Ouo Vadis is running the fourth week at the Alcazar and to just as good audiences as the first week's performance of this celebrated play brought out. There seems to be no lessening of interest in this excellent presentation of Miss Gilder's version, and it would be a pity to withdraw it while at the height of its interest and attraction. Seldom has any stock company succeeded in putting such a finished performance, in every detail, before the public here. Hastings as Petronius gives a classical rendition of this now famous character. Edwin T. Emery is an ideal Vinicius, with all the fire of youth. His love-making has an ardor that to some may seem excessive, but not so. Youth-tide recognizes no excess. 'Tis full of energy, fire and ambition and his hot pursuit of his loved one against heavy odds, overcoming every obstacle until victory crowns his efforts, marks the centre of interest of this great play. Howard Scott's Chilo is really creepy, and its climax is reached with that perfect repose and dignity which is a characteristic of his work. Geo. P. Webster, as Nero, brings out with a clean-cut fidelity the innate wickedness of that infamous Emperor. Irene Everett is a beautiful Poppaea with classic profile, whose stud y is a delight. Marie Howe has gowned the sweet Acte with a perfect correctness of costume of the Augustian period. May Blayney is a charming Lygia, the devoted Christian girl who would die for her religion. Laura Crews as Eunice is a lovely picture of faithful love to her great lover, Petronius. And so down the cast do each do unusual justice to their parts. The moli Idol's Eye, in a race for a long time on the boards. This comic opera has brought out the finer qualities of several members of this favorite opera company. Annie Meyers seems to have a finish and better form of performance than we have ever noticed in her acting. Wm. Schuster is certainly outdoing himself and making a decided impression. Ferris Hartman and Alf. C. Wheelan, add to the life of the show, and with their mother wit and quick repartee are adding much to the enjoyment of the opera. Tom Greene's solo, Work Away My Boys, Work Away, is given with spirit. His sweet tenor is always a pleasure. The deep, rich tones of Frances Graham's magnificent contralto fill one with joy and electrify the audience. Helen Merrill, is a vision of lovliness. Her winning presence and magnetic singing of In Dreamland, was certainly charmingand is adding laurels to her reputation. The choruses are excellent, the male chorus in the closing act being especially well done. The Dewey Theatre Cteven's excellent stock company ^ present in a very pleasing manner this week, Archibald Clavering Gunter's Mr. Barnes of New York in which Landers Stevens makes a hit as Mr. Barnes. E. J. Holden as Tomasso Monaldi, is a capital old Corsican, Wm. Mack a good lieutenant, and Carl Berch, is good as Count Musso Danella. F. F. O'Malley is capital in the double character of a French captain, and a comical old man. W. F. Whipple was the Unknown. Wm. Mack as a British officer, is as dashing an officer as one wants to see. Homer Guilbault is a typical naval officer in the character of the French Ensign. Miss Fannie Gillette as Marina Paoli. is strong and effective. Gracie Plaisted as the 14 year old Maud Chartris, is taking, and the usual favorite. Maud Miller, as Enid, does some very enjoyable acting. '"I" he Wizard of the Nile is on its ' second week at the Tivoli and bids fair from its popularity and tunefulness to make a close run with the During the Henry Miller season at the Columbia Theatre a superb production of the farcical romance, His Excellency, the Governor, is to be staged with one of the greatest casts ever accorded a play in San Francisco. The story of the piece is laid in an island of the Indian Ocean and affords the scenic artist vast scope for effective stage pictures, both exteriors and interiors.