San Francisco dramatic review (1899)

December 4, 1909 THE SAN FRANCISCO DRAMATIC REVIEW 9 Van Ness Theatre The most original genius of the American stage is here this week with a great show, which he has called The Yankee Prince. It is a show that is as much a reflection of his personality as he is himself. The show is both an entertainment and an achievement. Every line, every song, every bit of business is the output of the agile brain of George M. Cohan ( age something like 27), and the chief part is played by Cohan himself, and although he has generously written fat parts for his leading people, he holds his own without any forcing to the front. He has many imitators, but no equals. He has a peculiar voice, a peculiar walk, somewhat theatrically exaggerated, and a peculiar way of delivering his speeches and talking his songs, but the genius of the man is so compelling that it comes pretty near to this condition— that the Cohan way is right because Cohan does it. Anyway, this is the feeling that takes possession of you. In the strong support, Tom Lewis and Sam J. Ryan, almost one and undetachable for years, are the two most prominent. These clever actors are artists and it is unnecessary to dwell upon their work, it is so well known. Jerry J. Cohan, the father of George M., is a splendid actor of gentle dignity, and Mrs. Jerry is more than a good character woman, and her Mrs. Fielding is a finely shaded comedy effort. Lila Rhodes, also of the Cohan family, is a young girl who was called on suddenly to take Josephine Cohan's place, and her ability will grow with her opportunities. As she is now, she is a dainty little woman who can dance amazingly well. The rest of the company, are pleasing, and the chorus large and expert. The production is realty royal and there are so many featttfes of business introduced that these are worthy of a special article. One that is most vivid in our memory — the burlesque pantomime of the marriage of Percy and Evelyn — is a most graphic, original and illuminating piece of business. Valencia Theatre In the days when the old Columbia flourished on Powell street, there used to come out occasionally as leading support a fine looking, pleasant and well groomed young Englishman, who always left a very pleasant impression. In the interim he has been plugging away and is now a star in Clyde Fitch's comedy. The Bachelor. His name is Charles Cherry, and his personality is just as agreeable, his clothes have the same well fitting appearance and his satisfaction with his work is just about as evident, and not at all disagreeable to the audience. He knows he is a good actor and is sufficiently modest about it. The play is a real Clyde Fitch exposition of subtle satire, up-to-date slang and woman's idosyncracies, not to mention a genuinely clever reflection of the ways and thoughts of men. It is always safe to say that Fitch is unapproachable when it comes to creating women. But he falls down on his men— yes, he really does. Sure ! But I have the temerity to make a stand. I believe his men are just about as accurately depicted. Surely Mr. Cherry's bachelor is a real, true reflection from life, and the bits furnished by the two boys — one, the slangy, fresh office kid, and the other, the ambitious, selfish, over confident youth who thinks he thinks with a mature man's mind — are about as clever as anything that even the most manly and vigorous of our playwrights have budded. These two youths are played admirably by Ralph Morgan and Charles Laite. As a contemporary so aptly put it on Monday morning, one star was advertised and two . appeared. Ruth MayclifTe was the unexpected luminary. She possesses a daintiness, a wholesome charm and an apparently spontaneous lightweight humor that is simply irresistible. Her portrayal of the girl who changes her name and goes out as a typewriter, to support her mother and put her brother through college, and then falls in love with her employer, is one of the finest, most ideally balanced results we have been supplied with. She is going to the top fast. Mrs. Randell, the mother, was sympathetically played by Lillian Paige, and the Hilda Flint was amusingly burlesqued by Alice Riker. Alcazar Theatre The Warrens of Virginia, tomorrow night, closes its second big week. As the name implies, it is a southern drama laid during the civil war, and is characteristically Belasco in atmosphere. The plot surrounds the love affair of a southern belle, Agatha, daughter of General Warren, played prettily by Evelyn Vaughan, and ayoung northern lieutenant, Ned Burton, portrayed by John Ince. The end is very pleasing. Howard Ililsman, as the old southern general, Buck Warren, was at his best; Evelyn Vaughan, as usual, wasacceptable as the southern maiden, in love with Lieutenant Burton, the part played by Mr. Ince. The character of the northern lieutenant is not altogether that of a hero, and is a bad one for a leading man to play. The scenery and the musical numbers were beautiful and worth while. Princess Theatre The third week of the Rich Mr. Hoggenheimer is closing in a manner satisfactory to every one concerned with this bill of fun and music. C. William Kolb is doing excellently as Mr. Hoggenheimer, whose marital aspirations cause so much of the merriment. Lillian Berri, Carlton Chase; Sydney de Grey, Olga Stech and the other favorites of the company are making hits nightly. It will be some time before another attraction succeeds this popular piece. Garrick Theatre It is a far cry from the Soul Kiss of last week to the Shepherd King of this. The initial letters of each word of the title of the two bills are the same. There the resemblance stops short, like grandfather's clock, never to go again. The play that has held the stage of the Garrick during the past six nights to houses of a size to make both managers and actors glad is one of the unique pieces of contemporary dramatic literature. It demonstrates, as does Ben Hur, that Biblical material, if properly presented, has a greater charm for the world and his wife than has that same material between the covers of the book of books. This fact is obviously not newly discovered by the writer. That astute manager of everything that makes money by appealing to the dear public. William A. Brady, has erstwhile noted the same thing, while pulling in the sheckcls with attractions varying from a prizetight to Way Down East. If the Shepherd King did not have something very appealing about it is dollars to doughnuts that the eagle eye of Brady would not have seen an opportunity to point a moral and adorn a tale with the drama in which Wright Lorimer and his efficient supporting company arc doing such pleasing work. As a theatrical David, Lorimer is quite beyond criticism. It is not stretching the truth to say he looks the part — he acts it. too. The entire support, from the leading woman to the supers, are deserving of the same commendation. Spectacularly, the play is the equal of Ben Hur, without, of course, the big racetrack scene. As a book The Shepherd King is far superior to the dramatized form of General Lew Wallace's novel. Then, too, the actors in this company can and do act. It is seldom that one has the pleasure of listening to so many players, all with good voices. None of them talk through their noses. Lorimer has an unusually pleasing voice of exceptional cadence and musical quality. The David of the play is at every moment the blonde-haired hero, who invariably has the last word, and who never fails to take the scene from everybody whenever he makes an entrance. David's lowly home near Bethlehem, his celebrated encounter with Goliath, the heavyweight of Gath, whose free-for-all standing challenge was taken by the youthful psalmist with dire results to the challenger and holder of the belt, the trials of the romantic hero of Israel's golden age while in the palace of Saul at Gibeah, the meeting with the Witch of Endor, and an interpolated love story, these are the material out of which the spectacle is woven. David's unwarranted treatment of Uriah, the Hittite warrior, with whose wife, Bathsheba, the psalmist was enamored, and other dark stains on the character of the shepherd signer, are not touched upon. The higher critics of the Bible might object to the present play as not being strictly in accord with the materials contained in the Scriptures, but the dear public has no such objection to make. Wright Lorimer and his big company have been playing this one bill for lo these six years, and verily it seemeth not a thing unlikely that these mummers shall play this self-same bill for six years more. Anyhow, the company is clothed in purple and fine linen on and off and appears to be eating regularly, so, as long as the actors, managers and the pc—'ie who pay to get in are satisfied, the higher critics may go hang. D. J. Grauman returned from the Fast last Wednesday. Lorraim'. Buchanan is playing in vaudeville for a short time. KELLAR, the magician, who has retired from theatrical work, has bought a residence in Los Angeles. It is at Seventh and Wilshirc Place, the house being two stories, English architecture, with large lot. The reported price was $18,000. Mr. Kellar expects to build a garage and remodel the second floor of the house, and do some fine decorating throughout the residence. L J Fritzi Scheff, the brilliant singer who comes to the Van Ness Theatre, week of December 13. Personals Mai-. Keane was married in San lose last Tuesday to a non-professional. Last week in Oakland, Lena Salinger, with The Three Twins Company, suffered the loss of $150 worth of new furs. Manacer Clarence Drown, of the Los Angeles Orpheum. with his family, are on the way to Honolulu for an outing of several weeks. Roy Applegate, a former Seattle theatrical man, is in charge of the Charles Cherry company, now playing this city with the coast to follow. Walter Hoff Seeley is now in Los Angeles and expects to visit Salt Lake and Denver before his return next week. I!. R. Clawson, Jr., a well known circus and theatrical man, who at one time was an extensive house manager in Chicago, is ahead of The Bachelor for the Shuberts this season. HERBERT Carr, a well-known character actor, died in Washington city last Monday. Carr was seen here in 1903 with Nance O'Neil, and last year on the Coast with Mary Mannering in Glorious Betsy. Arthur Lotto, who for years was identified closely with San Francisco theatricals and who is regarded as an exceptionally brilliant newspaper man. is in town ahead of John P. Slocum's big musical show, The Gay Musician. M w \<;er W. M. Russell, of Seattle, has gone to Portland to assume temporary charge of the Portland Theatre, relieving Frank Hood, who has been over in Portland since the new house first opened, and who now returns to the treasureship of the Seattle Theatre. Sidney Herbert Izod, residing at the Congress hotel on Ellis street, who is a very valuable and artistic member of the Kolb & Dill Co., and is known OS Sidney de Grey, has petitioned the superior court for permission to adopt the name of Sidney Herbert de Grey, as he considers it a more suitable name for one of his profession. He also says that the name of de Grey is an old family name and has been adopted by numerous members of his family.