The Billboard 1906-03-17: Vol 18 Iss 11 (1906-03-17)

MARCH 17, 1906. The Billboard 21 THE CIRCUS Offers Best Opportunity For Press Agent But the Drama Requires Single Words That Best Tell the Story—The Prince of India as Example. By George 8. Wood. OW easy it is to run into adjectives and superlatives in treating of the Stage production of magnitude! And is this manager, the author, the promoter, the press agent, each and all imbued with an intense loyalty and a realization of the ingenuity, skill, outlay, manipulation, fineness of detail and harmony of effort that make for big things? The circus is supposed to offer the most fertile field for the eloquence of the pen, in the estimation of the layman, but could there be any dullard impervious to inspiration that would not enthuse over Mile, TripleSomersault Bonita, the Piazza Family of trapese performers and the school of elephants that do everything but actively participate in the municipal ownership campaign, and by the game token rush into the vocabulary with greedy fingers, picking therefrom the biggest ané most high sounding words? Then, when the largest, most costly and dmportant dramatic production the stage has ever known is given, the “‘big words’’ must retire before the simple frets and figures that tell the story best. Klaw & Erlanger’s production of Gen. Lew. Wallace’s The Prince of India, now running at the Colonial Theatre in Chicago, is the most pretentious, complete and important dramatic offering in the history of the stage. Most pretentious because it nas taken a great length of time, more research, money and preparation than anything heretofore undertaken—complete, because it is @ great success of thirteen big scenes representing respective chapters or incidents in the world’s history, reproduced in grand accuracy ef detail, in scenery, mechanical and physical equipment and by an extraordinary cast—important, because it not only sets a new standard, but is pre-eminently a guide to scholars, artists, architects, archaeologists, lovers of the drama and the luxurious environments, the admirer of the play and the thinker. There is mothing lacking to attract and entertain the theatregoer who demands action and sentiment, for the pretty love stery, the wierd and mysterious character of the Wandering Jew, the virile impetuosity ef the young Mohammed, the crash and turmoil] of battle between Moslem and Christian, the totter and fall of the Byzantine empire and wonderful climax in Church of Sancta Sophia, combine to hold the attention and enthrall the senses. A CONDENSED STORY But how is suck a story told in three hours? J. 1. C. Clarke, mearly three years ago, entered on the work of dramatizing the Wallace romance, and as one of the critics recently remarked, “no dramatist ever faced greater responsibilities.”” Seon after this Manager Joseph Brooks, of the Klaw & Erlanger firm, went to Lendon and started the machinery of physical preparatien in operation. The result of their work has been shown, a fortune has t to make it perfect and the transfer of scenes, atmosphere, detail. very expression, from the middle of the fifteenth century, the life of luxury and splendor, religious strife, rapidly and historic scenes, the passionate love of Prince Mohammed, the equally fond regard of the Emir Mirza and the dignified but earnest affection of 5B Constantine, all centered on the heart ef the emotion-torn, noble and pious Princess Irene, with the ever present influence of the Wandering Jew, to the present time and in a form that appeals to every one, is a distinct achievement. To accomplish the physical operation of this work is im itself a momentous responsibility and it may be said in this connection that the importance of every detail of operation has led to the extended residence in Chicago of a number of stage experts, who exerted their ingennity and skill on the preparatlens and the premitere, and can not leave the tremendous creation, although other productions Planned for early spring are awaiting their return to New York. General Stage Director J. C. Huffman, of the Klaw & Erlanger forces, has full charge of everything back of the stage, and his entire Staff has been recruited with a view to experience and fitness with as careful distinction as the cast itself. There are 210 working people empleyed in the production, divided into the fellowing classifications: Thirty electricians and ealeium operators; 28 property men; 20 clearers; 37 dressers and the balance of stage hands. Miss Sarah Kelly, who is chief costume woman on the Klaw & Erlanger forces, came on from New York witb her complete staff, now in attendance on the big prodaction. Among the people who are constantly at work are two men whose duties are exclusively the supervision and repair of the shoes used in the production; six who are skilled in the occupation of armorers; four deft wig makers, and any number of other experts. The announcement that six hundred people were in the production sounds big for a theatrical undertaking, but as a matter of fact, more than the actual work of production. SOME GREAT ACHIEVEMENTS New and ingenious electrical eflects and color schemes and combinations are seen in this production and are proving a mystery to the initiated, to members of the craft or those to be charged against the. who have made a study of such things, and are not enlightened on the details of these new achievements. There is one particular effect produced in the tent scene in which the young Sultan Mahommed, standing on a raised platform, either at times when he is alone or surrounded by his savage chieftains, is in a scene of light which comes from no one can tell where It is probably one of the most mystifying effects to those who are not locating the origin of things that has ever been employed in connection with a stage production. It is a creation of Mr. Huffman’s, by using reflectors on one or two of the foot lights, and is simply one of the many ambitious and successful novelties of the production. One panorama, showing the storm on the Bosphorus is a double roll of canvas 26 feet high, one roll embracing 375 running feet, and the other 325 running feet. The Palace of Blancherne is a set 40 feet high, and the Church of Saneta Sophia trims solid to the greatest dimensions of any stage setting ever employed in connection with a dramtiec production, being 46 feet high and full width. There are thirteen full scenes, with 110 hanging pleces, armor and suits of mail for 30 men (and this means the actual article, Gutperle of Paris having reproduced exactly from the originals in collections in London, Paris and Berlin), costumes for 200 women with several changes and mechanical devices innumerable for use in various scenes. The thunder boxes and lightning flashers are improved beyond the mest modern schemes, and many entirely new effects are being successfully used. Altogether the production is of a magnitude and remarkable fineness of physical detail that proves the constant wonder of those actually participating in it—a true test of achievement. From the front the performance is so full of impressions and beautiful pictures {n addition to its dramatic strength, that it really demands several visits to absorb and enjoy all its riches and delights, from the bald-headed row, as I wished to be among the regular attendants, those who are critics themselves. On my right hand were an old man and his wife; to the left seat, (1 judged by his merry face and caustic remarks) a bachelor; and in the row in front and in the row back of me, in all their be-ruffled and be-flounced youth, Sat sSweet-faced girls from a local boarding school. My position was splendid, in that “All truads lead to Rome.’ Here’s the ‘‘audiencial”’ dialogue: ‘‘Oh! isn’t he just too handseme,’’ flutters one of the sweet-faced things in front of me, as the lead ing man enters. ‘“He’s a cad. No woman would fall in love with him,’’ mutters the bachelor; but the approving nods and tosees of the girlish heads in the row in front disqualifies his crusty remark and Stamped him a stranger in a strange land. ‘“‘Quite clever,” whispers the old man to his wife. ‘Yes. Still I doa’t fancy him as much as the heroine’s father,’’ replied the wife, calling attention to the plain yet strong manliness of her choice. “I would never do that,” remarks my neighbor, ‘‘the bachelor,’ as the leading man curses the heroine for accepting the attention of another man whom he had suddenly discovered with his ‘‘bride elect’’ nestling snugly to his broad shoulder. “‘He’s a fool if be marries ber,"’ continues the bachelor, sollloquizing on the probable outcome, His enthusiasm and disgust got the better of him and probably imagining himself in the same predicament, gave vent to this, accentuated with a loud stamp of his foot: ‘Woman! {if you think you can pick the pin feathers off this duck with hands that are gummed with the goo of another's love, then you are reveling in Utopian dreams.”’ He ended this melodramatic speech with a determined snap of the jaw. ‘‘Isn’t he just fine and brave. See! he laughs at her lover,’ giggled a tall blonde back of me, summaris OUR SAN FRANCISCO OFFICE A REPRESENTATIVE’S OBSERVATIONS A dramatic critic Is supposed to be a speclalist in his particular calling. He is eupposed to differentiate between what is good and what is bad and whether acted well of not; and to tell In his paper of the impressions made vpon him by the principal characterizations and by the actors who assume them; of the construction of the play and the strength of its evolution. Yet, despite his acknowledged and supreme specialty of diagnosing dramatic productions, is the dramatic critic’s review, his approval or disapproval, what the managers, the real managers, want? Or is it the voice of the public? True, he stands sponsor for the public in the abstract, and he is supposed to know. Admitting the statement that he is supposed to know the good from the bad, still we challenge the truth of the statement while tolerating the assertion itself. Before I wade in too deep, I wish to say lest you Imagine I wield the biggest bammer and condact in the anvil chorus. men this number is engaged in. | “*truth.’ The quetation, “‘Temper justice with merey."* would be a good one to {nsinuate tm the cur Ticulum of dramatic criticism So many little execrescences crop out to dull the apprectation to blind the sight and deafen the ear to truly | good performance that criticism should be lib| eral, as what is sald by the critic Is presented as the thoughts of the public of which he is the mouthpiece, And now, to give a personal experience as dramatic critic, showing how many-sided is human nature, I append this in behalf of the I attended, recently, the performance of a play well acted and splendidly produced. It was a matinee and my seat was not a mile | ! that the writer is representative of this paper and a disciple of its commandment: “If you can't boost, don’t knock’’—said in explanation, | | Guttering | | | | wear and ing the discovered lover’s qualities as being courage and indifference. “My, isn’t he brazen!"’ scolds the good old woman, while ber husband applauds the same quality. The lovers and the ‘to be loved"’ which ends in the exit of the woman leaning on the arm of the discovered wooer, while the jilted one soothes his lacerated feelings with a five minute monologue, in which he mocks woman's inconsistency and elevates her heartleasness to the thirty-third degree. My bachelor neighbor was deliciously joyful and I thought sure he was going to yell out his feelings or jump over the footlizghts to better enjoy the discomfiture of the distracted lover; but he didn’t— “Great, wasn’t it!’ I ventured, enjoying his Interest and thinking to egg him into saying something. He did, too: ‘See! See! They're all the same,"’ he fairly hissed In my ear. ‘I tell you old man, Cupid is a scurvy little devil and woman's inconsistency is as flagrant of sulphur, brimstone and forked tails as the old nick himself.’ The fire went out of his burning enthusiasm, and he added in cold sarcasm: ‘Love is as beautiful as a rainbow—and just about as lasting.’ The play ended, and my friend, ‘‘the bachelor,"" strutted up the aisle with the air and manner of a Roman gladiator. The nice old lady kept telling her foxy grandpa husband | that “it will he a cold day when I come again te the theatre with sou, John Jones,’ and the things whe thought compromisingly that it was just elegant but for the heroine’s father, who happened to be a strong character, tripped out of the place, talking of things to wondering if all men were ag brave as thelr protege lover of the afternoon, The papers next morning stated heroine was needlessly bad and bold: that she sank below her intended depth: the leading man was too effeminate in his actions, which are distasteful to real women: that the rival lover was manly in physical courage, yet insolvent with moral debts, a combination most worldly, yet hardly ideal. H. J. that the BAADER-LAVELLE TRIO They are well-known vaudevillians and are now producing a high-class trick bicycle act with much success. “Pa, what is experience?’ “Experience, my son, is the compound extract of the result of butting in.”’ W. E. Stout, the Texas fat boy, sayy that the Texas State Fair at Dallas was the test he made last season. THE WAIL OF THE HEN-PECKED HUSBAND By Digby Bell. Though poets sing oft of domestic contentment And picture the joys of the marital life, They’d not sing so loud if they knew what re sentment They as to the man that is ruled by his wile ‘ It’s all very well to say life is a poem That’s lived by twin souls, but from me take a tip: Don’t ever think women are weak, for I know em. Like all hen-pecked husbandse—that’s me, Mr. Pipp. The day we were wed and together departed When I boldly ventured to handle the reins My wife made it plain before anything started That she bad a cinch on the family brains. Right there I began on my new Education And learned that my wife had command of the ship, I’m only a deckhand and keep in my station A — hen-pecked husband—that’s me, Mr. pp. How often as sadly I play second fiddle, I sigh for the joys of my bachelor days, They had this game beaten both ways from the middle, This marriage game poets are heaping with raise. Why don’t poets marry before they write rses They’d all change their tune, if they made such a slip. It’s tough to be broke, I admit, but muck worse fs A married man hen-pecked—that’s me, Mr Pipp. Thus, my education is slowly progressing; Each day I learn something not dreamed of before, [’ve given up thinking and hoping and guessing. My wife does it for me, all that and mu¢ more. She orders my neckties, my suits and my di ners, She puts me to bed, she forbids me a nip, And then she declares I’m the weakest of sinners, I am, if she says so—that’s me, Mr. Pipp.