The Billboard 1906-05-19: Vol 18 Iss 20 (1906-05-19)

MAY 19, 1906. The Billboard % 4 6 [ Pat-Chats Suite 6i, Grand Opera House Bidg., 87 S. Clark St. ial ~ , aa a By WARREN A. PATRICK. HE energy of the motion picture men is marvelous. Already thoucands of feet of film have been prepared by the ‘Frisco Moving Picture Co., which bas just been or ganized to get out and show, in the fullest details, every interesting scene that may have been caught by the camera from the time of the destructive earthquake until the big fire had been beaded off in its onward course and subdued after three-quarters of what was— but yesterday—one of the most interesting, famous cities in the world had been destroyed. A representative of the new motion picture concern was on the spot with a good supply of film when the shakeup came. With the intuition born of experience and the Iinberent interest in his work, the first thing he thought of was his camera and bis film. This is why the ‘Frisco Motion Picture Co. happens to be the first in the field with a complete set of films with a marvelous reproduction of the aweinspiring public calamity. To Lou M. Houseman, of Chicago, and Messrs. W. L. Wilson and M. N. Jones, the credit must go for enterprise and untiring energy. These gentlemen heard from the representative who was on the ground directly after the shock was over and other men with additional film were burried to the spot from the nearest and most available points. Thus it is that a complete and thrilling set of motion pictures have been repared so quickly and sent out to show the rs of the great calamity that fell upon the metropolis of the Pacific Coast. On Sunday evening, 6, the first public exhibition of the show was given as a press rehearsal in the banquet ball of the Sherman House in Ohicago. Everyoge fortunate enough to be present was profuse with praise of the rfect pictures and anxious to offer congratu tions to the promoters of the enterprise. Various sections of the devastated city, peopled by searchers for human bodies, souvenir hunters, those endeavoring to locate their homes, and refugees hastening to some place of temporary shelter, all were seen as though in real life, and a number of exciting scenes were thrown on the canvas. Among these were the dymamiting of the Emporium, where one is almost ready to shrink from the danger of falling walls, and a number of the views where a motion picture machine has been on the front of a street car, on board an aut@ mobile, or one of the beats playing the famous water front, were the most realistic imaginable. The smoking ruins, the galloping soldiers, the great tottering walls, the supply stations for the distribution of food, the exhausted firemen and policemen, the long lines of all sorts and kinds of conveyances carrying the frightened people to the ferries, and many other wonderful scenes have been preserved to history in this manner. As the vivid and lifelike scenes passed across the screen, all were awe-inspired. Among those in the audience were some refugees from the stricken city, who were familiar with each scene as it passed either from occular experience or that which came with the close touch from being on the scene. Everything from the first shattering influence of the temblor to the smouldering ruins that were in evidence after the fire, was truthfully depicted on the canvas with lifelike realism. Already the company has booked the larger cities and the shows are being given every day. Just as fast as the marvelous films can be turned out, a new company is sent out and within but a short space of time representatives will have crossed both oceans with films that may be put on to show our friends across the seas what has happened to the city that was and will be again the pride of America’s Pacific Coast. Beginning Saturday, May 12. the San Fran cisco pictures are being exhibited twice each afternoon and twice each evening at Brooke's Casino, Chicago. George S. Woods is handling the publicity work for the ‘Frisco Motion Picture Co. in a capable manner. THE WANING SEASON A week more and we will have reached the last of our regular season's dramatic offerings. Mr. Mansfield is playing to capacity business at the Grand, where during the course of his two weeks’ engagement, which closes Saturday night, 10, be is presenting himself in eight of his best portrayals. Following his engagement the summer season at the Grand will be imrangurated with The Prince Chap, ‘a simple littl comedy drama which proved a marked success in New York, and which is expected to run for several weeks. Miss Crossman is seen at Powers’ this week in a new comedy, entitled Mary, Mary, Quite Contrary, and after her fortnight’s stay The Heir to the Hoorah, with Guy Bates Post in the leading role, will come for a summer run. Mr. Goodwin is at the Illinois and after fourteen days of seeing him in a new drama called The Genius, the summer attraction at that playhouse will be brought forward in the shape of The Lion and the Mouse, the Klein play, which made a truly sensational success when at Powers’ earlier in the season. The Ga¥rick will present Mexicana only one week longer, and then will proffer its hot term attraction, which is to consist of Julie Bon-Bon, wit —_ Mann and Clara Lipman in the leading en. The Colonial already has its summer show in Forty-five Minutes From Broadway, which returned “home’’ last week, and has been greeted with the same enthusiasm which I enjoyed before it departed for Broadway and other eastern thoroughfares. Theatrical men are watching with interest the record being made by Forty-five Minutes From Broadway, which is upsetting all precedent. It is well known that during the original engagement of thirteen weeks this musical play drew more people than any theatrical attraction for a sim lar unbroken period at any time during the year 1905. To break such a run and come back three months later to resume just where they left off is almost incredible, particularly in view of what has many times occurred, yet Fay Templeton, Victor Moore and the others are drawing just as big crowds as ever. MecVicker’s is presenting a new play, The Coward, which, it is believed, will be able to remain here for a run of several weeks. The Great Northern has Texas, which will stay for another two weeks, and is the first of the theatre’s summer offerings, and the Chicago Opera House, with its Three Graces, and the LaSalle with The Umpire, are in for all summer sessions. At the Studebaker The College Widow will depart next Saturday evening and the following Monday The Student King, the one musical novelty which the summer is to bring us, will be produced by Mr. Savage. Thus in a week's time all that the old season of drama is to give us will be past or passing and the summer time so far as theafrical activities are concerned will be at hand. The summer gardens and the amusement parks will open on May 19 or thereabouts, and thus the time of outdoor entertainment and light pleasure in the theatres will be in swing. It is noticeable that whereas last year every theatre in town rushed madly after musical comedy as its attractions, this year everything is to be of a dramatic character. While the plays that are announced are of more than usual promise, it is a mooted question that before the summer is far advanced, if some of the managers will be wishing they had not “followed the lead’’ quite so closely, but had pursued a plan which would have resulted in a little better mixing of the bill of fare. Mr. Savage and the musical shows at the Chicago and the LaSalle are liable to reap the benefits of this all-dramatic arrangement at the other houses. BROADHURST’S PLAY A SUCCESS Whatever else may be said of George Broadhurst’s new play, The Coward, as disclosed for the first time on any stage at MeVicker’s Theatre, Monday night, 7, it must be confessed that it has a powerful and a most intensely emotiomal second act. And in this case the emotion is not portrayed by a woman in tears or in passion, but by a man aroused to the very depths of his deep nature, and the result is something as unusual as it is excellent. This one act, or rather the latter scene of this act, will make the play, and there is little doubt but that success awaits Mr. Broadhurst in this his first venture into the soberer and more serious field of playmaking. Not in many seasons has there been seen such splendid acting as was done in this scene by Robert T. Haines. The actor is fitted to the role, and without ranting or at any time seeming unnatural he worked himself into a passion of rage and furious anger that was electrifying, and when the curtain descended be was given an ovation that bas seldom, if ever, fallen to the lot of a player in (C@Acago. Mr. Haines was ably assisted in this scene by Frederick Perry and Harrison Armstrong, beth careful players, and men of discrimination and experience. At the conclusion of the act there were calls for Mr. Broadhurst, who bowed his acknowledgements. There seems to be little doubt at all but that the play will be a success if the enthusiasm of this first night is any criterion at all. The piece is in a prologue and three acts. The prologue consists of a scene in the court of general sessions in New York where James Clarke, a trusted emplore of a big firm, is being tried with a bookkeeper of the same firm for embezzlement. As the trial progresses Clarke. after receiving a telegram arises in his place and confesses that he took the money, but goes on to say that he did it to save his sister, who was dying with consumption. He also confesses that Frederick Payton, his companion, discovering his peculations, has hounded him on to take more and more and he asks thar the court give its sentence at once, so he may begin to pay for his crimes. The court sentences the two young men to five years each in state’s prison and the curtain descends. In the second act Clarke is discovered as Richard Harper, who bas come to a small town in Pennsylvania and gradually made his way upward in the employ of a big cut glass company. He has fallen in leve with an estimable young woman and is on the high road to happiness when his old cimpanion, Payton, turns up and threatens to tell that Harper is none other than Clarke, the escaped convict, and thus things go on until Payton goads Clarke on to the limit of his endurance and this leads up to the second act, where alone In the house ut dead of night Clarke turns on his loathed companion and determines to kill him. The men struggle together and just as the Infuriated Clarke is about to wreak vengeance a man breaks in the doors and saves the young villain. The last act shows Harper, or Clarke, as he really is, about to make a speech at the laying of the corner-stone of a gymnasium for bors. Instead of making a speech, as was expected, he arises and tells the assembled people the truth about himself, and says he ts ready to go back to prison and serve out his time. At this juncture a capitalist, the secretary of the International Glass Co., steps up and offers to ask the governor to pardon the young man and the play ends happily for all but Payton, who reaps his just rewards. Most excellent work is done by Mr. Haines in the chief part, and the acting of Frederick Perry is at all times good. Harrison Armstrong as Robert S. Thornbill, a rather clumsy young country fellow, does some effective character work and Frederick DeBelleville is capitally cast for the part of Harwig Marcus, the pompous but kind-hearted trust magnate. Miss Lillian Albertson, who plays Catherine Gordon, is lacking a little of the emotional quality for the one scene In which she has much to do, but makes up for this by being very sweet and pretty at all other times. There is some good comedy in the piece. The company is a large one and well balanced. The play is put on with fine taste in the matter of Stage settings, and went very smoothly at the premiere. It was put on under the personal direction of Mr. Broadhurst. The last week of the engagement of Mex!cana is announced in the Garrick. This popular ‘‘topical, tropical’’ musical comedy has been so successful that much regret is expressed that the engagement can not be extended. Louis Harrison has endeared himself to the Chicago public by his funny antics and quaint comedy. Christle MacDonald, who is appearing here for the first time in several years, has scored a close second to Mr. Harrison in point of popularity. The gorgeous production adds considerable to the entertainment. Texas, the border drama, written by J. Mauldin Foigy with Mabel Dixey, Henry E. Dixey, in the title role, is enjoying a successful engagement in the Great Northern Theatre. The drama is in four acts and Selatillates with thrilling scenes of a_ kind that has made the Mexican border notorious. The play was first produced in Chicago in February, when it had its premiere on the stage. Since that time suitable scenery has been added and the cast strengthened materially. One of the new additions is Charles D. Coburn, who cleverly plays the part of Jack Dalam, kfiown as Freshwater Jack. A song sung incidental to the play by the entire company known as The Bold Bad Man, makes a decided hit. Among others in the cast who appear to advantage are Ernest Allen, Hattie Foley, Monica Lee, F. E. Duff, Hattie Broadhurst, Lee Hobbs Martin, Howard Messimer, Tod F. Griffin, W. B. Mack and Stephen Hoyt. Richard Mansfield is crowning the dramatic season with fourteen of his inimitable performances in the Grand. Mansfield is a fixed qifantity in the history of this period of the stage in English. His pre-eminence he holds neither by accident nor insecurity, but by virtue of native genius and natural endowment, cultivated assiduously, sincerely and with lofty idealism over a period of years which has given bim security yet which leaves him in the first fullness of natural powers. Mansfield’s appearances at this time are an epitome of his career. He seems to realize that his pre-eminence entails obligations to do great things and dares live up to his belief. The uniform success which attends these bold fights of Mansfield’s should be an example and an inspiration to other actors less imaginative and less daring. The engagement of Nat C. Goodwin at the Illinois Theatre is most interesting to all classes of theatregoers, for Mr. Goodwin has the peculiar quality of being an actor that is as acceptable to the audience who look for high ideals as he is to those who want good entertainment without bothering with ideals of any kind. He is presenting a new play by William and Cecil de Mille, entitled The Genius, he appearing as Jack Spencer, a jovial bachelor. rich, but, unfortunately, as he thinks tor a while, without leve for art. He falls in love with a girl whose fad is art. Jack enters into a conspiracy with three artists, by which he passes off their pictures as his own. He becomes a fad himself. The greatness thrust upon him sticks. He discovers he does not really love the lady with the fad, but a pretty model. However, the more he tries to undeceive the faddists the more they believe he is the real thing as an artist. Finally, he persuades Josephine, whom he wishes to be rid of, that he is wedded to his art, that to marry his ‘“‘inspiration’’ would kill his art, and that it would be an act of supreme self-sacrifice on her part to give him up, which she fimwally does, and at the final curtain the Genius and Nell Graham, the model. are having an exceedingly cozy time of it, with the music of the wedding bells almost within hearing. Willis Hall has been engaged to play leading roles at the Columbus during the summer production in which Miss Annie Sutherland wit be the star. Elma Cornell is to play the “‘heavfes’’ and Jessie Mosely is to be the stock soubrette: Charles Terriss will essay character roles and Sam Morris is cast for comedy parts. After experiencing all the terrors of the San Francisco earthquake and its subsequent disastrous fires, The Lion and the Mouse Co. ts journeying eastward to begin an indefinite run in the Illinois Theatre, Sunday, May 27. ‘Tie escape of the members of the company from San Francisco was accomplished with much difficulty. It seems that it had returned to the city Tuesday night after giving a performance in Oakland, intending to leave Wednesday morning for San Jose. where it was to play that night. The players succeeded in getting away late Wednesday evening before the serious fires had developed. Beyond the loss of their wearing apparel none of the companv suffered any injury. Manager Leonard H. Wolf, of Sans Souci Park. has just returned from the east. where he has been spending the last two weeks making preparations for attractions at the park, which will be opened to the public Saturday, May 26. His visit has been successful and the features which will be presented are of a nature that will not only attract but wil) please the public. The theatre. it is promised, will present the strongest vaudeville bill ever seen at a park in Chicago. The entire park has been remodeled until it Is searcely recognizable as the old Sans Souci of last season, and a number of innovations have been introduced for the comfort and pleasure of visitors. Sans Sevel this season premises to be one of the most popular resorts not only in Chicago, but within many miles of the city. Henry W. Savage, who has given Chicago so many brilliant and successful first nights, has decided to make his big summer production here. and on Monday evening, May 21, in the Studebaker, will bring out s new light opera, The Student King, by Frederick Ranken, Stanislaus Stange and Reginald De Koven. Mr. Savage will launch this production on a _ highly pretentious plane. He has assembled an exceptionally large and competent company, which includes Raymond Hitchcock. The opera has been in rehearsal in New York for several weeks, and the company will soon be transferred to Chicago. ‘The action of the opera is laid in Prague, Behemia, during the sixteefith century. AT THE VAUDEVILLE HOUSES America’s greatest vaudeville theatre, The Majestic, was packed to the doors at every performance last week, and the patrori® sister of | AL. J. FLYNN For the past five years Mr. Al. J. Flynn, whose splendid likeness appears above, has conducted the Richmond Hotel at the corner of State and Van Buren streets, Chicago. The Richmond has been a favorite rendezvous for professional people and Mr. Flynn was one of the first to cater to the profession in Chicago. Mr. Flynn is held in high esteem by professional people generally. He has moved into new apartments at Clark and _ kinzile Streets, where he has one hundred and fifty rooms equipped with all the latest conveniences. The new Richmond Hotel has been remodeled and is new throughout. Mr. Flynn has a ten years’ lease on his new place. of this justly celebrated playhouse were entertained in a most superior manner. Mabel McKinley, the American soprano and popular song composer headed the bill. She introduced a new number, entitled Feather Queen. James J. Morton, the fellow of infinite jest, provided a full measure of clean humer. A unique canine exhibition was presented by Paul Sandor and his clever acting dogs. Sandor’s act is decidedly original. Dan Sherman and Mabel de Forrest were extremely amusing in their bright farce. The Fall of Port Arthur. Considerable skill was displayed by Mosher, Houghton and Mosher, the bicycle acrobats, who enlivened their act with a mixture of comedy with their daring. The Saintly Mr. Billings, a comedy sketch. was enjoyable in the capable hands of Emmet De Voy and company. Alice Lyndon Doll, the vocalist; Stanley and Wilson in their German comedy, Der Rappelmeister; Naomi Ethardo, acrobat; Dixon and Fields, German comedy duo: Castellat and Hall, comedy sketch team, Charlotte Ravenscroft, violinist, and DeVere and DeVere, singers and dancers, ,rounded out an excellent vaudeville bill. Arthur Dunn and Marie Glazier in The Messenger Boy played their final Chicago vaudeville engagement in the Olympic last week. This farce comedy is one of the brightest offerings in vaudeville, being filled with dancing specialties. Ferry Corwey, the musical clowa from the New York Hippodrome, made his initial appearance in this bill, offering a unique musical novelty. Wormwood introduced his troupe of trained monkeys and dogs in a remarkable exhibition. Herrmann, the Great, with a program of mysterious {illusions and tricks in magic was one of the stare. Several new illusions were introduced and his popular hand manipulation formed part of his program. The Gleasons and Houlihan, with a series of dancing evolutions and musical numbers were prominent factors in this array of talent, while Frank Hayes, the character comedian, offered his parodies and stories. Cameron and Flanagan, known as the “kid glove comediain’’; Harry Brown, the singing cartoonist; Mudge, Hicks and Montgomery in Smith, the Wonder, and the Melroy Trio of singers, dancers and comedians came in for their share of approval from capacity audiences. The bill was made complete by the addition of Frank LeDent, juggler; LaTell Brothers, gladiatorial gymnasts, and Edith Richard, musical specialist. Edna Wallace Hopper headed the list of attractive features in the Haymarket last week. This being Miss Hopper’s first visit to the popular west side theatre, considerable interest was manifested in her engagement. Nat. Haines, an established favorite, was close to the top with his spontaneous* humor and Julie Ring, presented her comedy sketch, A Quiet Life. The Brothers Damm is an exhibition of equilibristic acrobatics, Lester Trio, bicycle comedy act: Al. Carleton, who resembles BIlll Nye in manner of entertainment; Leah Russell, the Yiddish comedienne. with a budget of songs; Burt and Bertha Grant, singers and dancers; the Durbyelles. shadowgraph artists: Lazar and Anderson. acrobats. and Rorer and French, presenting Johnny’s Visit, completed the bill which found unqualified favor with the Haymarket clientele. In the International Theatre last week, with his “original greater vandeville,"” Manager Cleveland introduced Eduard Waldmann, a German-English actor of note, in a condensed versionof Robert Louls Stevenson’s Dr. Jekyll and Mr. Hyde. Mr. Waldmann was suppor’ by his own company and his debut in vaudeville proved a success. Flora Moore, a stellar vandeville light, who has not been seen in Chicago for a long time, fresh from her Australian successes, provided a deal of entertainment in her inimitable specialties. The DeGraw Trio, comedy acrobats: Harry Howard, the mimic, and Noblett and Marshall fn a singing and dancing specialty; Mantell and his marionettes, a novelty act new te Chicago; Varden and Dunlap. fn a talking and terpsichorean melange: Magill, Warren and Conners, Charles McAvoy. singer and story teller, and new animated pictures in the optiscope went (Continued on page 44.) a | |