Omaha Daily Bee Newspaper, January 16, 1910, Page 34

THE OMAHA SI VDAY BEE: JANUARY 16, 1910, Robert Mantell in a Round of Classic Parts HEN moert Maniel was u ) Nt Yet the Greatest but a Conscientious and much occasion for adverse orit s n *<.| Successful Actor Whosa Course is Upwards -- His Hamlet Sane and Satisfying in Detail felsm, some of which was ex pressed In this department of The Bee For this reason, If for no other, it In & real pleasure to attest the excellence of Mr. Mantell's perform- ances in Omaha during the week, when he :""l‘“ wlon, the sulting of *the action to the word,” and the speaking of “the speech trippingly on the tongue” no longer “mouthing it,” as might the town-crier gave four of Shakespearc's tragedies at| the Boyd. Not that Mr. Mantell has at-| tained perfection, or that he I& no longer open to critical comment, but he has traveled a long way on the road to great- ness, and has much more foundation for | Other Hamilets might be compared with that of Mantell, mustly to his advantage, but the case may rest on comparison with | his own. Those who saw him five years ago and again on Tuesday night were tonished at the change. He is now immea: hiy claim than he had at the time it was first put forward for him by his press ureably ahead of his earlier efforts. agent. In the beginning he had taste of a | discriminating character, intelligence and | ambition. And these have led him upwards, | as they must, til he has come much nearer his goal than it appeared he would. For o —— the present he s wrestling mightily with | OF “Msecbeth” lesy may be sald, = M Mantell has contented himself so far with outlining the character of the man, with- out going deeply Into its subtleties. He| will study it closer It he retains it in his | such a task as only & strong man sets for himselt. To present one after another four of Shakespeare's important plays is an undertaking of no mean size, and when e 4 i 1h sonhiaare iz ropertory and give a more satisfactory at Kansas City just before he came to|is one of the greatest of the Shakespearean |Plays he le offering, at the same time Omaha and £hat onis one day of reat in. | tragcdies and deserves the very best the|BIVIng them oeautiful mountings. —This rvoned. " some. tdes of ‘the. repertory | actor can bring to It. The Mantell. con- |evidente of honesty of purpose on his part e by Mo, Memtell may be mod Ty | coption In good, but not complete. Tn| ot the smallest element in support of Intelligently portray the varying roles of | “King Lear the king was presented with |Ni® claim to eminence. Othello, Richard 111, Macbeth, Hamlel, | confidence and generally made {mpressive, yet is also lacked something of the quality that deserves to be called great. It is a much showler role than either Hamlet or Macbeth, and for this reason is more dif- Romeo and Lear in succession, as did Mr. Mantell In successive performances, glving ficult. The actor Is prone to rely on the natural sympathy that goed out to a to each character its dlstinctive qualities character in the predicament Lear Is of person and manncr, is excuse for claim to abllity, even without having actually succeeded In giving either of the parts | the distinction that warrants the meed of “greatness.” And this he dld do. landed in, and comes to neglect the details —ds of the character's development, depending on the broader outlines to carry him through. This Is In some ways true of the Mantell Lear. But the difficultles of the role make it the more attractive, and In all ways Mr. Mantell shows strength and authority In his impersonations. He we may yot see an American Lear that will be listed as among the really great has the confidence of ease, without the | appearance of assurance, and elearly estab- aud authoritative creations, —— Mshes his conception of the part he has in hand, so that it carrles with It convietion in its definittve outlines. So far as his Omahu engagement is concerned, his most tmpressive work was done as Hamlgt. To| One lingering regret forces itself on rece this, most difficult of roles he brings no|ognition In connection with this engage- ment. It Is too bad that Shakespeare and the entire company of players and writers of his day could rot have witnessed these performances, to see how much' appro- especial effort at new reading, nor dovs he slavishly follow in the path of tradi- priately artistic scenery and stage equip- ment lend to the force of the drama. tlon. Perhaps his most marked depatture from Hamlets of other days is his abandon- ment of the “melancholy” phase of the role. He does not abate the sorrow of Hamlet for his murdered father, nor In any | Proper environment is so essential to the correct understanding of the drama that success without it 18 no longer possible, True, Mr. Greet and his company made menful efforts to teach the people to take way lessen his determination to be re thelr Shakespeare straight, with no ac- venged, once he is able to_justify his sus- piclons. The purpose of Hamlet's quest companiment of expensive stage dressings, but had only such success as comes to &ny is kept fair and full in view, but his pro- gress through the play’s action 1s not made funersal nor even lugubrious. Mr. Mantell is quite convinced that Hamlet was merely shaming insanity, and that behind this [novel departure from the conventions, with mask he hid his real mind. The one great|nothing of permanency. 'In other ways scene, on which such a conclusion might|we are supported in our conclusion that be predicted, is omitted from the version |Shakespeare was appreclative of the best In art, and so it Is fair to conclude that ha would have appreciated proper stage settings for his dramas. This being the case, he would have luxuriated in the fine Mantell's the evolution modern form of intelligent expres- of this ldea acters pietured last week, Tt not the most massive production ever seen at that theater; neither of the plays was put on with any- thing approaching the sumptuous settings used by Mr. Mansfield for “Henry V'* or ‘Jullus Ceasar,” or by Sir Henry Irving for “‘Merchant of Venice" or “‘Romfeo and Juliet,” but withal the staging was ex- cellently done. It bas come of late that s0 much attention is pald to the scenic equipment of the classic drama that fre- quently much mediocrity on the part of the company s hidden beneath.the rich- ness of the settings, just as defects in woodwork are often covered by putty and varnish. This is not true of the Mantell productions, for he has made a sincere ef- fort to provide capable and competent his was thought at the Boyd most a Two well known exponents of comic opera brought new comic operas to Omaha during the week, and thus formed a Sort of salad or/desert course after the more substantial offerings of the ecarlier days. Both Miss Scheff and Mr. Hopper person- ally pleased everyone who saw and heard | them, but it is doubtful if either “A mat- | inee Idol” or “A Prima Donna” will attain great longevity. Of the two the Herbert | Blossom offering has far more merit, but it is in too quiet a vein for immortal pop- ularity. Particularly those people who ad- mire the George M. Cohan brand of musi- cal comedy are ready to enter a condemnas tion of “A Prima Douna.” No one ran a Marathon race, there was not even any real romping, and no opportunity to laugh, because some player was made to fall down suddenly. Mr. Blossom's comedy is of a rather quieter vein, productive of more chuckles and smiles than guffaw It is true on the other hand ihat the ne Blossom-Herbert production does not score quite the mark of ‘{Mile. Modeste,” and | Miss Scheff is occasionally a little more sedate than is necessar De Wolf Hopper's new offering fs not wholly original in subject, but yet not alto- gether flat and stale. It dragged a little when Mr. Hopper was off the stage, for he himself is entertaining and amusing, and several others of his company were not. Marle Cabill in “The Boys and | Betty" and “The Merry Widow,” were not | displaced in general affection by either “A Matinee Idol” or “The Prima Donna,” | and the former two bid fair to ge through | the local season as the t(wo brightest memories of this kind of stage offering for | this ‘Omaha year. { fnged. It is that In which Rosencranz and Guilderstern undertake to sound the mind of the unhappy prince, and into" which old Polinius Interjects himself. This is a really pretty scene, and in a measure Is pivotal for the plot. When omitted, it must yet be borne in mind, If the course of the drama is'to be intelligently followed, and that is why one wonders that the less Important scene of the king at his prayers 1s not sacrificed. Hamlet easily confounds | the courtlers and thwarts their attempts to draw him out, and then, when the amiable and garrulous old chamberlain undertakes to quiz him, he assumes the alr of a cracked-brained fellow, and con- vinces Palonius of his lunacy. “I'll fool him to the top of his bent,” says Polontus little realizing it Is he who is being fooled: As the old gentleman had before ob- served, “If this be madness, then there is method in it.” Patriotism and the Prima Doani ‘i Adjustable Sentiments that Fit Various Sections of the Country, All Aimed at Cultivation of Ent:nte Cordiale and the Most Lib- eral Flow of Gross, but Necessary, Dollars Into the Box Office Till. ADAME SCHUMANN - HEINK | the “Star Spangled Banner” has been oan certainly not complain of | played with the loud pedal on, but is it the condition of the musical | true? market In Omaha, as the writer| The musical editor of The Bee will yisld has been rellably informed that|to no one, in his loyalty to the United | she recefved the sum of twelva | Statds, Its laws, Its people and its flag. hundred pieces of silver, each representing | But 'that famous saying, “My coun the purchasing power of one hundred cents, | may she always be right, but right on the occasion of her recent visit here. | wrong, my country,” sometimes is twisted Hamlet wishing to be thought mad, in|And yet the Madame says: “In San Fran | to read, “My country, may she always be course of hs pursuit of the murderer of |clsco, Los Angeles, Denver, St. Paul and | right, but right or wrong, I will say that his father. So Mr. Mantell has apparenily | the large cities of the Pasific coast the | she's right.” i dlscarded any doubt as to the sanity of the |audiences are critical, diseriminating and| Now this kind of patriotism is not true young man, and plays him one dis- | appreciative” Omaha is not mentioned i1, | patriotism. And one docs not have to he. | tracted by grief, but always master of his | this class little: or misrepresent other countries own emotions and fully aware of the im-| The distinguished contralto (and mezzc- | order to proclaim himself a port of his words ard actic Nothing | soprano combined) has a very patriotic| especially in times of peace! could be piainer than this, and In It re-|press fepresentative who sometimes seems | sides the distinctive feature of Mr, Man-|to color the facts somewhat unduly, if one | tell's characterization. Not being mentally | is to believe the papers. unbalanced, and being normally healthy In| For example; in a local body well, it would Il become Hamlst |lowing notlce appeared i he dld not put on some semblanee of | concert: cheerfulness when he met with such| “Mme. friends as Horatlo and the lending player. | heard Even his weleome of Rosencranz and |citizen, although born In Lieben, near Guifldorstern was hearty enough and sin- | Prague, Bohemia. When asked a short cere, also, and he made no alteration in his|time ago why she proferred America to atiitude toward them even after he had|Austria and Germany, she replied: ‘All my compelled the admission that they had |luck, all my fortune, came to me here. 1 come to spy on him In the intarest of the | want to be an American, but, most of all, king. In nonc of his courso did he show |1 want my children to be Americans. the cunning of a disordered mind, nor even this wonderful country everyone is esti- the craft of a dishonest one. His plans | mated according to his worth, for here were those of a reasoning, morallv acute | work is respected, no matter of what sort Indlvidual, and he scems sane at all times, | it is. In Germany one must 80 Mr. Mantell's Hamlet is nelther insane | riches, position, to be anyone nor melancholy. or| g Any one may supply the reasons for | i | in patriot— “In this wonderful country everyone is estimated according to his worth.” 8a! You who were working In that position for, say twenty years, the vacancy above you occured, why did the position 80 the ‘president’s nephew,". or to the “manager's cousin” instead of to you? Why do wa use the civil service idea in our postoffice, and stop when it comes to the postmaster? Why i it that we so often read that| American singers have no chance in our| National Opera, because we Americans will not accept them until they ‘have been abroad and had their good qualities ‘“‘dis- covered?" paper the fol- sdvance of the | | | | when Schumann-Heink here ¢ * is an Ameriean| who will be In Y0 Now again—'In Germany one must have titles, riches, position to be anyone at all.” | Do you happen to know that one of the | leading bassos of the Royal opera house in | Berlin, Germany, Is Mr. Putnam. Griswold, | an American? In Germany. Did you happen to know that Mr. Mac-| Lennan, tenor, was allowed six months on | his contract at full pay, uniil he could work up the German roles well enough tc sing in the same Royal Opera? In Ger- many, What titles, riches and position did Geraldine Farrar have, pray tell, when she went to Germeny? Did ot first | “make good' the and is not Geraldine | Farrar 4 name to conjure with now at the | great American opera center, New York?| And in Germany. When the musical editor of The Bee first | heard the Richard Strauss sensation | “Salome” in Germany. the part of Salome | was sung by Frances Rose, un American. | In Germany. When last year a number of Omaha peo- | ple heard “Tannhauser” at the Wagner | festival in Munich, they heard in the part of Elizabeth, an American, Maud F Germany Madame Schumann-Heink recent number of the Musical have titles, t all. Here | I shake hands with everybody: all are my P — |friends. South, east, west, north—every- Ample warrant for this interpretation | where I find. such good . friends The may be found, not only in the text of the | gouthern *heople are the loveliest 1 know drama, but in comments upon It, and in|of ' (This was evidently a southern in- adopting this 1dea and making it the dom- | terview. ' In Omaha, Madame loved the inant note of his presentment of the PaIt, | west best of all. In Chlcago she sald: * 1 Mr. Magtell has shown himself to be|jove Chicago. I owe it so much. My lov abreast 0f the thought of the times. In |ang gratitude go (o its people o many other ways he has withdrawn from 4 the traditional, nd assumed a more ra- tinguished .findnmn hit—quite un- tional fdea of the part. One of these I |consciously—the nall right square on the his forew: ing of any attempt at oratory head when she said “Here, work Is Five years ago, he dellvered many of the | respected, no matter of what sort it is.” lines, including the “‘sollloguy,” in the most | That is the trouble. We have not the European standard, and “work re- | The a she approved of oratorical fashion, thereby is giving much offense, as well as outraging | spected, no matter of what sort it is."” This his own advice to the player. It was sald |Is the principal “standard in briefly reviewing his performance of [“He did the best he could.” Therefore not Tuesday night, that he resembled in many |2 volec must be ralsed in considerate ways Edwin Booth more than any other; | critielsm." A% a very bright and interesting Booth being admittedly the greatest of | young diseiple of music sald to the writer, Amerfoan Hamlets, and by some alleged to | once upon a time, “If the people are satis. be the greatest of all. But in this one par- | fled, what's the difference?” ticular he outdid Booth. It was one of | Omaha has heard work here, orchestral, Bopth's faults that he would fall into the ' choral and voeal, which would make angels orAtorinl style of expression at times, and | weep and musicians grieve, and this same while the fashion was then acceptable, be- | work, through dlligent exploltation, has cause It was set by the highest of author- [ been greeted by large and “undiscrimina- ity, it ks now w custom more honored in the | ting" audiences; and Omaha has seen Henr breech than the observance’' Taste has | Marteau, the violinist, now head of the altered as lptelligence has advanced, and | Royal Hochschule of Berlin, and Gadowski, as the duty of the stage still “to hold, | the planist, each play to a small and s ‘twere, the mirror up to nature, so | discriminating audience of less than twen- the actor must comfort himselt at all times | ty-five souls. But that is nothing. much a8 would a man under like condi- he work Is respected, matter! of tlong. This has brought’about the undoing | what sort it is.” of oratory on the stage, and no offense is There was a time when even Schumann- now, more quickly marked down against an | Heink herself sang & great program in actor than ‘“‘preaching.’ Fér the most | Omaha, and did not find is necessary to part Mr. Mantell has freed himseif entirely | remove a good old song like Mrs, Beach's from this. It was In the quleter, more “Ab Love, But a Day," (words by Brown- studious passages thut he most resembled | Ing) and sing Instead Nevin's Rosary," Booth; some very marked elements of [(Which has been parodied and re-parodied), similarity between them ave here noted. | not Aid she deem it wise o present such & It is beyond the power of man to fully|ditty as “His Lullaby,” which is regularly dstablish this, ds only memory may be|advertised in a leading musie journal of called upon to serve in support of what | Wide circulation as “Being sung everywhere Booth did, but those who recall him best | by Mme. Schumaun-Heink and can be ob- will agree that he was & studious Hamlet; | tained at the Bond Shop." thoughtful and carnest, yet with the full tide of health pressing ever for froedom s0 that he did not dlways show as being welghted down With the aspect of melun choly and the outward and visible evi- dences of a great grief. In the stronger and more powerfully dramatic passages the divergenge in methods simply marks the separation of the two schools of acting represented. Booth's was a survival of the traditions that had come down in direct line from the days of Shapespearc him- () nowadays: | In| { | is a very and no ~$ must Ethelbert Nevin continually by his wrote far better Incidentally, why be misrepresented “Rosary The things than that. In Germany''—says the article quoted— ‘ane must have titles, riches, position to | be anyone at all.” This is quoted in con- | trast to the other statement: ''In this | wonderful eountyy everyone is edtimated | St g il g r v LR SRy, o | DR. LUDWIG WULLNER, AT ¥, W | "A. AUDITORIUM TUESDAY BVENING | This makes very interesting reading after | NEXT, 50 man background against which his living char- | | him AMUSEMENTS THEATER K R u G PRICES: 15¢--25¢--50¢--75¢ o r———————— e e ONE SOLID WEEK, STARTING SUNDAY MAT., JAN. (6 USUAL WIDNESDAY AND SATURDAY MATINEES RETURN (F THE IMMENSE SUCCESS STAIR AND HAVLIN (IN¢.) PRESENTS CHOOL DAYS GUS EDWARDS’' BIG SCREAM, WITH ERMAN TIMBERG AND THE CIRCLE THEATER, NEW YORK, ALL STAR CAST “EAR TIMBERG'S NEW SONGS “SQUEEZE ME TIGHT” AND “LITTLE SNOWFLAKE" 55 COMEDIAN8--8|NGER8--DANCERS55 23-NEW SONG HITS-23 30-DANCING COPS-30 ROLLICKING FEAUTY CHORUS same SUNDAY, JAN. 23 MATINEES STARTING HENRY B. HARRIS PRESENTS LION ~: MOUSE THE BY CHARLES KLEIN, AUTHOR OF ““THE THIRD DEGREE" FIRST TIME AT POPULAR PRICES. Concert-goer s interviewed as saying:|ous and sducational influence. In Euro “When you telk of Kurope, must re- | pean countries music is revered and loved member that among the chief vocal teach- (s a great and beautiful thing, It will there today are the Americans.” And | come to be so regarded in the United States o true “in G | in the future, because music is an influ- Does It 100k as though in Germany there | ence which cannot be defeated any more Is less appreciation of talent than here? | than the religlous Impulses and feeling i — | can be defeated.” It is @ significant fact that in the former interview quoted at the beginning of this | apprectation of Madame Schumann-Heink | these words were used: “All my luck, all my fortune, came to me here. 1 want to| be an American.” And in the latter inter- view in Chicago the estimable lady Is in terviewed as saying: “I am an American, I make my money here, 1 have my home | here and I spend my money in my adopted country.” Was 1st los you Madame Marazin bas sent the arrow to the mark. Too few of our musicians and teachers regard it as o “serfous and edu- cational 'Influence.” The uppermost ques tion in the musician’s thought should not be “How's business?’ Or “How many pils have you go It is a serlous affair and influence, not a mere ‘‘shop' an amusement. Let us reflect. a an uplifting matter, nor PR The recital by the famous Dr.. Wuellner fs the center to which all things move and to which all attention is summoned just now. Tuesday evening. The beauti ful new Auditorium of the Young Women's Christian association. This is an oppor- tunity which comes seldom. Tickets are on sale. A word to the wise is sufficient. THOMAS J. KELLY. iy Very much to the point were the words of Mme. Marazin of the Manhattan opera house, fn a Philadelphia interview - re- cently: “There are many American Ning- ers in Europe, where they are in demand, | and I naturally expected to find many of them here. This curious condition, I think, is due to the fact that the governmental authorities in the United States hive not sufticlently appreciated the economic and conserving force of music. Whatever in- fluence elevates and cuitivates the indi- vidual, must, in the end, elevate and cul- tivate the state. Music, in my opinion, is one of the greatest spiritual forces, if not the greatest, among men. Most of the governments in Burope thoroughly realize this fact. Public administrations in those countries have undertaken to utilize this force for its economic and preservative ef-| fect in the national life. They have founded various institutions with the view of encouraging the growth and develop- ment of musicians. * * * I think I have noticed that music in your country Is re- | R Schum garded more as @n amusement than a seri- | Grenadiere. At the Omaha Theaters “Brewster's Millions” to Fill the Week at the Boyd, While “School Days” Takes the Time at the ng-—Orphaflm Has a Strong Vaudeville Bill and the Gayety Presents Its Usual Extravaganza. Musical Notew. The following program will be sung by Dr. Ludwig Wuellner at tne Young Women's Christian association auditorium on Tuesday evening, January 18. As, on all such oceasions, Dr. Wuellner will be as- sisted at the plano by Conrad V. Bas. . Schubert—Der Wanderer, Du_ Liebst Mich Nicht, Der Doppelganger, BErlkonig (Erlking.) ¥. Schiibert—Dle Taubenpost, Die Forelle, Alinde, Eifersucht und Stolz, Das Lied inn Grunen, Der Musensohn. Joh Brahms—Auf Dem Kirchhofe, Verrat. | Hugo Wolf—Fussriese, Der Gartner. | R Strauss—Das Lied' des Steinkloppers, . | Cachie. | | schumann—Mit Myrthen und Rosen, | Belden ‘) Waldesgesprach, Die Kid" “Merry-Go-Round,” “Tittle Tattle,” “When I'm an American Citizen” and such | songs as ‘“‘Sunbonnet Sue” and ".\'(‘hm!l: Days. Herman Timberg the star of the productlon. | artlstic features and novelties | offered this week at the Orpheum | theater. The headline act, a playlet called “Jack the Glant Killer,' is adapted from | the familiar falry tale, and is made sen-| setionally realistic by the fact that the glant is represented by George Auger, who | I8 called the “greatest” actor in America | by virtue of his gigantic progortions, and the hero, Jack, !s played by Hrnest Brum- | mel, the smallest actor and singing come- | dian in this country. These extremes are| assisted by a company of able actors, all of whom are pigmles compared to the| colossal George Auger. The Carmen troupe of dancing wire athletes present a com- bination of tricks In wire equilibrium and treight acrobatics. Nonette, formerly the spec Vassar Gir 00K readers and allke are familiar with George Barr McCutcheon's fantastic talo of frenzied finance, “Brews: ter's Millions.” Imagine & young man trying to spend $1,00,000 in one year in order to get ¥, 000,000 With but a few wecks remaining of the year, this young man, who Is named “Monty" Brewster, finds himself almost ready to give up the job, but a storm helps out, and It is this storm that ofiers the oppoptunity to present a sensational stage picture and makes the play one of the best of the season. Of course, the blg thing in the play and that which delights and thrills the spectator more than any- thing else in it, is the work suvlely of the producer, Frederic Thompson., A speclal moving stage to convey the picture of the steam yacht tossing in the throes of a storm on the Mediterrancan is employed. The motion i» vivid and helghtened by the manipulation of the back scenery. The clouds drifting past, the flashes of light- ning, the receding shore and the passing light house, the roar of thunder, the ex. cited rushing about of the ship's officers and passengers, combine in action and ple- ture thpt for realism has never been equalled, The fllusion of sctual movement of the yacht is perfect, The play will be presented at the Boyd theater all this week, with a Wednesday and Saturday matinee, It opens tonight —e Henry B. Harrly' productic Forbes' latest camedy success, “Thp ing Salesman, will be seen at the four .days, beginning January 23, Wednesday matinee. theatergoers is —_—— b A 1s bill of who was I feature with “The comes with a musical offer Ing In which she Introduces violin playing and singing. George Perry and M'ss Wit 1 comed'ans. The act “ontributed ms and Tucker is “Skinney's Finlsh." 1s the way James descrihes his offering. The | eautifully costumed and l'ghted skating of Reynolds and Donegan is a enl novelty in the way of musical comedy 'rnces The Lee are singers by Wil lled yings, slong classle cngs and F. McDonald imber of Jame: | rravel on roller skates ew ffer. The fifteen will furnish f it each entertalnment kinedrome motion plctures to ncert orchestra of musical program Boyd with o Orpheum ¢ *“The Prince of Tonight musical plays from the F ccmpany, Chicago, where 200 nights. will seen at Boyd's theater three days, on January 28 and 2, with matinee Saturday. The cast is headeds by Henry Woodruff Sy G the Knickerbocker Extrava will be the attraction dur wix d at the afternoen. The irls of Beautyburg. will The opening skit is called | of Livirg." the scenes being lald Baden Mineral Springs. The introduges the full strength of the with kalf dozen comedi. and big chorus of thirty well-drilled young| women. One of the leading women of the Gompany is Miss Lucy Harron, whe has won a high reputation in Mght opera and musical comedy Miss Ze DeMar enacts of dashing French ubrette fascinates all the men at the health resort and, of r incurs the dis ple of all women, Her role Is| Parisian music hall singer She win bly supported by Misses Virginia and Bowen, Messrs. Wooley and Atlams, James Rowland and other clever people. Starting Monday there will be ladies’ | dime the latest rincess Theate: it ran for ovei : Louls Roble's nza 'compan | 'ng the starting wnedy | | coming this The presented. “The Joy t West playlet ompan be vs Gayety amusing | | title C | ward’s musical comedy that & Hav lin present for u week's engagement at the Krug theater starting Sunday. The pro- duection is practically the same as that which tolned the country wih great suc- cess last season and which has a long and successtul at the Circle theater, New York Days" s entirely dit ferent production from the ordinary hack- neyed musical comedy. The chorus Is com- posed exclusively of young girls, a few, it any, over 18 years old. Gus Bdwards has done more than introduce a stugeful of young people with the delightful musical numbers and dancing acts. He has sup- plied a story that mixes in well with the tunetul melodies, and the quick, clever antmated danc In fact, this chorus wigh thelr animation and vim cannot be excelled. The musical numbers with which | the three acts abound are all of & lively| order and there are many genuine “hits" including & number of original composi- tions by Herman Timberg which are belng | ®5t play but there can be no heard for the first time this season. Some | contention the smallest play. It i of the wons hits include “The Fighting |4 complete five act tragedy entitled “Ros- of Stalr “School Days run a the who hool an Lty u sure that of a the y matinee dally Shortest Play Various natlonalities contend over the ever written, over \ pu- | l distinetion of having produced the great-|" AMUSEMENTS TR TN DY 2 TN OMAHA'S ONLY BOY ’s FIRST - CLASS 'I‘(IEITEH Tu"IG“T AND ALL WEEK-MATS. WED. AND SAT. FREDERIC THOMPSON Prosents | THE BEST COMEDY COMPANY IN AMERICA And the Original Production of A Dramatization of George Barr McCulcheon's Famous Book GREATEST SHIP SCENE AMND STORM EFFECTS EVER SEEN A .YWHERE PRICES—Nights, $1.50, $1.00, 76¢, 50¢, 360. Mats. $1.00, 780, 500 @8c. 4 DAYS Commencing NEXT SUNDAY, JAN. 23--Mat. Wed. HENRY B. RARRIS Announo! THE TRAVELING SALESMAN A Comedy by JAMES FORBES, Author of “THE CHORUS LADY" Mail orders now. 3 Days Commencing Next Thursday January 27. Mat. Saturday. The One Iz Theatrical Event of the Season—Mart M. Singer presents HENRY WOODRUFF 540 Teadion anteed produ A Musioal Gem in 3 Beruiy Setiing he Prince of Tonight N - <R <G AUDITORIUM Monday, January 24 $200 IN CASH PRIZES Admission 50c a Person Spectators 25¢c THEO. LIEBEN, Costumer 1410 Howard Street | Tickets ¢n Sale at Auditorium, Monday, fternoon, January 24th. IF IT'8 AT THE AYET I8 GOOD Y Devoted to Strictly High Grade Extravaganza and Vaundeville TWICE DAILY o3%s MAT. TODAY KnicKERBOCKE EXTRAVAGANZA CO. “PHE GIRLS OF BEAUTYBURG" Here's a Show That's Strong on VAUDEVILLE HOLDEN & HARRON The Ml’:flu‘"!z\'r v"!y and the Show Girl WOOLEY & ADAMS In Gr Tal ‘e il PRINCE & VIRGINIA In \‘l:\'\l‘l\ 'Ejull'fl Sister,” DUFF & WALSH Wooden Sh: Dancers. Bowen, Lina & Moll Horizontal 41:}!verll ® ags and Sunday Mat., 150, a6, Bvenings and Sunday M A fow MATS. 15¢ & 28¢ 3, 0 LADIES® At any week TICKETS l oc Day Matinee. Dear Readeri— I put in three emjoysble hours in Kensas Oity Thursday, gasing at the Knickerbookers. Vaudeville admirers will be particularly pleased. E. L. JOENSON, Mgr. Gayety Theater ADVANCED VAUDEVILLE Matinee Every Day, 2:16—XNight, 8:16 WEEK STARTING TODAY “The Tallest Actor In the World" MR. GEORGE AUGER And His Plays, in “JACK THE GIANT KILLER en Troupe “The Carm and TUJ[E’IEER Slang Classic, FINISH" Comedy, T EVA WILLIAMS Presenting th “SKINNE James F. MacDonald In Songs, and Sayings EARLE + ELLIE REYNOLDand DONEGAN ing on Rollers Bar Week Day Soclety and Stage Da R KINODROME Always the Newest in Motion Pictures Musical Fefture Extraordinary EUM CONCERT ORCHESTRA 15—Talented Artista—15 New ORPH \- \ “Prices 10c, 25¢. 50¢ and 75c. L — co———— Or. Ludwig Wallner Famous Interpreter of Song Y. W. C. A. AUDITORIUM Tuesday Eve., Jan. 18th, es, $1.00, $1.50 and $2.00, on sale Monday and Tuesday, at OWL DRUG CO., 16th and “The Value of Personal Religion For The Average Man.” an address by PRES. A. B. STORMS lowa State College SUNDAY, 4 P. M. Y. M. C. A. Italy « in more than sixty pyanni Ventura nfuch s both written the poet was produced with dimunitive form at The playlet shows abun be munda, years ago by suce in| Turin and ant action, and its Milan as can seen “ROSMUNDA" Tragedy in Five Acts b lovanni Ventul Persons of the Play Alblon, Rosmunda, daughter Kunimond and wife of Albion. a slave. ACT 1 Albion (giving Rosmunda the s father filled with wine)—=Drink skull of your father. s Rosmunda (horrified)—Oh Albjon (commanding)—I wish Rosmunda_ (drinks)--Woe unto of King King dens, Pe P skull of her It is the ey Sts. it Rosmunda) Albion (atfectlc to Why so sad? Rosmunda—Cap 1 be Alblon—W hat s past Rosmunda—1Do nof Alblon—You hate u tosmundg—How ecan 12 el ACT 111, (examines closely otherwise? must uch me be forgotten, osmunda a stiletto en calls)—Slav ‘Peridens (comes and kneels before her) ueen! QR munda (passionately)~1 love Peridens (astonished)—Oh, my Rosmunda—Come. with me nim.) you! ACT 1V, (From adjoining room, wher blon sleeps, snoring is heard.) ; Rosmunda (hands the stile.to to Peridéns) Peridens (hesitating)—The king? Rosmunda (quickly)—The rival Peridens (with determination age)—He shall die RGoas acterminedly to the sleeping apart ment of Albion.) i v King Al * hand)—He 1y dead! iutches the stiletto and hold- biood Rosmunda {ng it up t father—now and cour- (Curtain.) th ACT and stifled Jung, though without improving the essen- neaven, yells)—Now, you drink, you drink! f¢° Later little play was enlarged bj Ventura made about ten limes as tal dramaturgle elements all embodied 1n | the original. Albion (with lee, off stage) Help Rosmunda (list Peridens (rushes \g)—Die! Die! Die! nto the room with the |