The San Francisco Call. Newspaper, October 27, 1895, Page 20

THE SAN FRANCISCO CALL, SUNDAY, OCCTOBER 27, 1895 1/ I/ | \, ul /B / ‘OH, DAYS OF . JOoY.” Sung by Jessie Bartlett Davis in ‘A War = Time| Wedding.” Words by T. C. Dazey and Oscar Weil. 1 - — = | B i py birde Thy way to new life wend - ingith he knelt. my brow with gems 8 - dorn - ing 4 Music by Oscar Weil. | T 1. Go hap 2. Ab once = = ] SEeois = e = ; - Go towards the light. in hin' thy chosen mate, To day ; he epeakswith lov.er at my feet. e e — i dark-ness | jest and cruel fi’_zr—-fl’. at-tend - ing My doom despairing wait scorn - ing The nnluu- he onceheld sweex. While With o T indark ness des-pair - ing wait | dreamedin daysdepartedofa jest and scorn the name he held so smeetThe goN-Jaod of tan rgves it ¥ ¥ / IS == S5 Toreel hap-pi - nesslikethineand now de-sert-ed brok -en heart ad is woie where is 11 now e the cru + That rueand needs 8 fone are aieet (o deck dus tate ™ The Oh weary ach-ing brow « Ol days of joy ah all too quickly past It will be interesting to see whether the librettists and composer of a ‘“War-time Wedding” have really plunged boldly into modern lyric drama, as is stated. Several American composers,particularly Reginald de Koven, have already stood hesitatingly on the edge of that ardent stream, but not one has let himself be carried off his feet, as a man musi be if he means to rival the success of Leoncavallo, Mascagni, et al. It seems as if the spirit of humor, which is such a marked trait in the American Na- tion, has influenced its composers and made them believe that without a humor- ous song or two an opera must be a dead, cold frost. Modern lyric drama knows no comic songs, “the play is the thing,” isthe motta of its composers, and the play is always a tragedy, based on love, jealousy, revenge, where the action sweeps along as fiercely as a mountain torrent, carrvinz the music with it. “La Cavalleria Rusticans,” *I Pagliacci,” “La Navarraise,” etc., are almost volcanic in their action, and of such is all real Iyric drama. There was a good deal of unconscious humor at the Grand last week in the land- abie efforts of some of the men in the cast to roll their tongues to the vernacular of the London slums. They hardly succeeded in m ng one believe that they had ever been within the sound of Bow Bells, with the exception of Charles Swain, whose dia- lect would grace the purlieus of White- chapel. The Orpheum’s biil was an unusually full one last week, Charles W. Knox's singing being its most artistic number. His performance belonged to the realms of art. Marlow and Plunkett scarcely hit the pular taste. Jokes are an article that an Franciscans do not prefer imported. Those that have flourished long and be- come indigenous to the soil are accepted in good faith, but when such jokes as “The barber who curled the locks of the canal” are sprung on them they resent it with a silence that can be felt. The tight-wire performances of Ziula and Lulu are truly marvelous. ‘With opera at the Columbia and variety (under another name) at the Baldwin, the Alcazar is monarch of all it surveys in the comedy field. The clever production of “Pink Dominoes” nightly arouses un- bounded laughter and applause. At the Baldwin. “The Passing 8how,” with ail its novel- ties, begins its last week at the Baldwin Theater to-night. Tollowing this dashing topical review comes Charles E. Hoyt's latest comedy. **A Contented Woman.” The story deals with a certain phase of the political question which hoyt has at- tributed to Denver. Itincludesa race for | the mayoralty between Mr. and Mrs. Ben- ton Holme, the former being the candidate of the reform party and the latter the se- lection of the woman’s committee. The leading role will be played by Caroline Miskel Hoyt, who is & very beautiful woman. Charles E. Hoyt is also traveling with the company. This afternoon at the Baldwin Theater Henry E. Dixey will appear and present his performance, “An Afternoon With Dixey.” MRy At the California. The California Theater reopens its doors to-morrow week for a season that prom- ises to be unusually attractive. Short en- gagements are to be the rule. “Charley’s Aunt,” for instance, which opens the bill of fare, will remain only 3 week. Among the novelties to follow will be “The Widow Jones,” with May Irwin, Paderewski and the Downings. Columbia Theater. “A War-time Wedding” will be pro- duced for the first time on any stage at the Columbia Theater by the Bostonians to- morrow night. The score is by Oscar Weil and the libretto is the joint work of the composer and C. T. Deazy, a play- wright who is best known as the author of “0ld Kentucky.” The new opera’s scene of action is laid in Mexico in 1848, during that country’s war with the United States. Romantic episodes take place, in which United States officers, the young ladies of a convent and Mexican guerrillas fieure largely. The wedding that is celebrated in these war times is that of a Captain Harry Selden, U. 8. A, and a Senorita Mason,who is only hali Mexican. This story, which is tinged with tragedy, includes the killing of the villain, a guerrilla namea Ramon Falcon, by a jealous peon. The lines which help to develop the picturesque plot are as catchy and jingling as if they had been written by W. 8. Gilbert. It issaid, how- ever, that the music is_dramatic and be- longs to the school of “Young Italy.” Grover's Alcazar. “Pink Dominoes” has proved so attrac- tive at Grover’s Alcazar that it has been decided to continue that rattling farce- comedy for another week. The usunal matinees will be given on Wednesday, Saturday and Sunday. The vproduction to follow is Sothern’s comedy-drama, “The Crushed Tragedian,’’ which will give the public an opportunity of seeing Grover’'s company in a new field of action. Grand Opera-House. It is some years since “‘The Stowaway’ was first seen in this City, and its produc- tion to-morrow by Manager Morosco will be made the occasion of a careful revival. The play contains a sensational safe- cracking incident, for which Mike Hen- nessey, the great safe-cracking artist, has been especially enzaged. Another feature of prominence will be a view of Cowes harbor, Isle of Wight, showing the tow- ers of Queen Victoria's palace of Osborne and the historic Cowes Castle. A real yacht, fully rigged and manned, will be used in this scene. The picture will be especially interesting to yachtsmen, for it the scene where the cup was first won rom the English squadron by Ben Butler’s America. Tivoli Opera-House. The last week of the grand opera season at the Tivoli Opera-house will be devoted to a repertoire of successes given by special request. On Monday and Friday evenings Donizetti’s grand opera ‘“Lucia di Lam- mermoor” will be rendered with Ida Valerga as Lucia. On Tuesday evening *‘Martha” will be sung, Laura Millard ap- R‘earing in the title role. Verdi's “Il rovatore’ 1s billed for Wednesday even- ing with Ida Valerga as Leonora. On Thursday and Saturday evenings Laura Millard ‘will appear as Arline in Balfe's ballad opera *‘The Bohemian Girl.” On Sunday evening a grand double biil will be presented, “Martha” with Laura Millard, and Mascagni’s ‘“‘Cavalleria Rusticana’’ with Ida Valerga as Santuzza. The season of comic opera will be inaugurated on Mon- day evening, November 4, when Emilie Melville will appear, after an absence of many years, inthe title role of Offen- bach’s *Madame Favart.” Ferris Hart- man will also make his reappearance. At the Orpheum. The Orpheum management has another list of new people for to-morrow night. The latest comers are: The Lassards, Ida B“owell and the Girards—seven people in all. The Lassards are a comedy-sketch and acrobat team, consisting of three men and one woman. They will entertain their audiences by a laughable sketch entitled “Fun in a Country School.” The Girards are members of the celebrated Girard troupe which visited this city in 1873, ap- pearing in “The Naaid Queen’ at the old California Theater. They come to the Or- pheum direct from Melbourne, in which city they have just concluded a success- ful engagement. ida Howell is said to be a dashing singing comedienne, who has captured New York audiences by her popu- lar ballads. The Zula troupe, the Leigh Sisters, Charles W. knox and Marlow and Plun- kett, last week’s new people, continue on the programme. This is John Higging’ last week. People’s Theater. The romantic Irish melodrama “Shamus O’Brien"” 1s to be given at the People’s Theater this week with James M. Ward in the title role. His support will be good. The play is an exciting one. The action is placed in Ireland, and incident leads to incident till as a climax the *‘bold boy of Glengall” is led to the scaffold, but es- capes from his executioners and flees to America. Among the new people engaged to fill in the waits between acts are Carter and Gaynell, two comic character singers, and Lenoise, a boneless contortionist. Cebellos, or, “‘Oh, yes, I have just read it, and it is awfu!lg interesting,” don’t you know.” Eyerybody in America read the book long, long ago. TreLLA Forrz ToLAND. BARNEY. A DRAMA OF THE DaY. The latest sensation in European dramatic circles is one that connects Haddon Cbambers, the writer of “The Fatal Card,” with Barney Barnato, the Kimberly Diamond King, in the production of a drama founded on incidents in Barney’s career. The “King,” who has just added to his fame by saving the London stock market, is one of the most-talked-of men 1n London and Paris on account of his bonhomme and his lavish expenditure. He is as liberal with money asa ike withal, “Barney” has had a romantic career. went to South Africa as a clown and jugeler in acircus, the proprietor of which absconded in Kimberley, ~leaving the fature king stranded, ' with two _performing as his sole capital. Taking a ride the suburbs of the settlement to der over the situation, “Barney” picked into o up monds, had peen made, and the success of the Kimber- ley diamond fields is nowa matter of history. So much interest has been expressed in the reports that “Barney” had taken Haddon Chambers to Paris for the young dramatist to study his career_and representit on the stage, that George R. Sims, in “The Reforee,” has given his own impressions of how they are working in the following play : PScxenea'Ahe df}rsx){]our of the Grand Hotel aris, reserved for Messrs. Barney Barn: i Haddon Chambers. ¥ froang MRS. PATRICK CAMPBELL AS JULIET, AT THE LYCEUM. [Photograph by Alfred Ellis. prince in a fairy tale, though he is business- He | mules | some little stones that 'turned out to be dia- | Ho said nothing et the time, but later | managed to acquire the land where the find | Lo 5 S \‘- 5 A7 == ACT III, SCENE 5. From the London Illustrated News.] 7 R the equilibrist, will originel act. “ TRILBY ”’ IN ENGLAND. Trella Foltz Toland Tells How the | “American’’ Play Is Received. LONDON, Exc.,, Oct. 8, 1895.—That threadbare maxim, “One is never prophet | in his own country,” is indeed too good | and true to ever grow old. Itisonly with- in the past few months that the people in England have realized that one George du Maurier, a gifted caricaturist for the comic weeklies, has written a remarkable novel called **Trilby,” and that the said “Trilby” has been turning the heads of every one in America. In consequence of this startling (?) intelligence every book- store window is filled with copies of “Prilby” marked four shillings sixpence, equal to $1 08 in our money. Beerbohm Tree-is now playing the American dramatic version of “Trilby” thronghout England, having bought the rights from Paunl Potter, the dramatist, and A. M. Palmer, the manager, both Americans. Though the book was written in Europe, the play is looked on as Ameri- can. We had seen the play in New York, of course, and were curious to see the way it is produced by English managers and actors. Mr. Tree's Svengali has been a revelation to his admirers in England. The Royal Conrt Theater in Liverpool was packed the night we attended, and the au- dience was most enthusiastic. Mr. Tree has introduced a very novel ending to his Jlay. Instead of thie photograph being eft for Trilby to discover, a great gilt frame draped with red plush attracts her attention, and drawing the curtain aside reveals the “living picture’’ of the grim hypnotist Svengali. It is startling and gruesome. The hights, pale blue and pink, are bandled in such 4 manner as to give give an entirely Miss Cheridah Simpson, with Passing Show.” “The the impression of a wonderful portrait painting instead of the living man. The effect on Trilby is electrical, and she falls senseless in front of it. She regains con- sciousness for an instant and dies in Little Billee’s arms. It really seems absurd to hear people asking each other ‘‘Have vou read that Barney (lighting a cigarette with a £1,000,- 000 note)—Now, Mr. Chambers, how are you geiting on with the drama? Mr. Chambers—Oh, capitally. In the first act you arrive in South Afriea with nothing butadress suit, the gift of the gab, and knowledge of siefght-of-hand. Barney—Ah! Now be careful how you treat that part of the story—make me breezy and let me do something great. Mr. Chambers—I've arranged that. The first entertainment you give results in & profit of five shillings, and— Barney—And I give 1t all away to a poor Helen Bertram, in “A War-Time Wed- ding.” widow who is looking into & ham and beef shop with hung; 3 Mr. Chambers—Xo, not all—you couldn’t—you sce there’s your rent to think of. Barney—Oh, nonsense! Heroes in dramas never bother about their rent. I fling the whole five shillings into the widow’s apron and say, ‘‘Take it—'"tis all I have, but I have youth and strength, while you are old and ugl. Mr. Chambers—AllTight—and then you walk away whisiling. Barney—No, no—the 0ld woman falls on her knees and , “Ah, sir, tell me your name, that my unborn’ children’ may remember it in their prayers,” Mr. Chambers—But yon said she was a widow? Barney—Did I? Oh, you can easily get over that—make her a married woman, separated from her husband. Mr. Chambers—I_say, Barney, I thought this ‘was to be & moral drama. Barney—I mean separated by three thousand miles of sea—you know the sortof thing. Then I say, “What avails my name? I ambuta wanderer on the shores of time.” Mr. Chambers—That’s & bit oo tragic, isn’t it? It will be much better if you do a bit of the breezy business—laugh lightly and say, “My name, my £ood soul, is as yet unknown to ame, but such as itis you are welcome to it. new story called ‘Trilby’?”’ and hearing the answer, *‘No, not yet, but I intend to,” I am Barney Barnato!” and while the widow lifts up her hands and calls down the blessing THE ORIGINAL SPIEE LENNESSEY AT HIS WORK ON THE SAFE AT THE GEAND 'OPEEA - HOUSE. | of heaven on you the curtain falls to slow mu- | sie. | Barney—But I haven’t knocked anybody | down! | Mr. Chambers—Do you want to? 0—and look how it always goes. Do you re- member that secne in which Charley played a private soldier and escaped guardroom and knocked down the entire guard one aiter the other, though they all carried loaded guns? | Mr. Coambers—Very well, you are arrested | and you knoc Barney common. down twelve policemen », don’t have me arre: ve a crowd of roughs Hi a woman and let me fight_the lot, the other come on, and then let raft with a dying sailor and there is ouly one down, be on a drop of water left, and I give it to him; and he can’t write and I write a letter to his mother for him—a nice emotional bit, you know. Mr. Chambers—I see what’ you want. Y are both almost mad with thirst and han your clothes are in rags. | Barney—No; make it evening dress—it looks | so much nicer. Mr. Chambers—But you can’t be on a raft in evening dress and a white waistcoat and & light overcoat and a pink carnation. That's all right for the National Sporting Club, but not for a raft. you. That’s the usuai costume for a r: Barney—Oh, all right; then I'll give'em a bit of Mathias. I'm immense in that sort ot part, you know. I think, perhaps, you might ring “the curtain down on that sc t dying sailor takes my hand and say: whet can he say ? Mr. Chembers—I know I'm dying—to-night I shall be in paradise, and the name that my lips ‘will whisper in the angels’ ears will be Barney Barnato. Barne; Very touching — very touchin; (Wiping away a tear.) I—I—excuse me—“wh’ pering the name of Berney Barnato to the angels”—Yes, that’s better than “The Bells’”” business. Chambers, my dear fellow, you are & poet. Drop the curiain on it. And now we've settled the first act, let there be an inter- val for refreshments. ve ordered a nice little luncheon for two at 50 guineas & head. Scene 2 —The same apartments — After luncheon. Baby Lewis at the People’s Theater. cellent: T gt them at five pounds fifteen esch by taking t e entire crop. ond act. Barney—AD, yes. come a_millignaire between the acts—sav time and a lot of business detail the public wouldn't understand. Mr. Chambers—You are still breezy? Barney—Still breezy — utterly unspoilt by wealth. Mr. Chambers—I think I shall treat the sec- ond act from a Monte Cristo peint of view. Barney—Capital idea. 1'm walkingdown the main thoroughfare with a Peer and a Prim Minister; a shabby fellow down at heel passes me; I recognize him as a man I knew in the old’days. Iquit the Peer and the Prime Min- ister, take the shabby fellow’sarm, and he says, “Unhand me, myrmidon of che law.” 1 say #m no myrmidon, I'm your old iriend, Barney Barnato!” He grips ¥ . “Good old Barney!” he says. Then I look at his clothes and say, “Jack, I'm afraid Fortune, the fickle jade, hias not smiled on you.” He confides in me.’ He s ruined. The brokers ure in his lit- tle home: his children are crying for bread, 1 take ten 1000-pound notes from my pocket and say, “Jack, when I was poor you once gave me the return half of a third. ticket that you couldn’t use—Barney Barnato never forgets a kindness. Give that to your wife with my love.” I thrust the notesinto his hund, and am on a ship bound for Enrope before he has sufficiently recovered from his astonishment to thank me. Mr. Chambers—That's sil right, but we shall want something more dramatic, and you ought to be in love somewhere in the play. Barney—Between the acts, between the acts. Iam a married man and the happy father of a family. You'd better get on to the third act LOW. Mr. Chambers—Where shall that be? Shall we'say: “First scene—Palatial private office in the Barney bank?” Barney—Yes; good ides. Mr. Chambers—Second scene; entire stag Epsom Downs. From the grand stand you address the crowd; tell them that they'r'e all on your horse ten pounds to nothing.” Your horse wins by ten lengths; you go out.and lead him in; terrific reception. Cries of ‘*Bravo! Barney!” resound on all sides. Barney—Spléndid! And for that scene, m boy, 'l buy up all the best horses on the *urf. Pl ‘'make Rosebery au offer for Sir Visto, snd You can have dark trousers, a | spotless white shirt, and the limelight full on | Barney—Have a ciger?—yon'll find these ex- | | shall | dash him on on | | | | | Mr. Chambers—Thanks. Now about the sec- I think I’d better have be- | ss |- give Morny Cannon a hundred & night to ride my horse in the scene. Mr. Chambe ow the last act. Where we pitch {t? What do you say to the House of Peers? Lord Barnafo sounds well, Barney—Certainly; it builds the character up | you know! aren’t what ti e myself in a cor- d don’t want Barney—Yes, but Lords :d to be. Don't exact Besides, I'm American mi . Chambers: cene in or the Ame oy—That's righ you sayto a big You v York harbor? ica cup. ; you've hoard, my capiain tears his b that we shall fail to re Y on of Bar claim, *‘In th nato there 1ch word as the frantic cheers of my fell y my yacht beats the American with a 1 to'spare. The band plays the national anthem as an allegorical figure of Britannia rises the ocean, steps on board the yacht and p a wreath of laurel on my brow. What do you think of that? % Mr. Chambers—Good; but it's a big scene to ut on. P Barney bright lex Nonsense! Gus Harris wa Barnaty’” Lane I'11 play t nothing—and buy up th e ears? him for so man; —Certainly, ¢ 3 ambers—Where s ey—Between the ac {it come? , dear boy ; between NEW TO-DAY. Catarrh Is Caused By inflammation of the mucous membrane of the throat and lungs. Catarrh Is Cured By that simple, effectual remedy which has lately been astonish- ng whole communities by its wonderful results. Is its name. It's a new thing now. 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