The San Francisco Call. Newspaper, April 5, 1896, Page 22

THE SAN FRANCISCO CALL, SUNDAY, APRIL 5, 189€. S Ll 1 il ) HE season of penitence and ashes being past, theatrical managers ving with one another in ctions for Easter Monday. The California will break out into farce-comedy headed by Peter Dailey, and of such is the variety show, coupled with large receipts at the box-office. The Co- lnmbia announces a Mark Twain-Frank Mayo play, with the statement in paren- theses that both writers were good old-tim- ers in California, and that other old-timers should rally to their standard. The Grand has imported a new lead lady from the East for Easter, and she intends to im- prove the occasion by appearing in a pur- pose play, the object of which is to prove that divorced people should not be pro- hibited from marrying again. The Tivoli has & home-made extravaganza, which it defies anv one to prove inferior to those manufactured in the East, and the Alcazar gives the quietus to its continuous variety show, anéd returns to the path of comedy. The Orpheum has added new vaudeville stars to its bill, and last, but not least, the Baldwin says James O'Neill is quite good enough Faster attraction for any one. vy It is with trembling anxiety that the male portion of the population awaits the new styles in Easter bonnets, and worse stiil, ter hats, which to-morrow will give to the world. Will they be monu- mental, or trifles light as air? Is there any hope that tke male bipeds will beable to get an occasional glimpse of the stage, or will their sole business at the theater be to “pay,’” and then sink into harmless ob- scurity behind a mass of spring millinery ! nous sign is that for some weeks the “women’s pages” in the daily press have given illustrations of new spring ts, constructed on the principle of arden parterre, with nodding rose: cs standing upright, in a bris ling and defiant attitude. It is all very well to say are v att The flowers that bloom in the spring, tra! lal Have nothing to do with the case. They have a great deal to do with it when the flowers bloom directly in front of your line of vision at the theater, and it is on that account that male admirers of the drama are awaiting in fear and trem- bling the advent of the spring bonnet. Ealdwin Theater. James O'Neill will close his first week at the Baldwin Theater to-night with his well-known interpretation of Dumas’ “‘Monte Cristo.” To-morrow actor commences the second and last week of his stay with “Virginius.” This piece will be presented for the last time on Friday night. *“The Courier of Lyons,” in which O'Neill appeared so advantageously | last Wednesc Tuesday and nd. matinee on Saturday. *‘Monte Cristo’’ will be seen for the last times on Wednes- day and Saturday nights. “Hamlet” w be the bill on Thursday night. On Monday night, the 13th inst., Richard Mansfield, accompanied by the New York Garrick Theater Company, will inaugurate a three weeks’ engagement at the Baldwin. During that time he will bring out at least two plays that are entirely new to this City. e will also appear in a repertory of productions which are identitied with his name. Mansfield's company includes: Beatrice Cameron, Eieanor Carey, Jennie Eustace, Jounstone Bennett, Norah Lami- son, Alice Leigh, Grace Gaylor, Charlotte Walker, Harriette von Ganahl, May La- vine, D. H. Harkins, E. D. Lyons, Orrin Johnson, A. G. Andrews, W. N. Gritfi Louis Dutton, Herbert and F California Theater. At the California Theater to-morrow night Peter F. Dailey commences a two weeks' engagement in his latest laughing success, “The Night Clerk.” The comedy- drama is from the pen of John J. McNally, who was responsiole for Dailey’s former plays, *A Straight Tip” and “A Country Sport. Among the members of the com- pany are Jennie Yeamans, Miss Gertrude Ford, Raymond Hitcheock, John Sparks, Rita Emerson, Freda Depew, Bertie Dyar, lda Rock, Eva Butler, Hugh Mack, Charles Sturgis, Lawrence Sheehan, M. J. Sulli- van, William Keough, Peter Randall, Rene Stretti and the Olymnia Quartet. “The Night Clerk” is said to be free ‘rom all coarseness and to abound with romedy and fun. It has received an ex- i and the way in which the ast act is pul on the stage 1s wortky of a Christmas pantomime. Roland Reed follows Dailey at the Cali- ‘ornia Theater. He will be seen in “The Politician” and other plays. night, will be given on Columbia Theater. Frank Mayo’s dramatization of Mark Cwain's story, “Pudd’nhead Wilson,"” witl »e produced for the first time in this City it the Columbia Theater to-morrow even- New York gave the play a long and »osperons run at the Herald-square Theater, and it has also been played su essfully in a number of other large citie: Mark Twain wrote his story for the Cen- ¢ Magazine. It descrives life in a Mis. ouri village before the war, and is full of he atmosphere of the easy-going times vhen the colored man was a ve. There re ‘a number of interesting character ketches, among them the eccentric ola -illage lawyer, whose peculiarities and ap- arent denseness have earned for him the obriquet of “*Pudd’nhead.” 3 fayo, who dramatized Mark plays the title role. He is aid to have made out of *‘Pudd’nhead” a haracter full of quaintness and pathos, *he members of the supporting company reated the original parts at the Herald- quare Iheater,and many of them are poken of as exceptionally ‘clever perform- rs. “Pudd’'nhead Wilson” will stay two reeks at the Columbia Theater. Grand Opera-House. of *Doris” is announced as the ouse. The cast is said to be an excep- lonally strong one. “Doris” is to some extent a purpose lay, as itis written to combat the preju- 1ce which exists where the scene of action +laid against the remarrying of divorced night the i nights and at the | k attraction at the Grand Opera- | people. The story is_an English one, and is written by Robert Drouet. The title role is to be taken by Miss Lisle Leigh, who has selected this part for her Calitornia debut, as it is on® that affords her full scope for that emo- tional portraiture in which the young act- ress is said to excel. Another new name in the cast is that of Hugh Ward, who comes from Salt Lake City and is announcad to be a high-class comedian. Grover's Alcazar. Grover's Alcazar abandons the con- third of *‘Siegfried,” and the final scene of “Goetterdammerung.” Miss Clara Boas, who left San Francisco several years ago and has just graduated with high honors from the Berlin Con- servatory, will make her debut at the Au- ditorium in this City on Thursday even- ing, April 16, Macdonough Theater. Anna Eva Fay, who has been creating quite a sensation in Qakland, gives her farewell performance at the Macdonough Theater to-night. Hoyt's “A "Milk White Flag” is booked for to morrow and Tuesday evenings, and “Sinbaa” will occupy the theater on Tbgur:dag, Friday and Saturday evenings and the Saturday matinee. Henley Concert. Next Thursday evening, at Native Sons’ Hall, a grand farewell concert will be tendered to S. Homer Henley, preparatory to his joining the Tavary Opera Company. Mr. Henley wilt be assisted by Bernhard Mollenhauer, violinist; Sigismund Mar- tinez, pianist; Miss Nellye Giusti, S0prano; Mrs. Maud Chappelle Henley, contralto: E. D. Crandall, tenor; De Koven quartet (first appearance); Reliance Glee Club (ten voices); accompanist, Mrs, Willard J. Batchelder. A Local Pianist. Miss Frances Wertheimer, a young so- ciety pianist of this City, will give a con- cert prior to bLer departure for Europe, Where she goes to complete ner studies. The concert will take place at Golden Gate Hall on Tuesday evening, April 28, WILL JOIN WARDE. An Oakiand Girl Who Is to Play Cor- delia, The latest amateur whose dream of a dramatic career seems about to be realized i is Miss Portia Knight of Oakland. Fred- | erick Warde telegraphed to her iast week to | Join his company in Tacoma and assume the role played in San Francisco by Miss | Gillette, the leading lady, who has with- drawn from the company. In Miss Knight's sudden promotion | from the amateur stage of the San Kran- tinnous variety show this week and re- turns to its first love—the drama. “Ranch 10" is the play which will be | cisco Lyceum of Expression, where she has been studying under the guidance of Mrs. Edna Snell Poulson, to the serious business of impersonating - Cordelia in AYLwWARD A, | AS FATIMA L4 revived to-morrow. [t will be carefully | staged, and will serve to bring back a num- ber of the performers who have been popu- lar all winter. Leonard Grover will appear as the judge and Eugene Mocre as the twin brothers, | Clyde Hess returns in the role of the doc- tor, Gordon Foster plays as the lawyer and Mrs. Fanny Young is to repeat her | former part of -Lucretia. May Noble, | Josephine Gassman and Nellie Yonng will aid in the performance. For the jury in the courtroom scene a number of come- dians will appear. The regular Wednesda; unday matinees will be y, Saturday and ven. Tivoli Opera-House. The spectacular extravaganza, *‘Blue Beard,” will be offered as the Easter at- traction at the Tivoli Opera-house. The work has been in preparation ever since the run of the Christmas extravaganza, “Ixion,” and it is said that no efforts have be en sparea to make ‘“Blue Beard'’ surpass previous productions of a like nature at the Tivoli. Tnere will be new scenery and costumes, brilliant light effects, character- istic ballets and novel specialties. ' The cast will include Ferris Hartman in | the comedy role of Ibrahim, the poverty- stricken restaurant-kecper; Carrie Roma | as nisscolding wife, Morgiana; Gertrude Aylward. the new English soprano, who is vretty and piquant, as Fatima, their daughter; W. H. West as her stepsister, | Anne; John J. Raffael will play the title | role of Blue Beard and Thomas Leary will appear as his valet, O’Shacabac; Kate Marchi will be his_sweetheart, Beda, and gnlr_my Liddiard will piay the gallant lover, Selim. At the Orphenm. Four new attractions are advertised at the Orpheum for to-morrow evening. The most remarkable of them 1s Mlle. Elena | Leila, known in Europe as the *singing doll.”” The lady is a soprano with a voice | {of unusually high range. The venicle ‘emp]oyed to introduce her is taken from “Contes d’Hoffman.” She appears as a mechanical French doll with flaxen hair, a supposed unredeemeed pledgein a pawn- | shop. On_being wound up with a huge i key the doll. dressed in a short pink satin Mother Hubbard, begins to sing, and it is | said that she sings remarkably going as j high as Fin alt. Leila is a Russian and is | a graduate of the Conservatory of Music, | Moscow. Rosie Rendel, a transformation dance artist from the Alhambra, London; La | Bella Carmen, a Spanish tight-wire dancer, |and Adonis Ames, a contortionist and | balancer, are the remaining new people. | | Segommer, the Nawns and the Marvelles are held over. There will be a matinee to-morrow, Easter Monday. i | New Auditorium. Signorina Bellinfante, the Italian con- | tralto, and Anton Schott, the Wagnerian | tenor, will give their first concert at the Auditorium next Thursday evening. Messrs. Friedlander, Gottlob ‘& Co. are ! making an effort to bring Madame Ma- | terna, Ondricek and Schott back to San Francisco to give three or four more con- certs, one of which will be devoted exclu- sively to selections from Wagner operas. It is proposed to act in costume. Adolph Neuendorff, Madame Georgine | von Januschowsky, Baron Berthold, the tenor of the Damrosch Opera Company, and an orchestra of sixty-five persons have been booked to give selections from Wag- ner operas at the Auditorinm, among them the firstact of *‘Walkuere,'’ the sec- | a stroke of genius. | opposition born of his own introspective | analytical conjuration. | ture produce and justify a varied inter- before was justified by the afterward. He 1s an artist of the purest and most limpid water, and his character sketches would convince an audience of savages. Such songs might be vulgar and slummy, and even smell-y. As he sings them, however, they are gems, both of diction and melody. Chevalier is the finest music-hall artist that America has heard in the last decade. Yvette Guilbert is a stupid and incompre- hensible fad compared with Chevalier, Wwho gives us human nature as itis, not only in the slums of London, butin tbe alleys of the whole world."” Some of the New York papers, however, express ineffable disgust at the Chevalier craze. The Recorder says: ““What an unmitigated set of hypocrites, or, worse still, of fools, must Chevalier think us, and when he returns home, what a laugh will go round the London clubs at the expense of the American public! *‘Chevalier said America staggered him the first day of his arrival. That audience at Koster's must have staggered him on the first night. “Now lfmc he has regained his com- posure, he estimates its laudation atits true worth. “The same scenes have been gone through each succeeding night in the week, until I haven’t the slightest doubt that Chevalier was thoroughly disgusted. **On Friday night it seemed to me that [ could detect on his face a latent expression of Erormmd contempt for the insensate mob pounding its hands together and shouting itself” hoarse over something it didn’t understand.” Th(l: World goes with the multitude to admire the ‘“‘coster” singer, for it says: “‘Chevalier is a music-hall artist. That causes much drawing aside of fur coats among our young ‘dress-suit’ brigade of | matinee favorites. But let them not for- get that Chevalier is an individuality. He 1s not one of a dozen or of a hundred, but one all by himself. He would have been a great actor had he stayed in the theater, but he preferred to step aside and create his own characters and win his own pecu- liar and individual fame. The result is that there is no player in England to-day that can be compared with nim as an art- ist. He never misses. He always produces the effect he intends. And he is as great to the few as to the many.” Chevalier is no stranger, by name at least, in San Francisco, for his coster bal- lads are favorite ditties with local warblers of comic songs. James O'Neill’'s Hamlet. BY WILLIAM GREER HARRISON. No one of Shakespeare’s creations per- mits of such varied interpretation as the character of Hamlet. Its infinite com- plexities, its presentation of such varied changes in the mental processes, admit of many independent conceptions. Shakespeare presents a man gifted with great intellectual power, born out of his time, at war with hisenvironments, doubt- ing yet believing, desirous of advancing in the lines suggested by his reason, yet halt- ing at every critical point in the face of an The great master presents 1o us a vivid picture of an interaal conflict—the battle of reason against a faith founded on superstition—the eternal rebellion of the strong soul against the in- equalities of life, the arbitrary domination of apparent trifles over the noblest of pur- poses. The very complexities of Hamlet’s na- pretation. In reviewing, therefore, the work of the individual Hamlet we must first discover what the actor’s own con- ception of the part is, and we must meas- ure his skill by the way in which he sus- tains that conception. It is folly to compare one Hamlet with another except where the second is merely areplica of the first. We may prefer one Ut ‘ ABBE BVSONt., a7 THE BADWIN bg, “n G050, “King Lear,” there is evidence that Mr. Warde has great faith in_her intellectual and dramatic powers. Miss Knignt’s like- ness to Nethersole has been much com- mented on by those who have seen both. Her instructors believe she has a great fu- ture as a tragedienne. THE CHEVALIER CRAZE. New York Audiences Neglect the Thea- ters to Hear Coster Songs. New York has simply gone wild over Albert Chevalier, the London ‘‘coster’ singer, who is warbling at Koster & Bial's. Since his arrival, the theaters have been doing a poor business, for Chevalier has monopolized the patronage. He was fortunate from the time he ar- rived and was interviewed. Chevalier is a diplomat, and he struck an entirely new subject as the theme of his remarks to the reporters. *‘The difference between an American and an English bar,"”” Chevalier is reported to have said, *‘is that in Eng- land they give you whisky, and allow you to mix it with all the water you want, while in happy, free America, they give you water, and allow you to mix it with all the whisky you want.”” ‘“He has made his appeal short, but direct, and he has got there,” says the Journal. “‘His whisky dis- covery has knocked all the hackneyed ‘I love dear America’ and ‘I dote on the dear Americans’ sayings intococked hats. Itis Max O’Rell never said anything five-eighths as bright, while Paul Bourget—well, Paul Bourget never said anything bright at_all. Chevalier, in less than a week, has discovered the ineffably subtle charm of the whisky allusion. Yet, he has never seen an American farce- comedy. He hasnever assisted at a seance of American wit. He has never listened to the tinkling whisky and poker jests ut- tered behind the footlights. He is an in- spired genius and that is the long and the short of it. “I should like to hear his impressions of American audiences. They must be singu- larly droll. What are his ideas abouta seething assemblage of people, who ap- plaud him lungily and handily before they have ever heard him? What has he to say on the subject of a pre-cooked reputa- e - IN /"\UL{T (€ VJS‘.S e 1 © Vi naoet actor’s concention as better meeting our own than that of another, but the com- parison stops there. There are so many views of Hamlet that I think it improba- ble that any single actor can present all of them. We have a right to expect from each actor playing therolea consistent pre- sentation—that is, he must play the part after his own conception of the character with a consistency that shall give to it a harmonious color. No actor will, however, be tolerated who strains for an interpretation obviously not intended. Only where the master is silent or ambiguous is the actor permitted to de- Rurt from the plain reading of the lines. Nor is he at liberty to conceive meanings foreign to the text, or give expression to ideas not natural to or not legitimately suggested by the context for the sake of mere theatrical effects. The language employed by Hamlet is so delicate in its texture that even the light- est inflection or the least percentible deflec- tion changes the motive of the line and may color a whole passage. Ignoring this many actors have pre- ferred to follow some accepted standard Hamlet and thus avoid the risk of eriti- cism as applied to a newer conception— but the l‘&mlets which hold a permanent place in our esteem have not feared to clothe their own ideas with flesh and blood and submit them frankly and fear- lessly. Every presentation of Hamlet is more or less influenced by the nature of the actor. Even his physique has its influence not only upon the audience, but upon the actor him:self. His views of life, hisown an- swer to the everlasting iteration of the question of existence and of a hereafter will color his conception of the character. The measure of his intellectual strengthis the effect which ke produces. Mr. O'Neill’s conception of Hamlet is his own and he is consistent and harmonious throughout. He gives quite a number of new readings, but these are legitimate without being startling and there is not at any time a sacrifice of the lines and their obvious meaning for the unworthy pur- pose of creating a dramatic surprise. His reading of the lines is musical and his presence always gracious, He is entirely free from mannerisms and his delineation is in harmony with the lines. His soul ascends or descends with a cadence natu- ral to the situation. I say hissoul ascends because I do not mean his words, which would be a repetition of the statement that his utterances are musical. What I suggest is that Mr. O’Neill is able to give to his utterances not merely a body but a quickened, living soul, and "this is why he is enabled to hold his audience as by a spell while they are with him, sending them away with a feeling in their hearts of having suffered loss by the abbreviation of the performance. Mr. O'Neill regards Hamlet as being richly endowed intellectually and mor- ally, as the possessor of mental qualities which would have made him great under most circumstances, but looks upon him as a genius born before his time, sub- ected to cruel misfortune, attacked through his natural love, crushed finally by an overwhelming combination of cir- cumstances. He does not portray the long-haired bookworm which sometimes does duty for Hamlet. He gives us a real man, clothed with all that makes for manhood, and he gives us a strong man made weak by his own strength. He shows us a Hamlet assuming madness, but never mad—a philosopher always pre- senting the question of life and its coil, but always unable to solve the mystery. He shows us a man, a great man, suffer- ing, dejected, at times resolved, at times in doubt, yet always with an unaccom- plished purpose, & man in the hands of a relentless fate. Mr. O'Neill is true to this conception; avoiding artifice he gives us art, with a finish and refinement, with an intenseness and keenness of perception entitling him to be ranked with the greater Hamlets and with the effect of increasing our pleasure in the fact that he has returned permanently to the legitimate. Dramatic Brevities. John J. McNally is writing Peter F. Dailey’s new farce for next season. The tour of Anton Seidl and his orches- tra has been postponed for the coast until August next. “The Strange Adventures of Miss Brown” has reached its six hundredth performance at the Savoy Theater in Lon- don. The students of the Columbia School of Dramatic Arts will give a performance at the Columbia Theater next Thursday afternoon. Miss “Ta-ra-ra Boom de-ay” Collins is to return to New York in a comedy, *“The New Barmaid,” in which she is now play- ingin London. SINGERS, OLD AND YOUNG Six Hundred Voices Will Be Lifted Up in the Mcrmon Choir. A Famous Organization That Will Be Heard Here Next Wednesday. This week San Francisco will be visited by a unique bodyof singers, the largest chureh choir in the world. One hundred and fifty picked singers of the famous Mormon Tabernacle choir left for the coast yesterday. They will give a | sacred concert at Sacramento this even- ing, a concert at San Jose on Monday, Oakland on Tuesday, and in the Metro- politan Temple of this City on Wednes- day, Thursday, Friday and Saturday. They will leave for their return trip to Zion on Saturday evening and arrive on the following Monday, thus consuming ten days on the trip. | This body in its entirety comprises nearly 600 singers. Nine-tenths of its membership consist of young men nnd| women who have been reared, as it were, | in the present director’s clas: The re- mainder are the fathers and mothers in Israel who thirty years ago copied their own music, and carried candles in their coat pockets to their rude places of re- hearsal, and held the flaming dip in one hand and their music in the other while they sang. It requires no litile tact and judgment to muffle such threadbare voices by enveloping them in the mass of | rich young voices of their children, and in some cases children’s children. Their | conductor succeeds in the task, however, if | the enthusiastic praise of Paderewski and | Sousa go for aught. These famed lumin- aries of the musical firmament lifted up their lights upon Utah’s musical horizon and shone resplendent. The fixed stars in the Utonian sky did not pale in compari- son. Sousa is said to have declared that Evan Stephens, the director, is the best chorus conductor in the United States, and Paderewski declared he had never heard a finer chorus than that which is heard in the egg-shaped tabernacle on Sunday and in the massive neighboring | temple on occasions of special solemnity. There is much musical talent in Utan. | It is rare indeed to find any one of the dominant faith in the young State who does not sing and there are some rare voices among them. More than one tunefnl young Mormon | first priz has gone into the outside world bearing a | B. Young, wonderful message of song. B.. ang, son of the prophet, Brigham \ouné. :fh: leader in Chicago’s music realm. fe i Bayliss, a prominent member I‘Z L ke Fencing Master Company, is & Sal lni :: City girl. Viola Pratt, the contralto sg n; in the First Baptist Church of .\ewh ork, is a beautiful and gifted daughterof ‘t} e pe- culiar faith. The writer heard Hon. eorg: Q. Cannon, one of the First Presidency of the Mormon church, tell the story of ’»}‘f" this girl earned $200 by one song. he trustees of the churcn in which she was engaged had resolved upon retrenchmens in the choir expenses. Accordingly they no- tified her that her salary was to be reduced $100. She aid not remonstrate, but o:; the following Sabbath her solo was one o unusual power and sweetness. So thrilling it was and so tender that it sank into the hearts and even to the pockets of the trustees, and the next day Miss Pratt re- ceived a polite note by which she was in- formed that, instead of a reduction of her salary, it would be inc(;-eused ar_(the rate it ad been provosed to decrease it. i m)’[r; Z\'gllie Druse Pugsley, Mrs. Lizzie Thomis Edwards, Mrs. Agnes Olson Thomas, sopranos, and Mrs. llgssxe Dean Allison, contralto, and R. C. Easton and George D. Pyper, tenors, are the bright particular stars in the galaxy. Evan Stephens is sometimes referred to by the older saints as *“Our Shepherd Boy.” Some one with musical discern- ment and a kind heart “discovered’’ him | when he was an ungainly boy living in one of the humble settlements. He soon attracted attention at the Boston Conser- vatory by his zenius, and in his six years leadership has transformed the choir. Willard Weihe, the violin virtuoso who ac- companies the choir, was a protege of Ole Bull. The great Norwefimn_ violinist, took the dreamy, fair-haired little fellow on his knee and gave him his first lesson in the use of the bow. 8 5 Several daughters of Brigham Young are among the singers who will come 10 the coast. Indeed every member of the organization represents some phase of the religious romance whose pages have been scanned with keen interest by a curious world. A § The choir is strong in oratorio, but its repertoire includes compositions by the leader and other Utonian composers. The favorite, “Hosanna!” anthem by Evan Siephens is used in the dedication of all the Mormon temples and its choruses are most impressive. “O My Father” is a beautiful liza R. Snow, an inter-mountain poetess, sung in almost every Mormon assemblage. This is the second pilgrimage of the | choir, the first being to t.e World’s Fair, where it won o prize. It carried off the ize at the Eisteddfod held at Salt Lake City in October. The Mormon singers will travel n special train. Mrs. lorer, in Norw a e Nansen, wife of the Arctic ex- the most popular concert singer NEW TO-DAY. it The teeth—from decay. What it s—from softening. The breath—from impurity. The pocket—money. The gum saves By using Sozodont da ( liquid every the powder Same package) twice a week, you get the most you possibly can “for the money, T\ " * @)'o odonr PURE AND FRAGRANT. A small sample bottle if you send five cents and mention this paper. Address the proprietors of Sozodont, HALL & RUCKEL, Wholesale Druggist: New York City. Herbert Kelcey, it is settled, is to play the part of Alan Kendrick in “The Heart oi Maryland” the latter part of the season and all of next. Marie Tempest may revisit us next fall with the new Gilbert and Sullivan opera. At all events, she has the option of the American rights. One of the features of the last act of ‘‘Bluebeard” at the Tivoli to-morrow will be the intro duction of the terpsichorean novelty, ““Rays of Light.” Henry Arthur Jones, the dramatist, is the son of an English farmer and was taught in his early days to look upon the stage with Puritan horror. Frank Belcher, the popular California barytone, left for New York last night en route for Europe, where he wili study either for opera or oratorio. Frank Lawton, who played the private in “A Milk White Flag,” goes to Australia with Hoyt's company that is to present ‘A Trip to Chinatown’ in the land of the kan- £ar00. Richard Mansfield's new play ‘The Story of Rodian, the Student,” is by Charles Henry Meltzer of the New York World, and 1s founded upon Dostoyevski's great Russian story of “Crime and Pun- ishment.” Salyini recently made a reappearance on the stage of the Teatro Valle at Rome at a benefit for dramatic artists. The play was “Othello,” the great tragedian, who seems to have lost none of his power, acting the E;B" ti_f the Moor to the Iago of Ermete Noveli. tion? ond act of “The Flying Dutchman,” the “In the case of Chevalier, however, the The “Hamlet”’ epidemic 18 raging. It has attacked Eben Piympton, Otis Skin- ner and Alexander Salvini. There is also a contagion of “Romeo and Juliet,"” which has seriously affected the Tabers, the Potter-Bellew combination and young Salvini. Eleanor Duse has, in some sense, revo- lutionized the method of the stage, says the critic of the New York Press. She is absolutely natural, her style is invariably simple, and so far as dramatic expression Roes sheseems to bave no art. Yet this is an illusion, for of all modern actresses Duse is the most consummately artistic. A Portland, Or., clergyman arrived at fame a year ago by preaching a sensa- tional sermon against Mrs. Potter and Mr. Bellew, who had attended hischurch. He recently misbebaved with a comely type- writer. This enemy of the drama is in hard luck. The t{pewriter is after him, he isaboutto resign his pulpit, and ina scath- ing editorial the Washi an Standard calls him a whited sepulcher and other hard names. “In the Soup.” For ages the slang phrase or its equiva- ient, “in the soup,” has in one form or an- other been in use among the Germans. ‘‘He sits in the soup’’ is used to indicate the situation of a man in misfortune by his own fauit. “He has made a nice sonp - for himself” is used to indicate a ludicrous or ridiculous position in which one is placed by himself. ‘‘He must eat his own soup,” with other expressions of this kind, is sull in common use throughout Ger- many. 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