The San Francisco Call. Newspaper, October 11, 1896, Page 26

26 THE SAN FRANCISCO 'CALL, SUNDAY, OCTOBER 11, 1896. HINRIC BEELC DE VRIES RTS “The Prisoner of Zenda” is afascinating drama, but I believe that nine spectators out of every ten go home from it with a hungry, unsatistied yearning — not for more **Zenda” (the play is already in four acts and & prologue), but they want the curtain to ring down on a more satisfac- tory conclusion. Edward Rose has developed the love- making scenes between Princess Flavia and her handsome impostor 1o as great a length as Wagnerian love duos. Flavia loves Rudolph; Rudolph loves Flavia. She looks love into his eyes and he looks love into hers, and the linked sweetness, long drawn out, is so pretty and poetical that the audience escapes by a hair's breadth from being nauseated. But after playing old gooseberry for so long people are sent home with a vision of the lovers torn apart forever. All the good love-| making lost, and for the sake of what, pray? Not even for the drunken, de-| graded cousin. Once on the throne he could have let Flavia go away with her tourist. It is for the sake of the People— with a capital P—the nation of Ruritania, that pretty, red-haired Flavia is separated from the hero she has loved through three acts and is given to a drunken brute she despises. ‘‘Hang the people!” your aver- age spectator wants to say. “They’'re not in tbe piay and I don't care what becomes of them.”” That’s the selfishness of the average theater-goer, Novel readers can swallow tons of self-sacrifice for the sake of mere abstractions, but the theater-goer refuses to feel the least sympathy for what he does not see with his own eves and hear | with his own ears. It is a beautiful idea— in a novel— this unselfish devotion of Flavia to her peovle. The people’s inter- ests are as much above those of the indi- vidual as patriotism is above mere per- sonal advancement, and in a novel, with the help of description, we can realize it all, but in a play, bah! we none of us have enough imagination. I don’'t think any other ending was possible in “The Prisoner of Zenda,” but that does not prevent the denouement from being against our theater- going ethics. In a play we want to see the | heroine’s fate settled, either in the bonds | of holy matrimony, or else beneath the | sod. We can go home rejoicing when she is led to the altar by the right man, and we can take a grim satisfaction in seeing her stabbed, or poisoned, or burned to death. But expect us to go home happy when she is about to marry a weak- minded fool? No, Mr. Rose, we have not fortitude enough to enjoy the sacrifice, even for the sake of the people—with a capital P. But Hope and Rose have made a de- lightful play, if they do ask us to sympa- thize witb an abstraction. They have taken us back to the realms of romance, out of which fin-de-siecle realists, with their commonplace immorality, have been trying so hard to banisb us. There may pot be much romadce in our poor workaday world, but we like sometimes to dream idly that there is. The theatrical welkin has been ringing Jor a week with praise of Hackett’s re- markable versatility and his physical charms. With that length of limb, dash of manner and tenderness in love-making, his doom as a matinee girl’sidol is already sealed. I nope he won’t grow vain and puffed up. They say he is a very nice youth at present—he is on the right side of 25—and if he keeps his head he ought to bave a great future. Could Rose have had a sneaking desire to compose a grand overa when he adapted “The Prisoner of Zenda” for stage purposes? Something to out- Massenet the ‘“Navarraise” which takes the cake for lots of noise and startiing accompaniment? It 80, he has followed the Wagnerian tradition of concealing the peopie who feke this music, but there must be at least a score of them bebind the scenes actively engaged in executing the “noises without,” which occur continually in Rose’s stage directions. No sooner is the curtain up than night is made hideous by midnight revelers brawling in chorus without. Directly after a carriage is heard rattling over cobblestones that make Market street seem paved with velvet by comparison. With much iabored noise the vehicle departs and Amelia Rassendyll begins a laugh without, so long and so sustained that a hyena’s vocal efforts would fade into little staccato interjec- tions compared with it. The rest of the play is given to an accompaniment of bands, shouting, hurrahing, national anthem, storm, with thunder and light- ning, bells ringing, swords clashing, battle raging, more shouting and more hurrah- ing, and the whole of the final scene is gone through to the strains of a prolonged dirge and the tolling of the passing bell for the defunct Black Elphberg. It was all very effective, but the tax om the actors’ lungs and voices would have been relieved if they had burst into recitative. Luckily most of them are blessed with strong lungs, and can defy the tumult; all but Miss Odell, whose voice 18 too leggero for grand opera. Poor Miss Odell ! at times she has to labor to be heard till the veins stand out on her neck like bits of whipcord. ; “La, la, Ja.” This little interjection was the crowning joy of “Trilby”’ audiences in Martinetti’s time. The orchestra chuckled, the family circle bubbled over with delight and the gallery cried for more “La, la, 1a.” But alas! “When other lips,” etc,, and the Trader lips are not framed on the French model. We remember you, wicked little Martinetti, when we see Mr. Trader wearing your Zouave blcomers and giving us “La, la, 1a.” His zou-zou is a sporty little American, who has never been to Paris, not even on a cheap excursion—re- turn ticker, available for a month. As for the chic and elan of the seasoned boule- vardie—“La, la, la.” Bpeaking for my own part, I never could see the fascination of Wilton Lackaye’s Svengali. He was too fat and flabby for the role; his face was pasty and his hands —the salient point in a hypnotisti—were as expressionless as 1wo strings of sau- sages. Flis characterization was melo- dramatic and intense enough, but was ghoulishly inhuman. Now, speaking for my own part, I like Charles Kent in the role much better. He is naturally built on Svengali lines, has a lean and hungry look and his long, claw-like hands are eloquently expressive. His conception of the character is more human and possiblg than Wilton Lackaye’s and, best of all, he understands and effectively expresses the grim, saturnine humor which Du Mauarier gave Svengali. Wilton Lackaye’s Sven- gali baa no more mirth than a cow. “Trilby” has experienced & good many changes in the cast since it was here last, and much of the glory of the studio scene has departed ; but given the new Svengali, I like “Trilby™ better than of yore—if the stage manager could but be persuaded to abandon the ridiculous green calcium light, with which the hypnotist’s footsteps are dogged all over thz;tnxe. Miss Edith Crane has come back from Australia with a boxom air of blooming bealth and a habit of making her head quaver like an aspen leaf, that would lead one at first sight to fear that she had con- tracted the palsy. It is impossible, how- ever, that much hypnotizing can have given the handsome young actress such a dread disease; her very appearance, which is blooming as that of a rose, soothes ell anxiety on that score. I suppose Miss Crane thinks shaking her head is an effective way of expressing violent = emotion, but a little of that sort of thing goes a long way. I own that it is a very difficult feat, a sort of pro- longed trill of the cranium, that would send an ordinary woman to a darkened room, to mop her aching brows with eau de cologne. But Miss Crane seems to have learned the art of continually wriggling her head without suffering any after incon- venience, and she is so proud of her ac- complishment that she ‘‘does it and does it again.” It's very aifficult. I wish it were impossible. The Theater Hat. (A DRAMA OF THE DAY.) SCENE—One of the San Francisco theaters, TIME—The present. [Enter Mr. and 3rs. Eastern States.) Mrs. E. 8.—1 never enjoyed a trip so much in my life as this visit to California. The e are so polite and considerate and the elfin te is like champagne. Mr. E. 8.—Yes; I feel at peace with all the world. [Enter three California belles in theater hats. They occupy the scats in front of those nf the Eastern States and entirely obliteraie the stage.) Mr. K. 8.—Great Scotil what's this. I cau’t see anythi ng. Mrs. E. sf (sarcastically) — Except waving i | ago that Mr. ostrich plumes. (Craning her neck) Has the curtain gone up yet? r. E. 8. (snappishly)—I don’t know. Mrs, E.8.—I think it has. [ts:ems to me thatlcan hear some one talking, but those hats muffle the sound. 1 ! the hats. Oh, Theodore, how wicked to use ul lanzuagz, and you said & moment vou felt at peace with all the world. E. 8.—S0 I did, medame, but holy Jeru- salem! Idid not know then that I was to spend the evening in front of a milliner’s bar- gain counter. Mre, E. 8,—'m sure the curtain has gone up, Can’t you for 1 can hear some one singing. hear it, Theodore ? s Mr. E. S. (sullenly glaring at the hats)—No. [A4 pause, during which Mrs. Eastern States wriggles in her seat to get a peep at the stage, and the lines of evil on Mr. Eastern States’ face harden.] Mr. E. 8. (jumping up)—I’m going to the man- EDITH CRANE. CoLMBIA agement to complain. and [ mean to see it. SCENE IL THE FOYER—(Mr. Fastern States and a wily l’mglrcsafl'u discovered in heated discussion.) ir. E. 8.—Can’t you make those women take off their haws ? In the East— Wily Impresario—In the East, oh, yes. But you're not in the East. In the West we have a beantiful untrammeled liberty, a— Mr. E. S—Liberty? Rats! 1'call it license. W. L. (shocked and dmintd)'-'l‘hose ladies pay for their seats and they have a rignt to occupy them as they please. Mr. E. 8. (cagerly)—Ii I pay for my seat have Ta right to occupy it as I please? I paid to see the play, W. L—Certainly. Mr. E. §—From the floor to the cefling? W.T.—That’s your privilege. M. E. 8. (chuckling)—Tren 11 wish you good evening. (They part, with mutual ezpressions of esteem and admiration.) SCENE IIIL (The Theater.) Enter Mr. Eastern States with a much befrilled parasol. Mrs. Eastern States (in surprise)—Theodore, what in the world made you g0 to the hotel for my parasol? Mr. Eastern States, without replying, opens the parasol and holds it over his head. (Commotion in the theater and cries of “Ihrow him out! He's crezy!” Indignant Usher—Put that thing down. Mr. E. 8. (calmly)—Your manager told me the seat was mine from the floor upward, and this does not extend beyond my seat. Measure and see. (Continues to hold up the parasol, while the commotion increases.) Wily Impresario (who has rushed to the scene of action)—Sir, I implore you, desist. Mr. E. S.—I shall do nothing of the sort tiil those ladies desist. I— (Rist in the theater, during the progress of which the three California belies are heard loudly deciaring that Mr. Eastern States is an_inconsiderate wretch and no gentle- man. Mr. Eastern States makes a gallant re- sistance, but he is finally overpowered -and is thrown out of the theater, strugging to the last, while Mrs. Eastern States foilows, weeping. CURTAIN. OURSELVES—And still there are people who say that woman—lovely woman—is crushed beneath the iron heel of man. MariE EVELYN. Greenroom Gossip. She was a tall, distinguished young woman, with fluffy blonde hair, and she sailed up to Ferris Hartman the morning of the first rehearsal of “Babes in the Wood,” and said: “Mr. Hartman, I am engaged by the Ti- voli management to play primadonna roles.” “‘Indeed,” replied Ferris, politely lifting his hat and casting a sidelong glance at the cast of characters he held in his hand. *You are? Ahem.” “Engaged as prima donna assoluta.” ‘‘Certainly, madame,” said the come- aian, smiling inwardly as he saw that no stranger was in the cast, “will you sing here, please?” and he placed the aspiring blonde among tte chorus girls. For three days she warb led contentedly among the damsels who do amazon marches at the Tivoli. On the morning of the fourth day she sailed up to Hartman and asked him majestically: *Is this the prima donna part that I'm playing, Mr. Hartman?” “No, madame, it is not,’” said Ferris deprecatingly. “What part is it?” “Not any part. You are singing in the choras.” “The chorus!” gasped the blonde, clutching at some of the scenery for sup- port. *I have been tricked into singing in the chorus!” And then, drawing her- self up proudly, she cried, *“I wish you good-day, Mr. Hartman,” and sailed out of the theater. ‘*And she has never been back again,” said Ferris Hartman yesterday. “I have not the least idea who she was. There were a lot of new faces in the chorus when Icame back from my vacation, but what on earth made that young woman think she had been engaged as prima donna—it beats me.” Baldwin Theater. Only one more week remains of “‘The Prisoner of Zenda” at the Baldwin Theater. On Monday evening, October 19, Juha Mariowe Taber and Robert Taber begin a three-weeks’ engagement. They will open in a new play, “Romola,”’ fonnded on George Eliot’s novel and written by Elwyn A. Barron. Every one knows thet in her famous Italian story George Eliot has paid little attention to the mere development of the plot; he has dealtin a broad and virile manner with the development of the characters, particularly those of the glit- tering but delusive Tito and the sensitive noble Romola. It is said that the dramatist has suc- ceeded in transferring these characiers to his play very much as the novelist con- ceived them, and they doubtless afford ample scope for the display of talent on the part of the accomplished Julia Mar- lowe Taber and Robert, her husband., Golumbia Theater. The last week of “Triby’” opens at the Columbia Theater to-morrow night. Al- though on its return visit, the play drew large houses last week. The new farce-comedy, *“Town Topics,”” will be presented at the Columbia Theater after “Trilby” by the Broadway Comedi- ans. It is in three acts, interspersed with specialties introduced by a chosen lot ot farce-comedy reopla‘ Among the com- any are William Keller, William H. ack, John Queen, James Tenbrook, Phillip Ott, Joseph Harrington, William Nelson, Frank Caverly, A. M. Miller, Be- atrice Norman, Nellie Sennett, Lylian Heckler, Luella Miller, Elise Nugent, IV‘VM’I;. Wninntord, Freda Peel and Mamie elty. At the Alcazar. ‘To-morrow evening the company at the Alcazar will present Horace Wigan’s play, “‘The Wife's Peril.”” This is an emotional drama, in which the strong human pas- sions are exemplfied. It has not been seen here for some years. Mrs. Langtry made her first success in the piece. Friend- ship is the mainspring of the action. The cast includes all the favorites, Sul- livan, Doane, Polk, May Buckley, Beatrice Lieb and Miss Bates. “The Wife’s Peril” will be followed by ‘“An Ugly Duckling,” connected with the famous Belasco-Fairbanks suit in New York and about which so much curiosity was aroused. This will be its first repre- sentation here. Grand Opera-House. L. R. Btockw~ell is to close his engage- ment at the Grand this week with “Uncle Tom’s Cabin,” in which he will act his part of ““Marks, the Lawyer.” The play wil also serve to introduce to Morosco’s patrons Waller Fessler, the new *‘viillain,” who is to appear as Simon Legree. Little Mildred has been specially engaged for this performance to play Eva. Much is expected of Lottie Williams as Topsy. In the plantation scenes there will be jubilee singers and champion dancers. There will also be the usual ac- companiment of bloodhounds, a trick donkey and an elaborate apotteosis when the angels will be shown carrying little Eva through the “‘Gates Ajar.” Tivoli Opera-House. The comic opera season at the Tivoli Opera-house will be inangurated to-mor- row evening with a presentation of a new spectacular operatic burlesque in three acts, entitled “The Babes in the Woods.”” Ferris Hartman, the popular comedian, found time, during the intervals in his fishing this summer, to write this new and very much up-to-date version of the fairy taie. His work is a hodge-podge of local events, and some of the latest songs received from the East and London. The topics of locat interest include a good deal about a famous will case and a parade of the young Jadies of the chorus in the cos- wames of San Francisco bicyeling clubs. Miss Lilly Post, a prima donna well known in this City, will make her reap- pearance in this work. The rest of the cast will include: Elvira Crox Seabrooke and Maurice Darcy as Tomwmy and Sally, the two poor little rich babes; Jobn J. Raffael and Bernice Holmes, as Lord and Lady Macasser; Ferris Hartman as Weary ‘Willie, and Dusty Roads, his partner, wiil pe porirayed by W. H. West; Ruys Thomas as the Doctor; W. H. Tooker as the school director known as Uncle Josh. Special scenery and costumes have been made for “‘The Babes in the Wood.” At the Orpheum. The Hawaiian Band and Glee Club have proved such pleasing offerings to Orpheum aundiences that Gustave Walter bas re-en- gaged them for another week before let- ting them depart for their island bome. The Mengler sisters, who are said to be a remarkable pair of soubrettes, make their debut at the Orpheum to-morrow, direct from the Alhambra Theater, London. The Lucifers alsc make their appear- ance this week, and some very funny work is expected from them. They are acro- bats and manage to do all their athletic feats in a way that provokes laughter. Ando, Omne and Little Al- right are a trio of Japs who are expected to do some very clever juggling, balancing and sleight-of-hand {ricks. C. H. Unthan has been retained and will perform more wonders for a man born without hands, Gertie Cochran will also remain, and Master Waliter Leon has new imitations to wender. Riley and Hughes, the planta- tion dancers, are also to be held over. At the Ghutes. Enthusiasm on the subject of shooting thechutes is still unabated, as the attend- ance at this Haight-street resort on fine days attests. The performances of Pirri, the demon bioyclist, and Vosmer, the aeronaut, are ‘enjoyed by all. The man- agement will shorily add other attractions to their list; Peary’s north gole expedi- tion, in miniature, will soon be seen,and also the famous gold piano, which won the prizes at the World’s Fairand the Midwinter exposition, On Monday next a six-day bicycle contest will commence between picked men from the San Fran- cisco Road Club and the California Cycling Club. The winning club will be awarded a silver cup, and three other prizes will be given to the best individual riders. Hinrichs-Beel Goncerts. The first of the series of three Hinrichs- Beel symphony concerts is to take place at the Baldwin Theater next Friday after- noon at 3:15. There will be over fifty musicians in the orchestra, and the pro- gramme will include: Vorspiel, “The Meistersinger’” (Wagner); ~symphony, “The New World” (Dvorak); waltz from batlet *“Dornroeschen” (Sleeping Beauty) (Tschaikowsky); overture, “Leonore No. 3” (Beethoven). Maurice de Vries will be the vocal soloist at the first concert. Dramatic Brevities. The entire Mapleson Imperhl Opera Com- pany will arrive in New York before the end of next week. . Wilton Lackaye is in possession of a new play called ‘‘Captain Bob,” with Virginia as the locale of the xtory. ‘The Gelsha,” the new Japanese opers, by the author of “Thz Gaiety Girl,” is coming to San Francisco in the spring. “A Knight of the Lost Cause” s the name of a curtain which the author, George 8. Wheatly, a young San Francisco playwright of some promise, has _m accepted by the manager of A Galifornia Actress. Miss Anna Daly, the clever young California actress, is about to leave for the East to join Rose Coghlan’s company in New York for a tour of the Southern States, which begins November 1. Next Thursday evening a farewell benefit performance will be tendered Miss Daly in Native Sons’ Hall, on Mason street. It is expected that Miss Daly’s many friends will rally in force to say good-by to the young actress, who has always so cheerfully given her talent and energies in the cause of local charity. Miss Anna Daly won the admiration of the Rose Coghlan Company, as well as of the San Francisco public, when she appeared as Mercedes, at the Culifornia Theater, last summer in a dramatization of ‘‘Carmen.” and ability for a debutante that Miss Rose Coghlan decided at once to secure the young Californian’s services for her next tour. Her work showed such remarkable grace the Columbia Theater School of Acting. The leading role, Aunt Phabe, an ole black mammy of ante-bellum days, is said to besa clever piece of original character drawing. “Darkest Russia,” the melodramatic success by Grattan Donnelly, is to be the opening pro- duction of the season at the California Theater. Della Fox is now on her way to the coast, preparatory to playing & limited engagement at the Baldwin, following the Tabers’ season. ALl GONDEMN IT. Actors and Actresses Give Their Views on the Theater Hat. James K. Hackett is delighted with the Baldwin management’s enterprise in try- ing to squelch the theater hat. He says he has sat in audiences himself, and has sadly realized the need of such a reform. “In New York,” said Mr. Hackett, “all the best theaters have managed to sup- press the hat, for I have noticed lately that the ladies sit during the perform- ances elther without oats or with very small bonnets. The next time [ play in San Francisco I fully expect that the femi- nine portion of the audience will be minus the much-discussed theater hat.” “Oh! take 'em off,” exclaimed Jennie, the genial Mme. Vinard, of “Trilby’’ fame. *I sat behind a lady the other day, in one of your San Francisco theaters, and she hadona regular cart wheel. ‘Will you please take off your hat, or change seats with me?’ I said to her—and she took it off. I wish they’d do here as they do in Australia. However poor the women are, they take off their hats. Even the little girl in the gallery never sits with anything on her head. There was a touching thing bappened in Melbourne, at our farewell performance. The crush was immense. One woman had gone to the gallery in a fine new theater hat, which she took off during the play. She was so jammed by the people going out, that she could not getit on again, the hat was trampled under foot, and the poor lady had to go home without anything on ber head. Yes, that’s a case I heard of personally, and it's just one instance of virtue not being re- warded.” L. R. Stockwell says that an actor may not be able to see the theater hats from the stage, but he can feel the restlessness of the audience, caused by unsuccessful efforts to peer at him round the obstruc- tive millinery. “I don’t mind little hats in the theater, they do not obstruct things much, but big hats certainly react on the erformers. 1 believe in time the adies here will do as they have doue in New York—take the big hat off. Last winter I was in New York for six months, and noticed that even at matinees, where there was no sort of full dress, the ladies removed their hats. They were good- natured about it, too. One day at the American Theater, I remember overhear- ing a lady, who was behind a big hat say, *Just my luck to get behind that.’ The lady who was wearineg it at once turned round and said: ‘Wh& if 1t annoys you, madam, I'1] take it off.” That is what call being amiable.” Lew Hawkins, the colorea monologue artist, has pondered long and deeply on the subject of theater hats. He says he first gave his attention to them during a tour through New England with Prim- rose & West’s Minstrels. *‘Big hats were all the go just then, and I often saw that ople in the audience who were hidden g:h na them would get mad because they could not see anything and go out in the middleof the performance. This is what I'ddo if I owned a theater: I would block out a part of it for big hats, and all the ladies who wore them wou!d have to sit there and fight it out among themselves. “Just imagine about two hundred la NEW TO-LAY—AMUSEMENTS. LnboGhalte DLR.GOTTLOD & Cp+ 123325 ANDHAAGLRS -+~ A A I A A A A You Will Never See It Again. LAST WEEI Of the rival of all great plays—the late Du Mau- rier’s famous creation, TRIL.EBY So Powerfully Presented by Wm. A. Brady’s Splendid Company. Commencing Monday Evening, October 12, Reserved seats.. 25¢, 50¢, 75¢c and $1.00. October 19. ‘TOWN TOPICS.” The very, very funniest of them all. C'Farrell Street, between Stockton and Powsil. Matinee To-Day (Sunday), October 11. Parquet, any seat, 25¢; Haicony, any sea, 102 Children, 10c, any part. The Great Sllccolldu{ the ', Local Tmpersonations. 20—All Great Vaudeville Stars—20 SUTRO BATHS. lndlykv-’ll.l. Until 11 p. a0 Tt E SRR AR S A 1% S —-_-aAtr6 .. S suggestion were carried out a gentleman who took a lady in a big hat would have to suffer along with her. A gen:ieman is not supposed to find any faulf; he daresn’t find any fauws, but the second iime he went into the place reserved for biz hats be’d insist on seeing some of the perform- ance himselt.” Mr. Hawkins added he bhad one other ides, but he feared it was not a profitable one. ‘You might build a theater expressly for hig hats, but there’d be no money in it,’’ he said, shaking his head pensively. *‘I have figured it out, and I ieel quite sure that notning but the front rows would ever be sold.” “If you are in a box and the gentlemen behind you like to stand up it’s all right,” said Elvira Crox Seabrooke, the Tivoli's new soubrette, *‘but otherwise nobody with any respect for any one else would wear one. The theater hat is dead in the East. Frohman’s Theater won’t allow it withm their walls. [ have not worn a hat myself in the theater for six years. 1 was engaged for three months this year at the Summer Garden in Cleveland, Ohio. Itis in the open air, but no smoking is allowed. Tuesdays, Thursdays and Friaays were the swell nights, und very frshionable people go. Even there the ladies take off their hats,” and Mrs. Seabrooke Iaid a perceptible stress on the word “ladies” which plainly intimated that in her opin- ion the peopie “‘who hed no respect for any one else” are not to be included in that category. Gertie Cocnhran, the six-year-old memory wonder at the Orphenum, has very pro- nounced views on the theater hat. “Those great big things, with Toses standin straight up and feathers going every way asked the phenomenon, waving her short arms like a semaphore, in a vain effort to indicate the geometrical proportions of the reai theater hat. *‘Oh!I would not go to the theater in one of those things, end I wouldn’t let my dolly go, either, and Miss Cochran implanted a chaste kiss on the china brow of “Trilby,” her latest and most cherished possession. “I'll just show vou what I wear myvself when I go to the theater, and Trilby is going to have one, too.”” The phenomenon hopped unon a chair, and by standing on her tiptoes was just able to reach from a hook a tiny netted hood ot red silk. She smoothed down her tumbled curls, carefully ad- justed the close-fitting bit of netting to er head, and, tying the strings under her chin, remarked, naively, ‘That’s my theater hat.”’ sitting together, all in big hats, what a sensation they’d make.” and Mr. Hawkins chortled with glee at the picture. “If my NEW TO-DAY—AMUSEMENTS. L MAYMAN AnD Co, INCORP'D EATRE “\ PROPS. BAL: MONDAY OCTOEER 12th, Second and Last Week. ONLY SIX MORE NIGHTS. ENTHUSIASTICALLY INDORSED BY PRESS AND PUBLIC—DANIEL FROHMAN'S GREATEST LYCEUM SUCCESS, THE PRISONER OF ZENDA, ——WITH— JAMES K. HACKETT And Other Members of the Original Lyceum Theater Cast. An Intensely Interesting Drama, Beautifully Presented and Faultless in Detall A THE BIG SUCCESS OF THE SEASON._ &y EXTRA=---Beginning MONDAY, Oct. 19-=-Limited Engagement, Julia Marlows Taber =2 Rohert Taher, WITH THETR OWN COMPANY, IN THE FOLLOWING REPERTORY 3 FIRST WEEK: Monday, Tuesday, Wednes- » dny and Satarday Matines, ‘FOMOLA, By Elwyn A. Barron, founded on George Eliov'a novel. Thursday and Friday...**AS YOU LIKE IT” BaLUNAY NIRAC..o... ... coocre eerenoness ....“MUCH ADO ABOUT NOTHING”” SECOND WKEK: Mondsy, Tuesday and Saturday Nights........ .“ROMEO AND JULIET’ ‘Wednesday and ThUrsday........... ...c....e... ... *TWELFTH NIGHT" Friday..*MUCHADO ABOUT NOTHING" Saturday Matinee....... “‘AS YOU LIKE IT” All Presented With Complete and Beautiful Scenery and Powerful Casts. A7 Seats for MARLOWE-TABER Ready Thursday, October 15. MOROSCO’S_GRAN WALTER MOROSCO...cccensaennes THIS AFTERNOON AND TO-NIGHT.... COMMENCING MONDAY.. THE BIG BONANZA. D OPERA-HOUSE. andsomes: Family Theater in America =+evseuea-80l0 Losses sad Mauater o AUGUSTIN DALY’S * DAINTY COMEDY. OCTOBER 12, 1898, Farewell Week——L. R. STOCKWELL as Marks——Farewell Week In an Elaborate Scenic Revival of UncleTom’s Cabin Introducing the Powerful Actor, WALTER FESSLER, as Simon Legree. A CAST WITEOUT AN EQUAIL: VICTORY BATEMAN. ELIZA HOWARD KYLE... UNCLE TOM Colored Jubilee Singers! EVENING PRICES—10¢, 25¢ and 50e¢. Ferocious Bloodhounds! ! LITTLE MILDRED .EVA LOTTIE WILLIAMS. TOPSY A Trick Donkey ! MATINEES SATURDAY AND SUNDAY. THE CHUTES, OPEN DAILY FRO AND GREATEST SCENIC RAILWAY ON EARTH. M1TO 11 P. M —MONS. F. A. MAGINEIL,— Greatest Saxophone THIS AFTERNOON AT 4:30 Sololst In the World. AND THIS EVENING AT 10, ANTONIO PIRRI? Will Coast the Chutes Master John GHleason, on a Stearns Bicycle. the Boy Drum Major! Military Concert. Mullen Sisters, Cornetists— And Beautiful Stereopticon Views in the Open Air, BICYCLISTS’ WEEK COMMENCES TO-MORROW: San Francisco Road Club and California Cycling Club Will Compete for Valuable Prizes. Admission. 10 Cents. Children Including Merry-Go-Round Rid 5 Cents. BELASCO, DOANE & JORDAN, Lessees & Managers. THIS AFTERNOON AND EVENING Last Performances of “MARRIED LIFE!” Preceded by Sidney Grundy’s One-act Comedietta, N HONOR BOUND! PRICES—Evening: 15¢, 25¢, 35¢and 50c. Matinee: 15¢, 25¢ and 35¢. Becure Seats by Telephone, Black 991, MONDAY EVENING.. .........October 12 MRS. LANGTRY’S BIG HIT, THE WIFE’S PERIL! An Intense Emotional Drama of the Times. COMING—The Big New York Success, THE UGLY DBUCKLING! TIVOL!I OPERA-HOUS= MES.ERNESTINE KRELING. Proprietor & Managec TO-NIGHT—LAST NIGHT Ealfe's Ballad Opers, ¢ SATANELLA”— oR- The Power of I:ove. —TO-MORROW EVENING— The Opening Comic Upera Seaso “BABES IN THE WOOD. Operatic Burlesque, in 3 ncts, by Ferris Hartman. ———kirst Appearance of- MISS LILLY POST, Prima Donna Soprano. Reappearance of ——FERRIS MA :TMAN— The Favorite Comedian. Popular Prices—25¢ and 50z, BALDWIN THEATER. *%° | HINRICHS-BEEL xseiis] STMPHONY CONCERTS (ORCHESTRA OF 50) FIRST CONCERT NEXT FRIDAY............OCTOBER 18 ——AT 3:15 P. M. Brilliant Programme, Including DVORAK'S NEW WORLD SYMPHONY, Aria From “Flying Dutchman.' MAURICE DE VRIES, SOLOIST. Admission (includin: reserved).... Gallers (Inciuding reserved: 81 00 50 GRAND PROMENADE CONCERTS! ~———UNDER THE AUSPICES OF THE—— German General Benevolent Society, German Ladies’ General Benevolent Society. GUSTAV HINRICHS - MECEHANICS’ SATURDAY AND SUNDAY, OCT. 17 AND 18, 1896, AT 8 Musical Director. PAVILIOIN, P.M TICKETS, 50 CENTS.