The San Francisco Call. Newspaper, March 6, 1898, Page 27

THE SAN FRANCISCO CALL, SUNDAY, MARCH 6, 1898. 27 VOOV OVDVOVOV OV GOV VOV VUV OV OO VTN DU DO GG U B O YTy | sidered as “shows” ofa higher and lower| Arrangements already have been | than has been attempted in other ver- | Margaret Ruthven, daughter of the feg=RegegegogegeFaRageg-TeTeT=S- 1 | S t 253 b ROVQUAVBFEVSOVOD ORI VUV ST DO C T QU O SN0 gy | degree. The reason of this sad prejudice | completed at the Fifth Avenue Theater | sions of the opera. “Rip Van Winkle” | senior and honorable member of the lies probably in the increasing importance | by ‘which three of Ibsen’s plays will be | wi)] be mounted with th e atten- | insolvent firm. Bannister Strange is 7 D% of material and commercial considera- | presented this week by Blizabeth Rob- | tion to details of Poram ) scenery | his junior and tricky partner, through \ A L L3 | tions which overwhelm lme modern world, ggns, the young Ibsen missionary, Who | which characterizes all the productions | Whose gambling speculations the firm | A £ | and which have come to react also in a | did Such signal work i London.~ The | of the Bostonians, and will be sung by | has been brought to the verge of ruin. A NA W ) £ '\/ Qi | paramount way upon tl_mfiu?ca{maners_» plzl"ys“i‘elected are “The Master Build- | 3 gpecially selected cast. The title part | Aware of Short’s love for Margaret, - Ao 9 I heard lately that a well-known specu- | €r, edda Gabler’ and “A Doll's | Wi} be played by Henry Clay Barna- | Strange uses her as a catspaw- to ob- i PLAYSAND CRITICS. & VU0 fegeg=gu=g ey to the| is always going 3 r intervals its moral- | ce are attacked and 1 ctors, manag ics and other persons interested. No y-goer and the play- reconciled going to the thea- all with a future in the bright nd than up jumps somebody tions any value that the the- ave for fine, literate per- | n that of mere entertainment waiving all consideration of mor- d putting the matter solely on is of mentality and good taste. | the contemporary actor the con- v play is always being voted to that of yesterday. Yet when ager offers yesterday’s play in like its original form—that | without the millionaire scenic | s the basis classics™ now- | > gets slim encouragement. | ire people who sigh for the old | f the stock company with' its| change of bill and its versa- Yet, how are the stock per- \ces, hastily put together, taken t before they are in the first scure acting, to cope with the duction that runs on oiled | ng the n ntal attributes of their parts? This is a day of * of long runs. There is hager or an actor-manager ) the conspicuous exceptions of Au. 1 Daly and Richard Mansfield— f »st ambition is not to se- ay that will run nothing short on. can be said for most of the big s—the Frohmans in partic- that they seldom produce a play ut going to an ial expenditure can be made profitable only by a When a play goes on at, say, npire and lasts ntire se: o Lyceum or the couple of week es pecuni work e ly enough, but with a mechanical in which his brains practically vacation. You may recall the ppearance here of Mr. Hackett nd others of the Lyceum Company in “The Prisoner of Zenda,” and the ast y difference between that per- ance and the previous one. With glish and American play-write y CO! the goal, too, would seem to be instan- | taneous popularity and profit. It is a | - to-day who would not| discount his hopes of ‘re- | i1 place in a modern classical | rtory for the juicy plum of imme- In the absence of mod- American master- the manager no demand for them, y their respective medi- commercial enterprise, with incontestable what the most of the public cuth, the author and say, ell enough for you news- , who live comfortably by ing on our risk and toil, to her ideals and hungry pos- manager and the author but we can’t do that sort of v o :s. A well-regulat- es a certain number of auditoriam, just as it | d, anyway, how | ou would recognize | y 1f we should produce one? | requ H of you have agreed on Ib- | s uderman? Some of you are even rying Shakespeare! Why £hould we set about pandering to your | various caprices when we have trou- bies of our own catering to the big- | paying public that supports us? And | isn't it a succession of these paying | publics that makes posterity? | the situation | othe ,'the long run t seem—in the long run—to | ive to the finest act- the finest play-writing. or later, as the per- up from the fifties to cite ng the best of them— | 3= fug=3 puged PR e Rt o R RoRug g e R Ry oRoRotoReFaRetaFotoRegatoRaFrTaRotaFagagoRaBute] CROCOOSVO0VVOO0V0CLOAVOVVVVOVOVVILT 00 tices” and “bad notices.” You see, here in San Francisco, in the higher- priced theaters, management is hardly all that the word implies. We are nsu- | erature and the drama. ally a long way from the author and| The other afternoon in Charles Froh- the premiere. Messrs. Friedlander, | man’s own Empire Theater, at the an- Gottlob and Marx have something to nual benefit of the Twelfth Night Club, say in the Frawley productions, but for | Hielena Modjeska delivered an addre: most of the season they are practically | ©f Which the following is part: station agents for the productions of | For a long time the members of our other managers. Their business begins | Craft were tabooed and were looked upon and stops at a percentage of the box- | 25 tramps. To-day, happily, the case is office receipts. And it is not to be sup- | posed that they regard with kindness any criticism, no matter how consci- entiously discriminate, that tends to| make these receipts any less than (in| their opinion) they might have been had the writer been more economical with (in his opinion) the truth. Long| ago I came to the conclusion that it was not in the managerial nature to love a critic at all times. Ten first nights might come round, of which the | critic would write columns "and col-| ing Post—are refined, literate men, who still believe in the relationship of lit- umns of sweet praise, and be much beloved by the manager. And then would come the fatal eleventh, which | would be dispraised with almost the | same enthusiasm and candor; and at this the management would forget that the poor critic had once snuggled in his heart and would greet his beamful smiles with chill politeness; and the lit- | tle local dramatic paper with a circu- lation of every box-office intown would come out the following Saturday and call the despised critic and his paper all sorts of terrible things. And if this be thus here, where only a temporary en- gagement is at stake, where a good show may come the next week and wipe away the stains of transient failure, how must it be in New York, where the first presentation is supposed to de- termine the American career of the piece? In what precious esteem, do | you imagine, is the critic who writes his own opinions held in the metropo- 1lis? No two crafts could be more opposed | to one another than are the producer’s | different; and the receiver’s in the present eir- prejudice has disappeared. Actors and cumstances of the drama. The sole actre: s can enjoy common social rights and even respect. But one point remains aim of the most powerful of the man- t dark, especially in this 7, @ s e D e, especially in this country, and it is the most important. To a great number of people the stage itself does not rep- In putting words in the mouths of the | which make the most money are most- manager and the author I have tried |ly those that are inartistic and vulgar. to enter sympathetically into the best | The most powerful of the managers of their practical views. I have come |are men inartistic and vulgar, to whom to sympathize with the manager, even | the drama is a department of trade. with those of him who recognize only | The critics—at least such in New York two distinctions in criticism—"good no- te for the Commercial Advertis: resent a mnoble place of amusement. trained monkeys and artisti eff rt, but only ;a vu An_exhibition dogs, ¢ performanc by Mansfield, son, by Irving, by and actress all 1gar of or a grand by | the Times, the Tribune and the Even- | in a great part the personal | The Human Music Sheet Sarah Bernhardt, | Coquelin, and so many delightful | alike are con- | lative manager expressed the oninion that dramatic companies or dramatic stars ought to be treated as 0 many pieces of dry goods in a shop. I dare say that the man may be right from his own business standpoint, but I confess that it is a humiliating prospect for us artists to be ! valued at so much a yard. And there you are, wedged. Taking the manager at his own valuation, a tradesman, you cannot blame him for making the cunning best of his oppor- tunities. And the public is with him. Taking the artists at their own valua- tion, lovers of art—and here you must | take the critic with them—you carnot blame them for rebelling when they see that art not only mutilated and soiled in represéntation, but under- valued and misunderstood by the easy- going public, upon whose support its fortune and quality depend. ASHTON STEVENS. To-morrow night Josephine Sabel re- turns to the Orpheum with the Hu- man Music Sheet in choral attendance. BARNARE IN“RIP VAN WINKL R.J.JOSE ORPHEUM was intro- duced, in all its imperfections, to San Francisco a few weeks ago Nellie McHenry at the California The- ater. Miss Sabel promises the real thing with fifty coons for notes and a tuneful result. This turn has been re- vived in the East by Anna Held, whose managers claimed for it originality until Lew Dockstadter rose to prove that he had given it to the world many years before, and “dat ain’t no lie.” Dockstadter is indulging in a revival of the same turn. by Jjolly | House.” This will be the most impor- tant Ibsen week ever played in New York, and the outcome is a matter of serious interest. Unquestionably Ib- sen is the greatest of the modern dra- matists, and it would be a pity if all America should lose the chance of in- timacy with his pla through a repe- tition of the silly hostility that has been |offered previous productions by the critics of the sensational dailies. The stage version of Thackeray's “Henry Esmond” was tried on Roches- ter the other night by Mr. Sothern and | his company. The.sincerity of the play is said to be largely marred by marrying in the last act the characters who are known in the novel as Esmond and Beatrix. “The Cat and the Cherub” has been cut to a half hour’s performance at the | Harlem Opera House. The mew play by the author of |“Magda" is a fairy drama in verse | called “The Three Heron Feathers.” Baldwin. To-morrow night the Bostonians will begin the last week of their engage- ment at the Baldwin with a version of “Rip Van Winkle” new to San Fran- cisco and written by Dr. Jules Jordon. | The composer is said to have given the old legend of Sleepy Hollow a simple musical setting and to have defined ‘Washington Irving’s quaint character of Rip Van Winkle rather more clearly AMUSEMENTS. —TO-NIGHT— (Sunday). s ALCAZAR. B0 PEOPLE IN THE PLAY: WRIGHT HUNTINGTON . WILLIAN PASCOE, WALLACE SHAW, FRANK DENETHORNE, CHAS. . BATES, FRANK COOLEY, CHAS. BRYANT. To-Morrow (Monday) Night N.C. GOODWIN'S Comedy Success, A Gilded GUSTAV WEEK COMMENCING AMUSEMENTS. San Francisco, Cal., Estab. 1887 K] Los Angeles, Cal., Estab. 1894 Sacramento, Cal., Estab. 1897 WALTER. DiHECTOR GENERAL. MONDAY, MARCH 7th. TWELVE GREAT ACTS . . » ECLIPSING ALL PREVIOUS BILLS. Kansas City, Mo., Estab. 1897 FRANK FANNING, MRS. F. M. BATES, FLORIDA KINGSLEY, st Time at o GERTRUDE FOSTER, 95¢, 35¢, 50c. MARIE HOWE. RACING! Fooll FRED RYCROFT, First Tenor, ] E. F. GORMAN, Second Tenor, | [ W. H. BROWN, Basso. R.J.JOSE QUINTETTE Comprising R. J. JOSE, the Celebrated Contra-Tenor, THE GREATEST | BINGING ACT IN VAUDEVILLE. W. R. MAXWELL, Barytone, RACING! RACING! ——CALIFORNIA JOCKEY CLUB— Winter Meeting, 1897-9, Beginning MONDAY, March 7, to March 15, Inclusive. OAKLAND RACE TRACK. “‘THE HUMAN MUSIC-SHEET.” JOSEPHINE SABEL, The Clever, Vivacious Chanteuse, Introducing Greater New York's Latest Sensation, 50—Colored Vocalists—50 RACING MONDAY, TUESDAY, WEDNEBDAY, THURSDAY, FRIDAY AND SATURDAY. FIVE OR MORE RACES EACH DAY., WEBB & HASSAN | ‘World's Greatest Acrobats and Head Balancers. SMITH & COOK Acrobatic Comedians and Grotesque Dancers. ———RACES START AT 2:16 P. M. S8HARP. Ty bo: 123 ecting s leave San Francleco at 12 m. 1:30 2:00, 2:30 and 3 p. m. h traln stopping at the entrance RUDINOFF, Fantastic Delineator and Crayon Artl st. to tra Buy your ferry tickets to Shell Mound. Returning—Trains leave the track at 4:15 and 4:45 p. m., and immediately after the last race. THOMAS H. WILLIAMS JR.. Pres. JOE and NELLIE DONER | Ecoentric Sketch Team: SMART & WILLIAMS Colored Comedians. R. B. MILROY, Secretary. Comer of Meson snd .0 LLMPXA— Eddy Streets. Danseuse de Fil-de-Fer. LINA PANTZER |GEO. W. DAY Fin-de-Biecls Story-Teller. Musical Artists. ‘WHITNEY BROS. merica’'s Most Beautiful Music Hall. Great new bill of artists—ARNELDO, STAR- KEY & THBUN, SIMONS, CECIL MARION, SENORITA 'INEZ, MLLE. AN- TONETTE, MILLER, PUNTA, and others. Admission ' free. MATINEE TO-DAY, Sunday, March 6. Parquet, any seat, 25c; Balcony, 10c; Children, 10c, any part. Last Appesrance of FILSON & ERROL, THE BIOGRAPH, DAMMAN TROUPE snd MAUDE BEALL PRICE, AMUSEMENTS, TIVOLI OPERA-HOUSE. Mis. ERNESTINE KRELING. Proprietor & Manager —THIS EVENING— The Brilliant Musical Comedy, THE GEISHA'! A story of a tea-house. HAPPY JAPAN—GARDEN OF GLITTER. The Prettiest Production of the Year. On account of unsatisfactory telephone serv- ice no orders for seats will be recsived here- after. Popular Prices... 25c and 50c TIVOLI OPERA-HOUSE. EXTRA! SAN FRANCISCO SYMPHONY SOCIETY. FRITZ SCHEEL, Musical Director. EIGHTH CONCERT. HITENRK MARTEAU, the Great French Vio- nist. GOETZ'S SYMPHONY, Italian Caprice.’ PRI “Tachaikowsky’s . Inciuding Reserved Seat, $150, §1 and T5o. Sale of Seats Commences Monday Morning, March 7, at Tivoli Opera House. UNION COURSING PARK SATURDAY AND SUNDAY, March 5th and 6th. Great open event for fifty-eight all-age grey- hounds, $500 purse added by association. Also SPECIAL MATCH RACE between “Master Jack’ and ““O'Grady,” for §100 purse, best two of three courses. Coursing Commences — SATURDAY, SUNDAY, 11:80. Take Southern Pacific trains, leaving Third and Townsend and Twenty-fifth and Valencia streets. Saturday, 11:30 and 12:45 (special). Sunday, 11 (speclal), 11:30 and 1:30 (special). Returning train leaves at b p. m. and imme- diately after last course. Round trip fare, 25 cents. "Also San Mateo electric cars, transferring to and from the Market Street System. Admission, 2 cents; Ladies, Iree, 1:30; a Jhtalre gmzmuun GOTTLOB 8CP LESSEES B namcsey COMING bee, and Jessie Bartlett Davis iscastfor two parts—Katrina, the wife of Rip Van Winkle, and Morgana, Queen of the Fairies. Alice Neilson will play Minna, Rip's daughter; William E. Philp, Granier, Minna’s lover; Harry Brown, Vanderdonck, Rip’s chum; Grafton Baker, Vedder; Charles R. Hawley Hendrik Hudson, and Harry Dale the Gnome. “Rip Van Winkle” will be repeated on Tuesday night; on Wednesday night “The Serenade” will be revived, and the ever-popular *“Robin Hood” is billed for the balance of the week. Golumbia. . Primrose and West’s minstrels open | a two weeks' engagement to-morrow night at the Columbia Theater with large promises of a good company, clever people, new songs, new jokes | and new specialties. The company in- cludes George H. Primrose, George Wilson and Ernest Tenny, comedians; E. M. Hall, banjoist; Manuel’ Romain, sweet singer of songs mostly his own; the Quaker City Quartet in a ‘sketch called “The Musical Blacksmiths$”; the Seymours, acrobats; the Waterbury Brothers and Tenny, a clever musical combination, which has been heard here before; the Ben Mowatt Trio, who juggle Indian clubs and a long list of others. Morosco’s. ; H. Grattan Donnelly’s play, “The ‘Woman in Black,” will be seen here for the first time to-morrow night at Mo- rosco’s. It is a play, according to the press agent, something on the Trilby Lorder in plot, the element of mesmerism AMUSEMENTS. being employed by the villains to ac- complish their felonious designs upon | the person and fortune of Stella Ever- | ett, the heroine. Stella is hypnotized | by a weird female known as Madame | Zenda, but before the schemes of vil- lainly fully mature Madame Zenda dis- | covers that the scoundrelly uncle who | has employed her dark arts is-the man | who has wronged her and robbed her of her only son, long years ago in the | Western States. She accordingly foils | him in his designs, and makes the hero | and heroine happy. The hero is of course a noble and successful foil for | | the villains, who are attempting to de- | feat him in a political race for Con- | gressional honors. Tammany Hall, | rock-rollers and other city types are | said to lend character and interest to the play. Alcazar. The bill for the coming week at the | Alcazar will be “The Gilded Fool,” the | play which Henry Guy Carleton wrote | for Nat Goodwin and in which Nat | Goodwin made fame for himself and | Henry Guy Carleton. The play is well known East, West and abroad, and the story—for the benefit of those who may not have seen it—is based upon a spider and fly game of an unscrupu- lous broker to secure the fortune of a rich young man of leisure, with which to tide an insolvent firm over its finan- cial difficulties. Chauncey Short is the rich young man of leisure, in love with tain an advance of funds, which he im- mediately invests in a wildcat deal, trusting to realize enough to meet the immediate obligations of the firm. He loses everything and Short, who has been looked upon as a gilded fool, sud- denly develops singular business sagac- ity, realizes largely from the same speculation, settles Mr. Ruthven's in- debtedness, becomes his business part- ner, marries *'~ daughter, and leaves Strange to the mercies of a detective, who, in the guise of a missionary, has been following up the scheming broker for a crime committed years. before. Tivoli. “The Geisha” will enter the second week of its reproduction at the Tiv- Opera-house to-morrow evening. Thig clever musical comedy, which has scored a second success, is one of its previous fifty-night run, is one of the best of the Tivoli's conscientious productions, and there is no evidence of any lack of appreciation among the Ti- voli audiences. The cast is the same as heretofore, with the exception of Mr. John J. Raffael, who takes Robert Dun- bar’s place as Lieutenant Fairfax. Next Thursday eyvening Miss Helen Merrill will make her first appearance in the title role of “The Geisha.” Since her last appearance at this house Miss Merrill has been with seve com- panies and played many roles with great success. After the run of “The Geisha” the roaring musical comedy, ‘The Widow O’Brien,” will be given with a host of novel features. Orpheum. " string of new attractions an= nounced at the Orpheum for this week includes RudiLoff, who styles himself “The Royal Society Entertainer,” and is expected to give a novel and inter- esting turn, a feature of which is what he terms smoked pictures. It is said that he secures some very artistic ef- fects in black and white, and also that his rendering of coon songs, with French accent, is very funny. “The Human Music Sheet,” which is now a popular vaudeville feature in the East, will be produced at the Orpheum to- night. Fifty coons will appear in this production, with their heads taking the place of notes on the music sheet, while they give the corresponding intona- tions and thus furnish the chorus to the songs of Josephine Sabel. Miss Sabel is already well known to Or- pheum audiences as a vivacious chan- teuse. The urpheum advertises a star attraction in the Jose Quintet, which Assistant Director Morrisey says is by far the best act of its kind on the vau- deville stage. Smith and Cook, in a comedy skit entitled “Mickey and I"; ‘Webb and Hassan, head and head bal- ancers and novelty acrobats, represent the other new features, and held over from last week are the Whitney Broth- ers, Joe and Nelie Doner, Smart and Willilams, George W. Day, Maude Beall Price and Lina Pantzer. Symphony. The eighth concert of the Symphony Society—which takes place at the Ti- voli on Thursday afternoon, and at 3:15 sharp, owing to a lengthy programme— offers the first soloist of the season in Henri Marteau, the young French vio- linist. Marteau made quite a sensa- tion in New York several years ago, after which he returned to Paris, where he was promptly drafted_to serve his time in the French army. He was honorably discharged and with shorter hair, played again in New York seve- ral months ago. Mr. Henderson of the Times compli- ments him in these terms: “Marteau plays with the same dash and vigor as of old. There is a fresh- ness, a buoyant enthusiasm, in his playing which is delightful and con- tagious. You find yourself in a glow when he has finished such a piece of sustained vigor as his performance of the first movement yesterday. His tone is lovely, his phrasing musical, and his bowing i full of vitality. Marteau has gained in assurance, in authority of style since he was here before.” This is the entire programme: Eine Faust Ouverture, Wagner; concerto for violin in G minor, Bruch; symphony op. 9, Herman Goetz; sonata for vio- lin alone, Bach; Capriccio Italien, Tschaikowsky. Marteau will play again at the Young Men’s Auditorium. on Saturday after- noon, March 12, assisted by Aime La- chaume, the well-known pianist, who has performed here before with several eminent violinists. Ghutes. Chaquita is anonunced foranotherand positively “last” week at the Chutes. The vaudeville bill in the Free Theater includes the Jacksons, cake walkers; | the three Albions, burlesque acrobats; Eva Brandt, contortion dancer; Fenton, a hand equilibrist; Al Hazard, ventrl- oquist, and new pictures by the chute- oscope. Olympia. The new attractions at the Olympia are: Mullen and Ward, in a novelty boxing turn; Signorita Inez, balladist; Mile. Antoinette, gaiety dancer, and Julius Simons, counter-tenor. AMUSEMENTS. BEGINNING TO-MORROW (MONDAY), MARCH 7, MROSE & WEST BIG MINSTRELS! GEORGE H. PRIMROSE, America’s Greatest Minstrel; GEORGE WILSON, Prince of Comedians; E. M. HALL, Famous Banjoist, and veee 40 OTHERS..... B#Grand Carriage Street Parade From Theater To-Morrow (Monday), at 11:30 A. M. AHOT TIME! ...."The Big Production, *1492.” —Beginning_To-morrow, Monday, ‘March. 7.— Tourth and Last Week, The Famous Original T+ BOSTONIANS ~@=- Monday and Tuesday—First Time Here— Jules Jorde's Version_ RIP VAN WIN LE."" 2] ‘Wednesda ROBIN HOOD." K Remainder of Week—" . Monday, March 14—The Mysterious Mr. Bugle. SHE MUST STAY IN THE CITY! CHIQUITA 1S RE-DEMANDED FOR ANOTHER WEEK THE . CHUTES Every Afterncon and Evening, Rain or Shine. A great Vaudeville bill in the Free Theater. 10c to ail, including Vaudeville: children, se. LOOK OUT FOR THE Z00 f: Amusement Event California’s History. COLUMBIA THEATER. TO-NIGHT—LAST TIME—The Accomplished Actress, MARIE WAINWRIGHT, in_the Suc- cessful ‘Domestic Drama, ‘‘SHALL WE FOR- GIVE HER?” Monday, PRIMROSE & WEST'S MINSTRELS. Y. M. C. A. AUDITORIUM. Ml C:. Mason OI;EIHI sts. 2 V A VIOLIN RECITALS 2 19. 7 ; Aui\-te& b!- AIME LACHAUME, Pianist. - t the San Francisco . above Kearny. On 1 o MOROSCO’S GRAND OPERA-HOUSE: Walter Morosco........Sole Lessce and Manager Last Two rformances of “SAVED FROM THE_ SEA.” Commencing To-morrow, March 7, First Pro- duction of H. Grattan Donneliy’s New American Drama, THE WOMAN IN BLACK. A Lesson in the Mysteries of Hypnotism. Exciting_Incidents of a Hot Political Cam- palgn. The Most Exciting Comedy Sensation of the Day. Evening Prices, 10c, 25c, 30c. Matinees Saturday and Sunday. GRAND PRIZE MASQUERADE BALL —OF THE— VEREIN EINTRACHT, Mechanics’ Pavilion, SATURDAY - - - MARCH 12,1898 ADMISSION, $1. Grand March Represents the Californla and Klondike Gald Mines. Opening Performance, Consisting _of Pyramids by Acrobats, and Ballet Flags Swinging. The ¢ Butiding® Girls' Farcy March, with Sc extra at WILLIAM Market st. Reserved Seat SCHEPPLER’S, 1071 0000000000000 0000 ] ANDOT mf PALACE **%°5 o SGRAND HOTEJ-§3 FRANCISCO. o ° san Connected by a covered passageway. © 1400 Rooms. 900 With Bath Attached. © (-] ALL UNDER ONE MANAGEMENT. © [+ NOTE THE l.xnnvmamc:g: w9 ropean % upwa: O e e, 8500 per day and upward O o Correspondence Solicited. © 08N C. KIREPATRICK, Mazager. g 000000000000000000