The San Francisco Call. Newspaper, July 6, 1902, Page 13

kogal Theatrigals OF the Past Week 2 2trance Study n Qontrasts. CA e c e past wee _ study in s many vears such ex- > bur- ange ase you-— variations an- E X e it at a jump 1 it through n indi- better; for xt week as This e since nearly ven over ta e exception properly the ethical and morals of mod- r company Next week lem more lig The Adven- discove k Francesca ar Frano tuy me to the heart. Oh, mercy kiss observing them ; "twill be the Paclo—Lo, heaven is just Francesca—Tt ast! So be it on them)—Ha! ricks before my very vou above it? Are Paolo. thee. peace. I have some Thou art not Yes; but she is inno- se. The guilt is mine. ce, Lanciotto, shut thy anciott What am I to credit? Let e &pr udge and advocate in re not gullty? 1 1t say Speak for your- i1t? , but— £ name, hold! Wili W » to me? A nod, our cscape. Bethink this thing. Speak! reply! What eath to both— Well said. You speak the and by the dagger you de- in Depe's hand—your bravo. se! If you received my r from his hand he stole it. ciotto—There! Sweet heaven! I 1 now you will deny the rest, I know. You see how easy ‘twwse to cheat me Paolo—No; enough! I will not load my groaning spirit more. A lie would crush it. Lanciotto—Then this nameless deed, at which one cannot even blush—so pale Is she with horror—stands confessed. Now look ye. There is not one hour of life among us three; and, Paolo, you are armed—you have a sword, I but a dag- ger. See! I mean to kill you! Paolo—I will never lift this wicked hand against thee. Lancliotto—Coward, clash! Art thou so faint? Does Malatesta’s blood run in thy puny veins? Take that (striking him)! Paolo—And more. Thou canst not offer more than I will bear. Lanciotto~Oh, Paolo, what a craven has thy gullt transformed thee to! Why, I have seen the time when thou'dst have struck at heaven for such a thing. Art thou afraid? O infamy! Can man sink I will wake thee, though. Thou See! look here! lowe: shalt not die a coward. (Stabs Francesca.) Francesca—Oh! Oh! Paolo—Remorseless man, dare you do this and hope to live? Die, murderer! (Rushes at Lanciotto with drawn sword, who opens his arms to recelve the thrust.) Lanciotto—Strike! Strike ere thy heart fall! Paolo—I cannot. Lanciotto—Dost thou see yon dusky cloud that slowly steals alopg to blot the glory of the jocund moon? When it has crossed -her one of us, who now |is touched to wonder by her radiance, shall gaze upon her with an altered face, as pale and cold and vacant as her own. Here is the dagger. Look at me, I say! Keep your eyes from that woman! Look! think! choose. Turn here to me. Thou shalt not Jook at her! Paolo—O heaven! Lanciotto—'Tis done. Paolo—Oh, Lanciotto, hold! Hold for thy sake! Thou wilt repent this act. Lanciotto—I know’'t. What were the honor of our race with such a living slander fixed to {t? Our lgnor, boy! (Stabs him.) May God forgive the deed! Paolo—God bless thee, Lanciotto. Lanciotto—Lo! the cure is fallen; blood of Guido mixes with our own, as my old nurse predicted. How still they lie—how very still! Dead, dead! A mo- ment since they walked and talked and kissed—defied me to my race, dishonored me. Father, I killed thy son for honor's sake! Oh, God! I cannot cheat myself with words. I loved him more than honor, more than life! Paolg, my brother, wake! He will not. Then here let me rest till God awakes us all! (Stabs himself,) Now for the ludicrous contrast follow out this contract scene between Kolb, the Dill and Bernard, the three funny men in ' “Pousse Cafe,” wherein they are trying to form a syndicate for the purchase of an automaton doll. “It is hereby agreed, misunderstood and muclilage by and be- tween the partfes as if it never was, to hold up any such agreement as may or THE SUNDAY CALL. THE INTERRUPT EP weboine FRANCESCR DA RIMINIY T THE CARLIFORNIAR THE THREE COMEDIANS anp TME LIvine DoLL 1N “PoVJSSE Cgre” AT PIfCHERT | — FowzZER ‘r)ur_?‘o 4 may not be, so see it fit and necessary, to whom {t may concern; but if the circum- stances make it otherwise, whereby we are compelled to overreach ourselves, and necessity comes to such that everything must be arranged, consequently we leave things stand as it ‘mever was, above stated.” Dill-If you don’t lixe that I got an- other one. Now, if you should die before the doll becames on the market, then your son Henney falls in the air of this contract. Kolb—Now if the doll should be as we don't want it—that is to say, the money is not caming as we should like to have it. and it is not the successfulness that you have representationed it to us, then it says here that the party of the firsg part has got the privilege to sell back to the doll to the party of the second part, and the party of the second part hereby swears and agrees to buy back the doll for any amount of mopey that m: be asked of it by the pnr(‘; of the first part. Bernard—Where You claim in the clause that I bind myself over to give vou the required satisfaction to all that is concerned, that Jooks to me as though it was perfectly legitimacy. (Stuttering.) Dill-I carmot in justice to myself find the article whereby you say if the doll does not come up to the required expecta- tions, that is to say, the money that is forward looked to comes not in, why then do you hold me responsible to make a dividend of the money what Is in expec- first tancy to take from where you don’t put ic to, technivality, whered: the outgoing will not def: the inc is simply a m- irg after the money, which is de- manded to the outgoing of the expendi- tures, the balance to be made a dividend, then you see you get not what you ex- pected when you took it from each other to give. You can't do it. You will owe yourselves money. I see it now. It could not be done. Bernard—There has been over the con- tract by evil intent of understood move- ment, some omitted. Dill—Well, tell me what it is and/I will explode it to you. Kolb—I would like to know who would furnish the transportation to take the doll to America. Bernard—Why, we would divide 1t. Dill—Sure, the transportation is d vided. Bernard—How? Dill—You furnish the ships. the ocean. Kolb—Where ignorance is a blessing it is wise to be foolish. It shows the edifl- cation that you got. The automaton doll referred to is en~ acted by Miss Charlotte Vidot, who. has been brought here expressly to play the part, for she is one of the very few sou- brettes who can maintain an absolutely stolid expression of eyes and face and motions during the funny facial grimaces of the three comedians, When the wealthy Irish-American asks to hear her sing, Dill says, “Don’t make her sing, make her jump. There is more money in the jumps.” Fully half an hour is devoted to putting the contract into shape, which, needless to say, after any number of fights and quarrels, results in absolutely nothing after all. Of a slightly different order of humor is the sale of the human glass eater. The Glass Fater—I need money.. I haven't eaten anything but a couple of beer bottles since yesterday. Abel Stringer—-Oh, quit your nonsense; a couple of beer bottles. The Glass Eater—Exactly. Abel Stringer—Fe is a wonder, I have booked him for Ringling Bros.’ circus. He is giving the peovle Saw Dust Bill. His ‘We furnish vrie _. Bill Circus. or wood. He could get fired. MecCan—Ain't he ass eater? he a’ monstrosity? s old irom, eh? He must be Abel Stri Vot at all. Natural phe- nomenon. His mother brought him up on i milk. verity it reduires a new order of isibilities to laugh at all this in cold print, though the audience is convulsed over it when it is shown on' the stage. S Apropos of the production of “The Ad- venture of Lady Ursula” at the Colum- bla to-morrow night, it is a notable eir- cumstance that though Miller is the real star, all the honors have been Miss Ang- lin's so far. In “Trelawny of ‘he Wells" she had a delightful role, while in “The Gay Lord Quex” her acting of the worldly manicurist was a revelation. In “Lady Ursula,” which w happiest Miller successes of a season or two ago, Miss Anglin was practically the chief attraction, and following this comes one of the “The Wilderness,”” which was written especially for her, and In which she created no less a furor than in ‘*‘Mrs. Dane’s Defense.” “The Wilderness” is in three acts and was produced originally at St. James The- ater, London, where it ran fof an entire season. It was later produced at the Em- pire Theater by Charles Frohman's com- pany, and San Francisco will be the first city outside of New York in this country to see the play. It Is the work of Henry V. Esmond, who is also t¢he author of “When We Were Tweniy-One.” ' The first act introduces Mabel Vaughan, aged 18, flirting with a penniless admirer, Jack Kennerly, in a fashionable Bond- street tearoom, and explaining in a busi- ness like manner what an, excellent man- ager her mother Is and how sensible it is for her to m: a middle-aged Baronet, Sir Harry M r mother has told her that the baronet is the best possibla catch, and she is bent upon taking him after having a final fiilng with her. real lover in Bond street and at the Aquarium, While in the tearoom she is warned by one of the fashionables preseft that she is without a chaperon, and she is conse« quently thrown into a flutter by the un~ expected entranee of Sir Harry. With presence of mind she audaciously saves the situation by claiming the acquaint- ance of a sleepy dowager at an adjoining tabie and then meets the Baronet under & semblance of chaperonage. The lover is dismissed at once with a whispered word about the appointment for the Aquarium In the second Mabe!, under the clever management of the matchmaking mother, follows the Ba ¢t into the coun- try. She keeps tryst ther witne her lover, Kenner.y, act irtuail asks him to marry her. This he declines to do because neither he nor she has an assured Income, and she dismi him with contempt. The sentimental Barone: finds her in melting mood Immediately after this interview -pts him The third act presupposes an interval of several months, during which Sir Harry and Mabel have found themselves wel! mated and happily married. The girl has married for money and in the most sordid and she a way, but she has discovered what real iove is and adores her husband. Whe her former lover returns from the wars and seeks to renew his endearmients she ¢rders him out of the house. When he produces a letter written by her to him when she was coolly setting her cap for t' e rich Baronet she determipes to tell the truth, unmoved by the entreaties and expos=tul s of her worldly minded er, who would leave well enough Eefore she can make confession, how- the husband has picked up and read ith agony of mind the incriminating let- ter with its plain statement that she was marrying for money and not for love. The husband, who is an idealist without reprcach, takes all the blame upon him- curses himself for darkening the life of a sympathetic and unseifish young ever. woman and makes preparations for leav- ing the house and relieving her of his un- congenial presence. In the nick of time the wife makes the long deferred confession that she had married him for his money and instead of repenting at leisure and solacing her- self with flirtations with former admir- that she had fallen deeply In love with'him. When each is bent upon leav- ing the other for love's sake it is not dif- It to effect a compromise and the cur- tain comes down after the husband and wife have wept together and finally em- braced. the passing of Edward Maude With Morgan and Fealy and the present stock company at the Grand, the Frawley com- pany will open its annual engagement on July 14. Among the principal people who have been engaged are Wilton Lackaye, Miss Alice Johnson, Theodore Roberts and Mi. Eugenie Thais Lawton. The play that has been announced as the opening bill is Charles Coghlan’s pie- turesque romantic drama, “Joeelyn.” It deals with the incidents of the perfod when Louis XIIT overthirew the preten- sions of his motger. Margaret of Anjou. to the throne of France by defeating with Lis small army her followers at Pont de Ca. Miss Alice Johnson will be seen in the role of Jocelyn, which was created by Rose Coghlan, and Mr. Lackaye will play Saviani, which was one of his big- gest New York successes. To Make Gutta Percha From Peat NE of the latest “wrongs of Ire- land” is the attempt of a sclentifiz person to transform her peat boga into gutta percha. He says that ha can make an artificlal gutta percha from peat which will make as good an insul tor as the real thing. If he can there money in the bogs of Ireland. So far gutta percha is the only substance whic: has been found to furnish a perfeet prv tection for wires from sthe action of salt water. The supply of gutta percha is not only limited, but Is practically con- trolled by a few manufacturers who own the forests in thé East Indies, whera thé material is obtained. The price of gutta percha has been increasing gradually fup vears, owing to the growing demand for it, and the supply Is. diminishing: so if the sclentist Is successful in his attempt to produce it from peat he will add great- ly to the world's economy. In Ireland there are over 3,000,000 acres of bog land and in Scotland there are 2,500,000 .icres, so he will have enough material upon which to begin work.