The San Francisco Call. Newspaper, June 28, 1903, Page 50

50 THE SA RANCISCO CALL, SUNDAY, JUNE 28, 1903, typewriter, plebelan esk and the vulgar, usual You are chronicle of and small fry weekl's Is another pen, Jeames, pa- slender, gilded, ire, an open cape according to a pérfumed breeze, se only are the “suitable the painter of White r Adonis, and sub- Falling them, e to do justice to this b c exquisite, this idol of mel.contingent. For the matinee vored “df heaven with a close view f "hittiesey is Bestined to find her wild- est - ¥plafry -cép her most ardent Aream ther interview, in- 1 her, for—as she is truly too, rude rn Al e week's screed tiesey nig afar long before actor consented before, the trysting place r's office at the theater ed ing actor and s ‘Brother ar- Hall new xman, from only to be hers when 1 Miss e has * and support, Mr. h a Charles Burface better to go away summer ght's comes in? plied. “That en- me time before this re with Hes u we etta Crosman last wer 3 I asked “We tke very much to hear something the actor smiled. “I'm 1 he put up id aquiline; ft, piquant he shoul- and who knows ating Whittlesey brow hearing about s0 much of her 1 pérsist, the actor’s o profound reluc- # great comedienne,” commented, “but we didn't r. In fact, bottom of it. I ant—tell her she all women like is a fine actress, r and a thoroughly d to her company, but— ke me. I was quite unhappy 1 left the company at last. She t she liked my se- bet than those of any leading men. But she ot ke my comed: “How does Miss Cr g4 ’ osman compare with *Ebe cannot compare with Miss Reban White Whittlesey, the Alcazar Adonis, Who Confesses to His Interviewer e PLAYERS as me MU SIC .....RY BILANCHE PARTINGTON........... That Clever Henrietta Crosman Likes Him Not. charm or in any way,” ided, “‘though, under- Miss Crosman is a person of y great intelligence. She took one of ber recent plays, for example, and prac- tically rewrote it—indeed, wrote in whole scenes, and =0 on. Her influence is felt in productions. She’s really tremen- Whittlesey nd me, cle . Her Nell Gwynne and Nance Oldfield are splendid. On the other hand, in an emotional part—I am thinking of her Madeleine, where she has to kill herself—she is even ludicrous, * * * No, to me Miss Rehan is the greatest come- dienne that we have.” “I see she is to appear mext season in her repertoire with Otis Skinner.” “I am terribly disappointed not to be with her myself,” the actor frankly sighed. “But she may disappoint us again. Weren't you to support her on one of the la announced appearances?”’ “That was two years ago, in Washing- ton,” the actor said. *Yes, we were to give ‘Diana of the Crossways’ for a thirty-week season, and at the last mo- ment Miss Rehan fell fIL.” “Mr. Stevens, at the Tivoll, has a curi- ous notion that she was entirely depend- ent upon Daly for her impetus, that of herself she cannot create?” The actor hesitated before replying, then said: “I have heard Miss Rehan ask at rehearsals. whether she should rest her head on her right or left hand, and throughout she was given to depend on other judgment. Not because she did not know herself, but because she doubted her own finstinct. * * * As to judgment. When Daly was once facing ruin, playing “The Merchant of Venice’ and the classical repertoire to empty benches, Miss Rehan advised him to put on ‘The Great Ruby,’ a spectacular affair—* “We've had it here— “That was quite unlike anything Daly had ever done before. Well, it put him on his feet again—though it broke his heart to do it.” “That’s the play in which occurs a mur- der in a balloon of the villain by an In- dian prince?” I recall. Whittlesey con- “The ‘Wilton “But Daly!” “Of course Daly did it magnificently,” it on here with 1 add. Frawleys put Lackeve as the prince,” apologized Whittlesey. “That balloon scene was a wonderful f{llusion. * * ¢ We used to have fun with the Indian's horse—you remember he comes in on one side in ‘the last scene? Of course in New York there was the same horse every night. On tour It was a new one every other night. Charles Richman wad the first prince, and he'd never been on horse- back before—you have to know a little of everything on the stage. I've got to be a poisoned man next week, by the way, and I'm sure I don’t know anything about it.” our audience will most likely know less,” I console. “But the new horses when they faced the lights for the first time played every conceivable prank, most commonly plant- ing their feet straight out and refusing to stir,”” the actor resumed. “Miss Rehan had a pet bulldog, too, that used to come on the stage. He would wait for the horse every night and then take a flying Jeap right across the stage at him. * * You remember the make-up of the prince?—curly black hair, black brows, olive skin, black mustache and the teeth looking very white against it? I have a niece in Chicago, and when we were do- ing the piece there she went to see it, and a girl next to her sald: “You see the man who Is playing the prince? Well, you wouldn't think he's bald and 40 yeara old, would you? My niece didn’t dare to own me after that,” the actor laughed. “But ‘The Great Ruby’ was a godsend to Daly, and it was to Miss Rehan that he owed the suggestion.” “You were long with Daly, Mr. tlesey?” “For two years, the most valuable of my experience,” he replied. ‘‘Miss Rehan in particular gave me more courage than any one I have ever met. She used to say, ‘Never dbubt yourself. In my opin- ion you can play “Hamlet” if you will only have the courage! " “That sounds like the ‘new thought?' " “I don’t know about that, I'm sure, but she always helped me. ‘You've got to pin your faith to something if you are to get any enjoyment out of life,’ as Pud- d’'nhead says,” Whittlesey earngstly quot- ed. “As to the ‘new thought,’ here's something in that line perhaps. I was very-nervous the other night over ‘D’Arcy of the Guards.’ Miller had gone before me in it and—well, I was nervous about it. But as I was comihg down the steps of my home here on the mght of the performance my housekeeper called out: “Just say “I can, 1 will,” Mr. Whittle- sey, and youw'll be all right” And I don't know what it was, but certainly some- thing helped me,” quite seriously. “You did not begin your career with Daly?”’ I revert. i “No. I was with Sothern for a season at first in ‘Lord Chumley.” Then 1 was with Georgia Cayvan and Herbert Kel- cey in the Lyceum Stock Company for a season. Then came three seasons with Mr. Frohman and then Mr. Frohman told me to ‘Go West and get into the cowboy drama; that I had had too smooth an ex- perience and had acquired an over refine- ment” 8o I came West and went out with Lewis Morrison.” “Miss Roberts’ husband?” ‘Whit- “Miss Roberts’ husband. That was in ‘Faust,” mostly. Julia Arthur and, Mar- garet Mather came next, then Daly,” the actor concluded. “How - did it all happen at first?” I asked. “Oh, I don't know,” said the actor. “Something put it into my head, T sup- pose. I used to be a decorator, hangings, furnishings and the like, for a big New York house. My employers were kind enough to say that I was the best they had ever had. It was quite useful traia- ing in handling colors and so on, and I think I may say without any egotism that my knowledge of color is apparent in my costumes. It should be useful in the productions of my coming tour. What a splendid stage manager Henry Miller is, by the way, Isn't he? That ‘Camille’ last year! They came to see ours, you know, and we went to see theirs. I think he is one of the greatest.” “T entirely agree,” I concur. left your decorating? “I used to go to the theater quite fre- quently with a friend of mine, and some- how, one day, I found myself acting,” was Whittlesey's sweet and unstrenuous way of putting it. “Then you are not the descendant of a generation of actors?” I ask unneces- sarily. “My people are all lawyers,” he an- swered, “‘Connecticut lawyers. My home is there, and when I have made sufficient money there’s where I am going. No. It nearly killed my father when I went on the stage—though he’s very much inter- ested now. He was always very fond of the theater, much against his New Eng- land conscience. And,” Mr. Whittlesey humorously concluded, “he thought it was a judgment on him when I took to the stage!” And then the very mundane fact de- “But you — veloped that this matinee hero was hungry, and together, splendidly envied of the stray matinee girl, we walked down the street and left Mr. Whittlesey— where I'm sure he got a very good luncheon —_———————— Plays and the Players. Miss Amelia Bingham, now a dominant figure in managerial circles, will be seen at the Columbia Theater to-morrow night, when she will begin a five weeks’ season. Every theatergoer is familiar with the initial triumph achieved by Miss Bing- ham in “The Climbers,” the play which first equipped her for her present career and which she has selected as the medium for the introduction of her company to local theatergoers. “The Climbers” should score here a success equal to that won it in New York, where it laid the founda- tion for the popularity of its author, Mr. Clyde Fitch, and placed Miss Bingham in the frout rank of present day play pro- ducers. “The Climbers” treats of soclety and the aspirations of its members. Every character in the play is “climbing” after something—Mrs. Hunter and her youngest daughter for social prominence; her son-in-law, Richard Sterling, for wealth through Wall street manipulations, and her eldest daughter, Blanche Sterling, for happiness In marital love. Mrs. Sterling learns that her husband is conneeted with dishonest money dealings and makes heroic efforts to reclaim him, assisted by a friend of the family, Edward Warden. Love develops between Mrs. Sterling and Warden, but, notwithstanding the fact that M'l' bus- N announcement extraordinary is made by the Eastern theatrical manager, F. C. Whitney, this week. It concerns his engagement of the famous contralto of the Metropolitan Opera Company, Mme. Schumann-Heink, to appear in comic op- era under the Whitney manageme: tor three years. The contract is said to ba signed and takes effect from September, 1904, Mme. Schumann-Heink's salary ta be something more than §2000 a week. The opera in which the famous singer is first to appear is not yet written. Jul'an Edwards and Stanilaus Stange are tha authors honored with the commission. The plot of the plece is, however, in ¢ line, and the composer and librettist are to follow the singer during her European concert tour this summer In order to study her peculiar capacities. The speci- fications of the coming opera call for & ‘high-class comic opera,” the star sing her role in English and to be surr by the best company obtainable. An or- chestra of thirty pieces, to travel with the organization, is also down In the bond. In Mr. Whitney's announcement 1s laid upom the fact that this will Mme. Schumann-Heink's first appearan in light opera, she having sung, by cor mand of the Kalser, in “Die Fleder in Berlin a few years ago. Tot membering the singer’s luscious hu “Dje Meistersinger,” her always manding dramatic virtues, anyth the nature of apology for 8¢ Heink comes somewhat comically Mr. Whitney take care of the contra and the singer will take care of th But to what base uses art thou Ernestine! Has Wagner failed, that Ju< lian Edwards abounds? Is Ortrud . a la mode, that thou mu ng ‘T hetie'® or “Sweet Marie Or is it those eight hungry little Schumann-Heinks that per- suade thee to Mr. Whitney's w $20007 But at any price, dear lady, wa shall be glad to hear thy divine voica again. P e Mildred Holland has recently salled for St. Petersburg. The actress will remain in Russia for a large portion of the sum- mer, spending her time principally in Petersburg and Moscow She is busy preparing for her appearance as Cath erine the Great of Russia in her new pla “The Triumph of an Empress,’ and dur- ing her stay in the lands of the Czar w 1 have exact duplicates made of Cather- ine's court dresses, as well as reproduc tions of the Russian crown jewels and galia. Miss Holland will return to New York about August 15. Wev e The Manhattan Theater, New York, will be opened next season with Henrlet« ta Crosman's production of “As You Lika It.” Miss Crosman has already played Rosalind in New York for 100 nights and there is great demand for her return. Sha will later be seen in the Shakespearian comedy in Boston, Pittsburg, Buffalo, Cleveland, Detroit and Philadelphia. Al Hayman, the head of the American Theatrical Syndicate, and Mrs. Hayman recently witnessed a performance by .the Nelll-Frawley Company at the Theater Royal in Calcutta and congratulated Frawley upon the splendid artistic suc- cess attained by the organization. Mr. and Mrs. Hayman are at present on a trip around the world. g e “Ben Hur” has already passed its one thousandth presentation. So immense is the production that the management finds it impossible *to produce it anywhere in California outside of San Francisco. Gottlob, Marx & Co. have secured the Grand Opera-house for the engagement of this attraction. “The Silver Slipper” has had =a markably tour after its six months’ run in New York. The piece has been as well received as “Florodora” and bids fair to have a long term of life. The production will undoubtedly cause a stir when it is brought to San Francisco. Henry Miller expects to produce on the most elaborate scale possible “The Lady of Lyons” during his limited seaso year at the Columbia. Margaret will appear in the title role and should make a magnificent Clau notte. Ezra Kendal proved a winner upon his first New York appearance as a star. His production of “The Vinegar Buyer is said to be one of the cleve: seen In the metropolis during season. Maurice Campbell will sail for Europe about the middle of July to arrange for Henrijetta Crosman’s appearance in Lon- don. Miss Crosman has had her eye on London for some time, and her hopes are to be realized next June. @il @ band's contemptible rascality has, killed her love for him, she conquers that fe by her for his friend. Herein lies the s rious interest of “The Climbers.” Its comedy is furnished by the scliemes for social advancement devised by a coterie of the frivolous and rather fast set of socletys Miss Bingham has staged “The Climb- ers” with rare taste and beauty and for this revival has prepared new scenic ap- pointments and accessories. As the play represents scenes from social life oppor- tunity is given for exquisite dressing, and the clothes worn throughout the play are notable examples of the dressmaker’s art. Miss Bingnam is herself gowned by Pa- quin and Worth. “The Climbers” Leing in no sense a one- part play, the members of Miss Bingham's company are afforded a variety of good acting roles in which to display their tal- ent for characterization. Excellence of representation is guaranteed by this or- ganization, which includes Wilton Lack- aye. W. L. Abingdon, James Carew, Er- nest Lawford, George Spink, James Kearney, Carl St. Aubyn, Bijou Fernan- dez, Frances Ring, Adelyn Wesley, Maud Turner Gordon, Helene Lackaye, Georgia Cross and Lilllan Wright. BT T George H. Broadhurst’s latest comedy, “A Fool and His Money,” which made such an emphatic hit at the Madison- square Theater last season, will start en tour about the first of September. Messrs. Broadhurst & Currie have en- gaged practically the same splendid cast which figured during the New York run to interpret the play. James Lee Fin- ney, who scored a success in the leading role, Percy Merrill, has signed to ap- pear in the part again next season. «Te o Ever popular “Florodora™ will return next season, and Messrs. John C. Fisher and Thomas W. Ryley, proprietors, are arranging for an entirely new production and a cast of unusual excellence. “Florodora” has the distinction at- tained by no other musical comedy ever written—that of having been suzg In every known language, Monday, June 1 marking its presentation at the Theater, Belgrade, Servia. _