The San Francisco Call. Newspaper, March 27, 1904, Page 19

THE SAN FRANCISCO CALL, SUNDAY, MARCH 27, 1901 19 will, se range was of I would nie Mad- the St. Fran- routh low- room the see it not green- ny eplendors nce, even if [ no ch de the t. One ces in The 1sh on E he will simp: ses ou f ten, that the pe s bad—not that there must reason, in view of one’s re- ! A perfe She il t ittle hands e t y he s Those ex She played b Camille’ you re- ienc mine saWw her played the part magnifi there was the tes for it. Paris me ill!'—that but dly world kes actress After th San Francisco may or two comfortably,”. % ed Tbsen after ¢ on “Hedda Gab- Fi dubbed the play subtle, fascinating, a mas- gan raftsmanship,” but said believed the Rosmersholm™ the ex of jern dramatic achieve- Are we to have it?” I asked eager- mphasis she said: she negatived. Then with “It would one full year for the proper pro- tion of the play, and I haven't had et. But I'm afraid I'm very gods grant me all the Fiske v going!” I put it. But I left h the privilege of a later ring the w R next tryst, amusingly, was at Ammam baths. Thursday 1d Mrs. Fiske sleep- d. 1 found her m with the rose and fresh- sleep upon her. It wa nt to go in out of the rain, and Fiske was all her vivid, brilliant I'm still stu she prefaced as I entered the little cabin where she lay. I was hoping so0,” I said. “We left off e Miss F thinking at ‘Hedda Gabler’ you remember? Heddas, by the w Blanche O'Neil's and was too wholesome to my ered miled. to unde must “Must one be nd Hed- understand » the dregs?’ cared so Ibsen I venture difficult arked slowly to define,” “To me much the modern music- n op: s very a is now in tively to Wagner Itali the ¥ ‘ugly, all sorts of con- n s heaped upon it. Yet are accepted as that there is an even He nthralling among a flaming, star!™ n beautiful. rthern raging nc srsholm’ is chief of the she answered the great love with the ‘Tristan ith ‘Romeo and Juliet. West been called the of the North?' TIbsen in that you never get the end of him. Par exemple. There Y Heddas as there are ac- erpret her—just as there Not only that, but each s something new in the part s it. Only enormous a character of such Fiske shrugged her shoul- s twinkling with tolerant “Pinero is a very nice , a pretty little reflection, a pale flame of the Ibsen school. He's been influenced naturally. Every play- wright worth anything has. But I shouldn’t say so, should I? He may charge me double royaities when I want a play!” Then frankly, and with the -almost masculine fearlessness that characterizes her, she said: “But why shouldn’t y s0? It's true. Ibsen begins my dear—where all dramatists end.” are your players?” I F I've found that Ibsen plays are singular in that they get the best from the actor. But really to play e » people—do you really want to st something useful?” and Mrs. Fiske sat up among her pillows to ask me this, her fatigue forgotten. ‘“‘Some- times I think it may be worth saying, no one ever knows. The le, to answer your question first, who should be playing Ibsen plays are at the head of the various You cannot blame them. ider the material side starring ! you are thinking of the national I interrupt. D the actress said, “nothing 0 ambitious. But why not get to- er a company of the same artistic caliber as the Metropolitan Opera Com- and let us have plays produced operas are produced. Nothing d be easier. It would be incompar- ably less expensive, to begin with that end of it—and one always has to. There would the large orchestra and the chorus both eliminated. Nor would it cost so much to group together a com- pany of actors of the highest attain- ments as to get together a similar com- pany of opera singers. It only re- mains for some few men to supply the money. I believe myself that it would be an excellent investment.” “And the pleasure of seeing that kind of a company!” I cried. “And the pleasure of playing in it,” said Mrs. Fiske. “I would rather play a small part in that kind of production than star in any other kind. But you cannot expect the actor to abandon his rewards.” “The opera singers do not,” I contrib- ute. “Now, where would your company pla “In New York for a season and then tour,” the actress planned, marking off NewYork on a gay yellow stripe on her coverlid, and skipping to an opposite -MINNIE - MADDERN ‘FISKE et 2 ’( 4| e I <+ MRS. MINNIE MADDERN FISKE, THE FOREMOST ACTRESS OF AMERICA. - 22 * purple one for San Francisco. “But lively wit that I am hopeless of sug- hazel eyes as she concluded: “It is good what is the use of talking about it? Still, we could establish a dramatic standard that way. And we stand for 80 much in the world already ¢ “Materially?” I venture. “Oh, yes; but the opera, too, you know. At least the experiment would Pe a worthy one. And we have all so much to learn, actors and public.” “Mrs. Fiske, this isn't apropos, but weren’t you nervous on Monday night ?”” “Y being tired,” *she confessed. “Then first night audiences—I do not speak of San Francisco now, and—" she put her warm hand impulsively on mine—"it's rigiculous to say it in San Francisco, but I love the San Francisco audience. First night au- diences are almost always curious. They're expecting thrills, hysterics, the sensational thing, in a word. And when we haven't that kind of thing to give they're disappointed. We get the wave of disappointment and the wave of expectancy, and the audi- ence suffers for it. It cheats itself. The psychological drama is almost al- ways a disappointment to a first night house. They want what is done and said, not the thought behind. I've seen many mhournful looking crowds come ogt from a Duse first night. No, your thoughtful auditor somehow seems to come later in the week. He's often your first night man, too. I have frequently had men who write, for example, come to me after the second sight of a play and say: ‘Why! I didn’t get this at all the first night.’ I want you,” she broke off, “to come to see the ‘Mary of Magdala' at the matinee. Will you? If T am well it will be much better, 1 hope, than on Monday night.” Time and again this same charming humility was shown and throughout a conscience, a fearlessness, a breadth of thought, a sinderity of purpose, g gesting. I told her that I despaired of see- ing anything better than her fourth act of Monday evening, but had intended to come before her suggestion and added: “That scene, by the way, is a good example of your psychological drama. Yet I am sure it was pro- foundly appreciated by vour first night audience.” “I was so stupid,” she said simply. “But it is a good example. You see, there is nothing done, very little said. THE AUDIENCE +DOES MOST OF THE ACTING. It is‘the struggle be- tween one spiritual problem and an- other. Mr. Heyse has imagined the strongest possible temptations. to Mary's hardly won purity, the tempta- tion to save her Redeemer with the price of it.” And then I discovered behind the Ibsenism, problem plays, endowed drama, and such small things among Mrs. Fiske's interests, that which she really cares for, the happiness of the dumb brothers about us. Fascigating in every phase, the actress becomes most lovable here. Do you care about such things?” she began, almost timidly. “I feel so strongly about them."” Then she spoke of the Spanish bull- fights, of trap-shooting, of the Ameri- can mother who puts a gun into the hands of her boy to shoot the little feathered things for fun, for sport. She told of the cattle she had seen within the last few weeks frozen to death by scores all for the want of a little care—"such hopelessly uncon- scious cruelty.” She spoke of fawns Jeft starving by the death of their mother in the Adironacks, of deer, half killed, eaten to death by flies. All this without hysterics and useless em-~ phasis. But there were tears in the brilliant to see that President Roosevelt, whom all boys naturally take as their pat- tern, goes a-hunting no longer.” We fell again then to “Hedda Gab- ler,” and the actress sketched ~ with terse brilliance the strange character that she will assume this week, sketch- ed Tesman, Lonborg, Brack in a half dozen luminous phrases that set them livingly before one as the certain line of a Whistler., We talked of Duse and her art, of the Sardou drama, of ‘“Mon- na Vanna” that Mrs. Fiske will play, of a score or more of other things, and then shé laughed as I came away and an unmistakable giggle stole through the little curtained door of her room: “You know, 1 bribed those girls, to be quiet outside. I bribed them not to let any one talk. Do you wonder they laugh—at us?” et s lhiog WEEK'S BILL REPLETE WITH MANY BRIGHT AND NEW ATTRACTIONS Mrs. Fiske, in “Hedda Gabler,” at Grand Opera-house, is the chief traction of the dramatic week here. will be the first time Mrs. Fiske has played the part, locally made known to us by a few matinee perfermances by Nance U'Neill and Blanche Bates, and profound interest attaches to the inter- pretation. Mrs. Fiske is a deep student of the Ibsen school, and a famous Hedda, and she will be ably supported by the clever company by which she has surrounded herself. i e Mary Mannering and her company, that includes Arthur Byron, Thomas Rice and others good, wijl continue at the Columbia in their highly amus- ing comedy, ‘“Harriet's Honeymoon,” in which Miss Mannering is seen to much advantage. & el od Then there’s excellent fare at the Tivoli, that continues “Mr. Pickwick™” for the week. This musical comedy has “caught on.” . L a Psychic wonders will be exploited at the California Theater to-night by the well known Anna Eva Fay. “Parsifal” is still playing to large houses at the Alcazar. The Central announces a melodrama entitled ‘“The Hustler” the week. stirring for PPt s “Kismet,” in which Richard P, Car- roll plays the dual role of author and comedian, will be the new bill at Fis- cher’'s this week. Mr. Carroll has “made good” as a comedian and there is no little curiosity.afloat concerning his abilities as an author. The Orpheum will have as headliner this wi “The Brakeman and the Tramp, Nazuz and Nagett in the leading roles. La Belle Guerrero, whose dancing has created a local furor, will continue. The Scheck brothers, gymnas head-to-head balancers, will be Chutes this week. ts and at the TALK ABOUT DOINGS ND ABROAD curious art and is a Press-agentry various. Following is a new and rare specimen, relative to Mr. Melbourne MacDowell, who will shortly reappear here: “Dear Madam—I am sending you some press stuff from Dave A. Weis, manage; concerning the Melbourr MacDowell engagement in San Frar cisco. Mr. Weis is making stupendous preparations for the coast engagement and the mery, coupled with every- thing else that is composed in the make-up of a really excellent perform- ance, will be of very high standing Mr. MacDowell is much changed since his last coast engagement and he seems now to realize that he must retrieve himself in the next two seasdns and regain the laurels lost through his ap- parent careless ways. For this reason Mr. Weis has selected for his associates a company splendid ple with metropolitan reputations. “We can assure you that we are try- of ing our very West to get together a dramatic stock company which will be the strongest ever seen on the coast. Yours most earnestly. N. C. Goodwin, on the close of his engagement, will sail with Mrs. Good- win (Maxine Elliott) to Europe. After spending a few weeks at their beautiful home on the Thames, they will tour Europe in an automobile for eight weeks. PR Henrik Ibsen, whose pla “Hedda Gabler;” will be produced by Mrs. Fiske this week at the Grand Opera-ho celebrated his seventy-sixth birthday on the 20th inst. e Te Viola Tree, eldest daughter of Beer- bohm Tree, made her debut in Edin- burgh recently -as Viola in “Twelfth Night.” According to, report her ren- dition was a great success. Viola Allen, has entirely recovered from the recent operation she under- went in New York and reappeared as Viola in her production of “Twelfth Night” to a large audience at Easton, Pa. e Richard Mansfield will be seen in a dramatic version of Parsifal at the New Amsterdam Theater next Sep- asg tember. B CAR RS Following are the progremmes of the Schumann Heink recitals, to be given next week at Lyric Hall under the di- rection of Mr. Greenbaum: IGHT, APRIL 5. (a) Aria (b) Du bist die Ruh (¢) Wohin Sy (d) Der Wanderer Schubert Piano_solo— . (a) Nocturne ..Chopin om ““Tristan and Isolde™ Wagner-Liszt (b) Liebestod, """ "ijas Josephine Hartman. [ eImWeh .....c.ootnes Hugo Wolt \%; %‘ir-m songs from the ‘“Trumpeter of Sakkingen™ Riedl (¢) WIdmung ......... humann (@) Die Drel Zigeuner......... Ie%lsz. N T L e 1 Im wunderschonen Monat Mal 2 Aus meinen Thranen Spriessen. 3 Die Rose. die Lille. : (a) Prison sceme (act IV) from _-‘Der aeesseaivadse s eis ot - IEPOTROEP Schumann Heink.) 5 weensnneesArditl APRIL T. ' NIGHT, Samson and o ...Saint groise X Hartman. _ «Der Arme Peter” (Song Cycle).Schumann :Xfl): Th‘r!‘e songs from the Cycle peter of Sakkingen”. () Wohim ......-e (a) Im Herbst ) Es hat die Rose © iv d agia from - G Engliah): - . <.++...Mendelssohn (a) Heimweh .. Hugo Wolt (b) Fruhlingslicd s Becker (e) Bolero (dedi Schumann HOINK) +.oconseinrssnenncavsocennecdrdith SATURDAY AFTERNOON, APRIL 9. > A ) H cht % “Frauenliebe und Leben' Schumann it ich Thn gesehen. or, der Herrlichste von Allen. 3. Ich kann's nicht fassen, nicht glauben. i Du Ring an meinem Finger. Helft mir, Ihr Schwestern. 6. Susser Freund, Du blickets 7 An melnem Herzen. an meiner Brust. & Nun hast Du mir den ersten Schmerz gethan. Piano (@) s0l0— “Feuerzaunber’” (Walkure)....... p Wagner-Brassin ... ......Moszkowski Josephine Hartmann. -.-Richard Strauss humann pengel Brahms (a) Befreit........ (b) Frublingsnacht . (¢) Aupen meine Fe (d) Sapphieche Ode (e) Wie ein Grussen. Recitative and grand aria from “‘Rienzi ein. Wagner P Ultra-human had almost begun to believe Mr. Baue the saving imperfections of \ance The comn lay after th, won- der. 2 ate at all, but still the 'Twas a gracio come to fancy usical little human pervious the spirit. Ye ove still a than the angels, one finds not gether ungratefully But why Because v those who hear Mr. Bat or first r tha w whom Fune notes, his fre pedals on 1dying of that day, might see terist the ¢ the inholy a charac s of 1 not On tk ight befor Schumann Eantasie, Mr: Baue touched the apex of his achiev Such flow humanly indicated To expect the maintenance of height 1 the A rhaps the vet heard, pe est of living And yet \ March of ¢ notes were 3 pocket or under the massiv rhythm, certain member those b: pianist contriv the member the ton suggest st 1 and experience, original with Mr. Bauer The finale of the sonata again was brilliantly handled t, as freq did the mov t me as an a climax. Chopi fol this eral ms wi of t difficult tation the pianist has to encounte By means of his e al techniqu qually th his gests, and what and trouble of 1 It w pe first ramme and in pa ng—Mr thank f« demands with the Air Saens, a handful ¢ tossed our waj Hluck-Saint- and with surpassin my lace ses was the most interesting number ¢ It is a recent discovery—but this v able little note of Oscar Weil better give its history. For dare I say it?—a first hearing did not bring me ‘strongly under the charm of the movement. I should, indeed, have hesitated to ascribe some portions of the werk to Father Bach. though of all the great composers he is perhaps the most varied. And it must be reme bered that in Pach's case familiarit breeds homage. But here is Mr. Weil opinion, of which you all know the worth: “(2. Toccata—Fantasi and Fugue— in D, Bach.) This double title is found in the original manuseript among the of the important works of the rinted by the ‘Bach schaft’ The piece seems to b o kKnown as but will undot in time tak place with th - pieces, sinc it Qears the stamp of Bach's finest work of his best peric There are virtually two separate Toe- catas to be found in it, together with a Fugue of an unrivaled charm and grace; the € movements are seperated (bound to each other, rather) by phrases of such recitative improvi- sation as only ch could the result is a superly built, thoroughly coherent composition in the largest style.” Better instance of Mr. Bauer's sub- tlety of art than could not be afford his Bach treatment ¢ man suggests a spinet in the connection! His good-by was characteristic. The last of him, w of us who stood in front of the hall that day, was half a radiant face, under an old slouch hat that Mr. Bauer cannot be persuaded to abandon, thrust through the rain cover of an automobile. The Rev. John H. Houghton of St Mark's Episcopal Church of Denver paid an unusual testimonial to Mrs. Fiske and her pla fary of Magdala,” on the Sunday preceding Mrs. Fiske's Denver engagement. He announced to his congregation that he had ebtained a spcclal dispensation from Bishop Olmsted to enable parishioners to attend the performance, which other- wise they could not do on account of Lent. He spc of Mrs. Fiske's struggle against the theatrical trust and her high dramatie aim in.the pro- duction of Heyse's drama. He also added that he would hims-if purchase a box. The important announcement is made that a local theater has arranged with Charles Frohman for a guaranteed six weeks' tour of the Pacific Coast ol Maude Adams. The tour will open at Kansas City and the first appearance here of the greatest of American ac- - tresses since she has come forward as a star will take place in May. Inas- much as Miss Adams has not been seen here in any of her great stellar crea- tions the management have arranged to present her for a limited number of performances in the greatest of all her impersonations—Babbie, in “The Little Minister.”