The evening world. Newspaper, February 11, 1905, Page 7

Gala Night at the Opera Will Have an Aw- ful Finish When the Rebels March Up . from the Bowery—Heroine Will Be Saved from the Electric Chair. Because She Was Good to the Poor—Thrilling Theodore Talks of His Melodramas and Tells How He Tries Them on the. Janitor, the Ser- vant Girl, the Policeman et’Al, ' HI6,” sald Cie housekevper, striking a match, “is Mr, ‘“ Kremer, and this," shifting the match, “ia Clyde Fitch,” Yes, thore they’ were, Clyde and Theodore, apprentice avd miaster maker of melodrama, dwelling together in photo- y graphic harmony, Mr. Fitch was greatly in the minority, There was.only one of him to a perfect gullery of Kremora, “This,” added the lady, fiqashing the match on a picture of a spare youth fo a white toga, “is Mr. Kremer as Hamlet, , A white-rabed Hamlet! But no, Mr. Kremer ‘afterward explained that this picture represented him in the character of Mare Antony, “Have you seen any of Mr, Kremer’s plays?” asked the Indy, “Yea? Tve geen avery one he's written, I’ve seen ‘The Fatal. Wedding’ sixteen | do not smoke at such times, But T-alwaya have flowers on my desk—-rores times, and I want to see it again. His plays are awfully interesting, don’t| if I can get them, T van’t do anything without the perfume of Sowera, you think so? He's wonderfully olever, Ho ought. to be on Broadway, | Sometimes, when I grow exolted, | jake a rose from the vase and crush it That's what I tell him, he ought to be on Broadway,” in my hand, Otherwise I am quite sane, ry ey ws o a a a everywhere--to the Morgue, to the Tombs, to the Bowory—wherever human “ pepe I have been on Broadway,” said the rapid-fire playwright peapph beled by thigh py luca ‘BaportH You can't wet characters “And the names of your characters, too?” “Yos, I draw on my frienda until I haven't any friends left. Then 1 borrow the names of well-known actora. The hero in ‘Fast Lite in New He smiled mysteriously Into the enda of his hsptring blond mustache York’ is John Drow, and the yillain‘Guy Standing, Richard Mansfeld was Adds to the Interest, you know,” of the people, when told what his loyal admirer had eald, “Pere # haps I have been there this very season, and perhaps you chaps praised my play.” and twinkled triumphantly through his glineses, “Yes, in disguise," he confensed, "Under another name, Why? Because If! T had walked holdly into the sacred precinct of two-dollan art: you chaps | (pleage oxcuse me for saying ‘you chaps’) would have slaughtered me, You would have sald to yourselves, ‘Thie is Melodrama: Kremer,’'nnd you would have condemned my play, Oh, yer, you would, It would have been the natural thing to do, Instead of taking the risk, 1 took aulother name, The result was good notices anda prefitable run, Al} the critics praised my play, | and it 1s now on’ the road, making a lot of money, If J succeed In writing! two or three other high-class succosaes, ind that's what I'm going to try to| do, I will then come forward nnd take off the mask." It was suggested that Broadway seomed to be developing a keon taste) for melodrama, "There {8 no doubt of it,” declared the expert of the drama that thrills, | “Leah Kileschna’ and "The Woman in the Case! are proof of that, There is 6 untversal Iiting for melodrama, and it js coming Into its own on Broadway | just as surely as the society play fs going out, Melodrama appeals to all| classes, There are different kinds, of course, For Broadway, it needs to be modified, ‘refined,’ so to speak. You must deal gently with some audi ences, Others you must hit with a brickbat to get your effects, It ts very fnstance. Over there they respond quickly, especially to the sentiment in a play, The greater an audience's Intelligence, the more advanced its culture, | the less suacoptible it la to sentiment, Intelligence develops at the expense | of sentiment, Your avorage Broadway theatregoer {s ashamed of his sentt- nent. It may be in him, but he's daterminod We to betray it, He hides tt from the world,” him nervour {ndigestion, But he assured mo, with his hand on his walatcoat, that they had “T am a teetetaler,” he remarked, Baring Sadly Into his ginger ale and toying haplessly with his wnlighted cigar, “My only dissipation fs one cigar: after breakfast.” “Where, then, do you get your inspiration?” (You may have three guesses, but you'll be merely wasting your timo,) “At the opera,” was the answer, “I am thero nearly every night during the season, It is a great place for Inspiration, What are the Wagier operas) but melodrama, after all? Ne, | don't jet absorhed in the muale, I have! deard it so often and know It so woll that I can’t get absorbed in it. It 13| merely incidental to ideas and plots which come to me there, 1 go straight | home from the opera and plunge into work. Ordinarily, I. write from 2 o'clock in the morning until 6, Sometimes | work right through the day, but Jem without hanging to a strap, Butyl can't, Conditions are no better than bafore. This ia only ond of Ae lmpositions the paople will rebel against “And your play?” ‘Its big scene wilt be lata in the Metropolitan Opera-Houge on a gala night when the parterre and grand tler boxes are filled with the wealth and |< The revolutioniots will march up from the Bowery, bringing with them an electric chair, force their way into the Opera-House and take the plutocrats in the boxes prisoners. Then, one by one, the oap- tives will be led to the chair and executed,” Ton. that a ntoo, pleavant little plot? I ingulred anxlously For types and scenes, Li go fashion of the ofty, vo aneet ae petra “Ob, yes, they will ba dragged to the cbatr, too,” nald the blandly diq- bolical inventor of the charming conceit. “All but my herotae; I'll have to arrange in some way to save her.” “Will ghe be @ beautiful heiress?” “Yes, but her sympathies will be with the poor, and she will work tn the alums during the day, Tho leader of the revolutionists has seen bk Havent there, hut dneen’t know her in her fine clothes. But, of course, he mual rocognizo her at the oritleal moment, It wouldn't do to kill off my heroine.” “ATLANTIC Batre oe Carin! at, ‘The play will be sroduced immediately following the revolution, with u matinees on Wednesdays and Saturdays. Pretty souvenirs in the form of an electric chair will bo given away at the ono hundredth performance, CHARLES DARNTON, in ‘Tho Vacant Chalr,' oR trying out his plays, Mr, Kremer has the most unique “dog” in “I always read a now play to a carefully selected audience made up of my janitor, the janitress, policemen, poatmen, the iceman and others {in the common walks of life, My iceman is a particularly good critic, and | the judgthent of the janitresa, when It comes to sentiment, is almost tnfalli- ble, I give her carte blanche in the matter of invitations, and she asks all the other janitregses in the block, and any one elao whe chooses, I hire a little hall, and often have as many ag a hundred people there to Ilaten to my play, I also have some of my own friends, who watch the effect of the play the people whom it must please. They represent the class that patronizes with originality in He ea his lp 9 tie ae f ae ee ore pits ail tes COLONIAL att Ah i ae Ee he Triesstecona ts Next M Mon, Mate T gn All tk Pag pene ria Barret the theatres where the play will he offered, and if they don’t like It, the piece 1s bound to be n fallure/ They can’t be trusted to tell’ exactly what they think of {t, for like humanity in general, they are prone to flattery. | That's why I have others there to help me watch them, and In this way do- elde what their opinion really fs. "When they get to gasing about the hall, or showing in some other way much harder tv reach a Broadway audience than one in Third avenue, for hgh pay rah eth Ia bathed) ia inane bight gey rt ; and cry, A pathetic scene, however, should never Jast Jonger then three An audience that is kept in tearg Jonger than that is likely to become hysterical, which would spoil the whole effect of the play.” “Do you study the real audience when the play is produced?” . I go up to the gallery and talk with the boys, and also get i the opinions of women and girls at the matinees: They don't know mé, of ed rd a ri) ; a ro) a rd course, and I manage somehow or other to get into conversation with them | O look at Mr. Kremer you wouldn't imagine that his playa had given} between the acts. AMUSEMENTS, a AMUSEMENTS, = by I putes SAILED TO-DAY! On the Steamship St, Louis FROM LONDON DA THE MYSTERY OF MYSTERIES, WILL BE PRES3NTED FOR THE FIRST TIME IN Till5 COUNTRY AT HAMMERSTEIN’S minutes, If a wonran with a bahy in hor Jap happens to be sitting near me, I give the baby a penny or two and jn this way get the mother to talk of the play. You must kuow your audience and you must give It what {t wants In the language that it understands, you have to say. You musn’t hint at things, The melodrama audience won't take a hint. You must say plainly what VICTORIA THEATRE OF VARIETIES ‘ he bt ith’ § jana | tall "ot h| Fey Pamninstas, h. Ke Wines Mesias NE (COMMENCING MONDAY, FEB. 20t HB thrilling Theodore answered with a real “shocker” when 1 asked | ‘him what tho great American melodrama {s going to be. “Well,” he mildly remarked, “I am already at work on ‘Tho, American Revolution.'" “What American revolution?” “Tho revolution of 1910—the revolution which {s bound to come—the up- neing against the trusts, Am I not putting it a little early? Perhaps so, But, as I sadd, such a revolution te inevitable, T never start in the daytime, That would be impossible, | wrote ‘T'he Fatal | people will stand just 60 much oppression and then the revolt will come, 1 Wedding in four days, virtually without stopping to eat or aleay, Na, J though whem" * ‘wax wae onanade thes 2 wanld he ada to ride to Har Eee m r Tl 8.15 mi i Hol day Mal jae B10, seeds |° ‘That's a mrve detail. Bway @ Wd at METRO POLIS}, tp RAN, rel i, By, 8.15. Mat Wedasat a if) Blu? Ey,8. Davis hee day & ay at ry WARFIELD. 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