Prices: 25. 50, 75. $1. STAB Thirteenth Street, HEATRE and Broadway. Evening at 8. Matinee Saturday at 2. Lessees & Mgrs., Messrs. Abbey. Schoeffel and Grau For the week ending March 31st. SPECIALTY COMPANY. Prices-Orchestra and Balcony, $3. Dress Circle $2. Family Circle, $1. Gallery, 50 cents. WILBUR'S COCOATA THETA The finest Powdered Chocolate for family use. Requires no boiling. Invaluable for Dyspeptics and Children. Bu of your dealer, or send 10 stamps for trial can. H.O. WILBUR & SONS, Philadelphia. Graves... Captain Dudley .John Gilbert Lord Glossmore.... W. T. Lovell Sir Frederick Blount....J. W. Pigott Stout. Sharpe... . Charles Groves Smooth.. E. D. Ward .....C. Dodsworth Rose Coghlan Mme. Ponisi Boxes (7 seats).. Orchestra .$15.00 $1.50 Balcony .$1.00 General Admission 50c. Maillards 5Avenue Hotel AND 178 BROADWAY. An elegant assortment of Satin Bags and Baskets, also a large variety of Surprises, Mignonettes and Mottoes. HOFFMAN HOUSE, Broadway and Madison Square, NEW YORK. European plan; a favorite family hotel. Central to all principal theatres and points of interest in the city. Restaurants, Cafe and Salons unexcelled. Ball room and private supper rooms are marvels of art and luxury. 400 rooms, $2 per day and upwards. Turkish, Russian and Medicated Baths connected with the hotel. C. H. REED & CO., PROPRIETORS. discovered?" I asked a well-known New SOLVING A MYSTERY. York chemist. My curiosity was very much excited, writes a correspondent of the World. I had been listening to a discussion among some prominent gentlemen about the universal use of a liquid called Angostura. The question arose what is this Angostura which almost every physician is using himself and presenting to others? What is this Angostura which we see in all the clubs and which men, women and children are taking? No answer could be given. I noticed that the members of the Union League and other clubs took Angostura bitters. They said they took it to aid digestion and to tone up the stomach. I noticed physicians prescribed it in private homes to weak and lowspirited women. I noticed lawyers were taking it as a tonic after an exhaustive plea. I noticed it on the shelves of every drugstore, but no one could explain exactly what it was and why it had come to be so universally used. To-day I saw a venerable white-haired rosy-faced club-man taking a swallow of Angostura in a goblet of sparkling water, and to satisfy my curiosity I asked bim what it was and where it came from. "Angostura," said my friend, “is the name of a city on the south bank of the Orinoco River in South America. You will see it on the map in the State of Venezuela. Some of the modern geographies call it (CINDAD) Bolivar. In fact Cindad Bolivar is the legal name now and the old name Angostura has become the legal trademark for the bitters." "And this preparation is called after the old name of the city-?" I suggested. 'Yes, that is it. The aromatic herbs from which it is made grow around what was once Angostura. I am an Englishman born in Gibralter, and I remember we used to drink these invigorating bitters there forty years ago. It is a temperance tonic and cannot be taken as an intoxicant like many other tonics." 64 What did you drink it for?" us up. Well, for indigestion and when we felt dyspeptic. It invigorated us and gave us an appetite. It gave us strength. It toned We took it for a general tonic. Since then I see Angostura bitters have spread all over Europe and India, and now I notice they are becoming a favorite tonic in America. In a word," continued my friend, "if you eat heartily and digest your food you will be strong, and these bitters make you do both." "Well," he said, "it is quite a romantic story. You see the Venezuelites live in a hot country-a country given to fevers, agues, loss of appetite and jaundice. In 1832 Dr. Siegert was the Surgeon-General of the Venezuela Army. It was then he invented the prescription. It was made of different aromatic herbs growing in the country. It become very popular in the Army. "How did it spread over Europe?" I asked. He In 1839 the famous explorer, Dr. Von Humboldt, went to Venezuela to explore the Orinoco River. Through hardships and exposures he became unnerved. lost his appetite and was about to return home discouraged. It was then that Surgeon-General Siegert prescribed these simple vegetable bitters to Humboldt. It restored his appetite and gave him strength to complete his explorations. Humboldt brought the fame of the Angostura tonic to Berlin. From Berlin the news spread over Europe. and from Europe it has come to America.' "What did the great German physicians say about them? Did they oppose them?' "Oh no, they examined them and indorsed them. Dr. Hess, the Royal Prussian Apothecary, subjected the Angostura bitters to a chemical analysis and reported them to be free from acrid or intoxicating ingredients, and said they contained only bitter, aromatic and antiasthetic herbs. Dr. Hess ended his report by recommending the tonic for liver complaint, jaundice, hysteria, low spirits, cholera, and diarrhoea.” Dr. Groyen, of the Prussian Royal Medical Staff, reported that "the bitters are the most powerful nervine we possess," and Dr. Arthur Hill, author of "Food and its Adulterations," pronounced Angostura to be a very useful, wholesome and delicious tonic." I find the Anagostura bitters are made and bottled at Trinidad, an island in the mouth of the Orinoco River, on the shores of Venezuela. Carlos D. Siegert and brothers, sons of Surgeon-General J. H. B. Siegert, the original discoverer, now prepare these bitters from the original formula and send them all over the globe. When do people drink Angostura?” I asked Dr. Hammond, our ex-Surgeon-Gen eral. "O, at any time. It is a general tonic for loss of appetite, ennui, or slow digestion. Bon vivants take it before a meal." It was thus that I satisfied my curiosity, and now the reader knows as much about Angostura bitters as I do. MARCH 31, 1888. AN ILLUSTRATED MAGAZI SK OF DRAMA, MUSIC, ART AND LITERATURE-Published every week from October to May, and as a monthly during the summer, at No. 42 West Twenty-third Street, New York. The price of yearly subscription to THE THEATRE is four dollars in advance. The editor solicits contributions from the readers of THE THEATRE, and suggests that old play-bills, and scraps relating to the stage, notes, news and items appertaining to the different arts, would be acceptable. It is the desire of the editor to establish a widely-circulated magazine, and to further that end every good idea will be acted upon so far as possible. Care is always taken not to needlessly destroy valuable manuscript. All articles appearing in THE THEATRE are written especially for it unless credited otherwise. ENTRE NOUS. AN article by Coquelin in the April number of Harper's Magazine is sensible enough to interest the most ignorant in the art of actors and acting. It is also full of admirable suggestions for students of the drama and those actors who may, in their own conceit, think themselves beyond the teaching of Monsieur Coquelin. It is the eye that resumes the physiognomy of the actor," he writes; "the eye is the sight, the transparency, and the light of it. It is there that the public look and for you, there that it tries to discipline and read you. Take care, therefore, to concentrate your whole being in your eye." I do not know of any actors on the stage to-day who so thoroughly emphasize this advice of Coquelin's as Edwin Booth and Henry Irving. I have never seen either of these men counting the house," or directing their gaze at a near stage-box or a comedian de resistance, who may be a visitor in the front row. M. Coquelin insists that you must recite when on the stage-not in a woodeny manner and to excess, for he is adjudged "a bad actor if he recites too markedly, who enunciates everything with the same care"-but, nevertheless, reciting must be done, for the stage is not a drawing-room; it is really a platform, from which you must talk to a WHOLE NO. 87. crowd of people who have come to hear what you have to say. I am not altogether quoting from this French master, but I construe his meaning to be that he does not wish to consider the open space above the footlights to be the fourth wall of a room. He says: "You may begin your narration in profile, standing face to face with the interlocutor, but little by little you must turn around, until finally you are face to face with the public." From what he says subsequently, I infer that Coquelin believes that the actor must not forget the public, that the play must be played for them. * ** I DON'T wish to appear presuming in my humble judgment, for I am, indeed, but a whipper-snapper in criticism, as to the proper methods to be used upon the stage, when I attempt to argue with M. Coquelin. But it seems to me that while many plays are written, and are still produced, which depend much upon oratorical effect, whose characters are like none that ever existed, whose authors meant them to stride, strut and bellow; that were conceived when stage-mechanism and proper realism were not what intellectual development has made them to-day-when these and other things were not considered, it seems to me, I say, that the modern school of drama and comedy has so adapted itself that recitation, if at all conscious, would destroy much of the effectiveness which proves so delightful in the hands of companies like Mr. Irving's, Mr. Daly's and Mr. Palmer's. These three managers are producing pieces which embody the best of recent work in English, French, German and American play-writing. In nearly every single instance the members of these companies speak as near the way people talk as possible. But what does Coquelin say : The actor must not speak as people talk; he |