He does this not because he thinks that America would not appreciate these artists but because America has plenty of artists of her own.

The actors and actresses of the United States, this critic holds, are quite able to cope with foreign talent, and, in many cases they surpass it.

The old days of Rachel, Patti, Théo, Aimée are gone never to return.

Uncle Judic wants a plump fiasco, and does not fling his greenbacks as wildly as of yore at foreign talent.

"American artists" says he, "have learnt the business and have come to the conclusion that they can act quite as well as foreigners.

They have gone into light opera and today there isn't a city in the United States but numbers two or three companies. Some of them are very good.

If you visit New York, drop in at the Star, at the Thalia, at the Fifth Avenue, at the Bijou, at the Casino, and you will be surprised.

You will find them playing there in English all the operettes of France and Ger

many.

Just tarry a while at the Casino.

The place is charming, built in gothic style, abundantly gilded. The scenery is exceedingly rich. The orchestra, under the baton of Aronson, would put any orchestra of the same kind here to shame.

And what pretty girls on the stage! You know that if the American girls set to work to be pretty they generally succeed in being pretty!

Very good singers in America, too, excellent comedians.

Henry Dixey, who sings and dances, is as light as Paulet, and imitates Irving like Frisier.

I won't enumerate all the women who sing.

Two or three, Grubb, Carson, Lillian Russell, are quite bewitching and have artistic voices.

I want to remark here that M. Louis Besson still further maltreats the unfortunate name of Grubb by writing it Grübb.

In that very pretty operette Nanon," the title role was played by Miss Sadie Martinot.

French names, these, daughters of Canada!

You see that M. Louis Besson, like most of his countrymen when writing on foreign topics, gets himself into a mesh of blunders by his excessive national vanity. Besson does not like Lotta.

He calls her mediocre.

He thinks that she can't hold a candle to Judic, whose repertory she plays.

Well, perhaps he is right. At any rate the article of M. Louis Besson in the Evenement is of interest to us, and must have interested the gentlemen of the boulevards. It's always a good thing to see ourselves. even for a moment, as others see us. Lewis Rosenthal.

ONE OF THE BEST.

(From the Newport Daily News.)

Deshler Welch's Magazine, THE THEATRE, for April 23, is certainly one of the best ever issued. The number contains an admirably executed frontispiece of Lillian Russell and four fine drawings in illustration of pictures now attracting attention in the Academy of Design. Mr. McLellan writes about Matthew Arnold; Daniel Spillane, about Max O'Rell and Italian Opera: Tudor Williams, about "Marring Stage Effect ; some one from Amelie Rives's home defends her against calumny; Marie Adelaide Welch writes "How Some Actresses Dress" ; George Hill continues his burlesque on a certain philosophic organization in his "School of Discord." and the regular art department, edited by Ernest Knaufft, and editorial writing under the names of “ Trophonius and Fileur," are as interesting as usual.

TWO "OTHELLOS."

THE DRAMATIC "OTHELLO." WHOEVER has had the pleasure of seeing Germany's leading artists, Possart and Barnay, and their feminine counterparts, Giers and Reichenbach, in connection with the excellent stock company, of the Thalia Theatre, will realize at once that the presentation of Shakespeare's "Othello" last Friday evening, by this constellation of genius and talent, would be difficult to excel.

It may strike one at first thought that many of the beauties of the language would be lost in the translation into German of the works of a poet, who wrote two and-ahalf centuries ago, and that totally different impressions of the sense would be conveyed, as is so often the case; but thanks to the conscientious labors of Schlegel, Schiller, and others, little is missed in the rendering, even of the puns which Shakespeare occasionally indulged in, for where the text will not fit, the translators invent a new play of words, which will correspond and be to the point, so the effect is preserved.

Again, strange as it may seem, the German version is, in many cases, far easier of comprehension to those who understand both languages, than is the English original - without the aid of a glossary — the one being in the vernacular of the nineteenth century, the other in that of the sixteenth.

Herr Barnay gave an impassioned rendition of the Moor, whose love, like that of a tiger, seems to manifest itself in the fierceness of his jealousy, and grows in a gradual crescendo from the beginning of the play to the climax in the murder scene.

Herr Possart's conception of the character of Iago is a decided novelty. Instead of representing him as a fierce and gloomy villain from the beginning, he represents the sarcastic and even humorous side of his nature, until the true inwardness of his scheming and plotting disposition is discovered. Though many are startled at the boldness of this innovation, it is well to consider that the effect is greatly heightened by Iago's

beginning in a colloquial, jocular tone, and working up to a climax of wrath and fury. The simulated sincerity when speaking to Othello of Cassius' honor, was most admirable, and furnished a perfect example of idealized hypocrisy.

The Desdemona of Frln. Giers, and the Emilie of Frln. Eichenbach, were lovely companion pictures. The innocent simplicity of the one, and the devotion of the other, were equally touching and impressive.

Herr Walter as Brabantio, Herr Hillmann as Cassio, and Herr Friese as Roderigo, maintained their well-earned popularity, while the rest of the cast rendered their several parts with their accustomed artistic finish.

The scenery was, for the most part, very good, with the exception of a few architectural anachronisms-usually avoided in this theatre.

The house was, of course, crowded as usual, and the prospects for the next two weeks are that it will be as difficult to obtain seats, as it has been during the past month, which must be gratifying to Mr. Amberg, who deserves all the patronage he gets, for offering the public such rare opportunities for enjoying some of the choicest dramas by the English and German poets.

THE LYRIC "OTHELLO."

In the first place, it may be well to acknowledge that one's opinion of a work of art is often modified by the frame of mind in which he finds himself when he hears or sees it for the first time, and the attitude he unconsciously assumes, if he hears a good many verdicts previous to forming one of his own, will frequently be greatly modified as soon as he can judge for himself, for, if one goes expecting much, he is liable to be disappointed; whereas, if he is prepared for less, he not infrequently finds more to appreciate than he had hoped for and comes away rejoicing. After reading the comments by" A Vocalist " on Verdi's "Othello" in the last number of THE THEATRE, (which through some blunder was credited to me on the title page), and having heard a number of adverse criticisms on the opera

made by devout Wagneriacs and others unfavorably disposed toward anything Italian, I attended the performance last Monday evening, and was most happily surprised. My first general impression of the work as a whole would be (were I ignorant of the author's name), that the composer was a man of great dramatic feeling, capable of expressing himself in a manner both original and pleasing (terms by no means interchangeable). The style will not remind one of any particular author, although there are always those who readily pounce upon the slightest phrase, which bears a remote resemblance to anything they have ever heard, and say it is stolen. For instance, an individual called my attention to the closing strains of Act I., saying nothing could be more like Lohengrin. An inspection of the score shows that the violins play a few harmonies in the upper registers tremulando, but the melody in the middle register no more resembles "Lohengrin" than it does the "Merry Wives of Windsor," overture or the prayer in the "Prophet," from which Wagner might with as much truth be accused of pilfering.

44

duo in Act III. between Iago and Cassio are most interesting pieces of workmanship, the latter number (and by the way the introduction to Act II.) is as truly thematic as "Pogner's Address" in the "Meistersinger."

It is very apparent that Verdi is a progressive composer. Why should he not change his style as did Wagner? He is striving after the dramatic truth as did his Teutonic brother, and this fact should entitle him to the respect of all, for he is not a mere imitator.

Those who have imagined they detected a decay of melodic power in the Italian master, should remember that one cannot expect works of the same character from a composer or author during his entire lifetime. In the earlier works, enthsiasm and inspiration are, as a rule, the main characteristics, while in after years experience and technique predominate. Compare "Tannhausser" with "Parsifal."

In closing it may be of interest to call attention to the fact that "Otello" is one of the three most successful operatic treatments of Shapesperian plays. the others being Nikolais "Merry Wives of Windsor" and Goetz's "Taming of the Shrew."

The artists who have assisted Signor Campanini in the production at the Academy of Music have done full justice to the opera, and have been rewarded with well merited applause. The following is the cast for the week:

Otello.. Iago

ex

It would be impossible to enumerate all the passages which are worthy of note, but the Quartette in Act II. (the handkerchief scene) for novelty of construction, and the

Cassio.. Roderigo..

Lodovico.

Montano. A Herald

Emilia..

Signor Campanini .Signor Galassi Signor DeComis

Signor Jovine

Signor Bologna

Signor Maina

Signor Morelli

Signora Tetrazzini Mme. Scalchi

The scenery is superb and accurate in every detail. The chorus and orchestra are excellent, while one's enjoyment is enhanced by the beautiful acoustic properties of the Academy, the best auditorium for grand opera in the city.

Edgar S. Kelley.

THE WEEK.

MR.

OLD LAVENDER.

R. HARRIGAN has revived "Old
Lavender" at the Park Theatre.

In this unfortunate old man, Dickenslike in his humorous side, whose activity consists in loquaciousness and a seeking for liquor, whose virtue is generous - heartedness, Mr. Harrigan creates a part which reminds one forcibly of Joseph Jefferson as Rip Van Winkle and Caleb Plummer. Of the former, where he is driven from his brother's employ and disowned, of the latter, in his generous championship and guardianship of his "Colleague, the Rat."

Mr. Harrigan furnishes each detail of the part as he goes along; he does not reserve himself for special scenes, does not "work up" to them; he polishes up the business of a song as carefully as of the most dramatic incidents. The make-up of his head and face was really rivaled by the make-up of his feet-his ragged boots exciting no little sympathy-so indicative were they of wretched poverty. You cannot imagine an actor making more out of the part of Old Lavender than Mr. Harrigan does.

Mr. Dan Collyer as Dick, the Rat, with Mr. John Wild as Smoke, the Negro, shared the honors of the play with Mr. Harrigan, It is needless to say that Miss Annie Yeamans as Mother Crawford, delights the audience beyond measure, with every gesture or change of facial expression. Miss Esther Williams as Laura Coggswell, and Miss Amy Lee as her sister Sally, act with animation and grace. The play will occupy the boards of the Park for a fortnight.

*

**

THE piece called "Vim," at the Standard Theatre, just escapes being a very good thing. For Mr. Burgess' purposes the idea of showing how well a man can act in the petticoats of an old lady—it is very well adapted. There are some very funny things in the play, and the kind of audiences which are attracted by it are moved to boisterous and effective laughter. Mr. Burgess, who is enough like Thomas Whiffen to be his

brother, does some things so well, that it is to be regretted that he does not have more of a chance, even in “Vim.” A little more of the serious pathetic "business" would assist in developing the human interest and give Mr. Burgess a better opportunity. The character of the husband of Mrs. Puffy is wholly flat and ridiculous, without being funny, and a climax of assertiveness on his part, followed by the final admiration of Mrs. Puffy, would do much toward strengthening the play. The minor characters are crudely drawn, exaggerated, and inconsistent. Perhaps "Vim" is not held up for serious criticism, but there is no reason why it should not be regarded as an honest attempt, and so improved that the part of Mrs. Puffy will stand out an honest creation.

**

THERE will be a number of changes at the theatres next week. Mr. Palmer's regular season has closed, after a prosperous run of "Partners," and his company has gone to Boston, where it opens at the Park Theatre, April 30, for an engagement of several weeks. Meanwhile Mr. Hill's company will occupy the Madison Square Theatre in “A Possible Case." The gossip of the week is that after the five-weeks' engagement of this piece Mansfield will play in June, the theatre will be closed in July. In August Miss Minnie Maddern will appear in a new play written expressly for her by Gillette. He has been at work on it for a long time and feels very confident. Mr. Palmer has received a formal notice from Louis Aldrich claiming that "Heart of Hearts" is an infringement on Pettitt's play, "King of Diamonds," which Aldrich owns for this country. He notifies him not to pay royalties to Jones, nor to transfer the rights for the country to W. J. Florence, as he had arranged to do. This, of course, means a renewal of the controversy that has been waged in London between Jones and Pettitt. Mr. Palmer will at once inform Jones. The seasons of both his "Jim the Penman' companies, which have been very remunerative, will close with this month. Mr. Palmer has also secured another play by

Buchanan, “Joseph's Sweetheart," which is a dramatization of Fielding's book," Joseph Andrews." It is now being played by Thorne at the Vaudeville, London, and the accounts of it are favorable. Some of the scenes are reproductions of Hogarth's pic

tures.

**

THE dramatization of Fielding's novel is thus described. It will be easily seen that there are many liberties taken in the plot : Lady Booby, the handsome, unscrupulous woman of fashion, whose only law is her caprice, tired of the monotonous affectation and foppery of her town admirers, has taken a violent fancy to a handsome young country fellow-Joseph Andrews-whom she has admitted into her service as footman. But Joseph loves not the town; his heart, left in the village where good Parson Adams resides, is in the safe keeping of his true love and sweetheart, pretty Fanny Goodwill. These young people, brought up by the fatherly care of the good parson, have loved each other from childhood. No wonder that Joseph is insensible to Mrs. Slipslop's fond looks and the advances of my lady, who grows wroth on discovering that some well-turned verses he has written to his "Sweet Mistress" are not meant for her, but for a country girl. Still, she has too great an idea of her own charms not to construe Joseph's obtuseness, when she hints that he might aspire to marry above his station, into an overdose of modesty on his part. And when, at last, she tells him plainly that she has "decided, after due consideration, to marry you myself," her fury knows no bounds on his politely declining the honor. Calling for her servants, and in the presence of Fanny and Parson Adams, just come to town to see Joseph, she accuses him of insult by attempting to kiss her, cowardly daring him in undertone to betray her. When Joseph still reproachfully answers, "Madam, my lips are sealed, you know I am too much of a man to justify myself at your expense," she repeats her accusation and bids him leave her house. "Then he shall have a home in mine," exclaims Parson Adams, and thus the first act closes.

In the second, we find Mistress Adams welcoming the truants back to her cottage. Fanny trusts Joseph too implicitly to doubt him for one minute, and the kind-hearted parson is only too pleased to acquiesce in the impatient lover's request that the banns be put up at once. But Lady Booby is not the woman to be spurned without seeking revenge, and well she knows what will make

him suffer most. At her instigation the dissolute Lord Fellamar undertakes to get posession of Fanny. His chaplain and parasite, Llewellyn of Griffith, passing himself off as a publisher, and trading on the vanity of Parson Adams by offering to purchase and publise his sermons, decoys him from the cottage. Then, with Lord Fellamar's servants, he carries off poor Fanny. Her cries bring the parson and Joseph to the but they are overpowered, Joseph falling from a sword thrust in his side.

rescue,

Act iii. shows us Sir George Wilson in his lonely manor, still bewailing the loss of his son, stolen away by gypsies twenty years ago. A gypsy brought before him for theft, and closely questioned, as all his tribe have ever been by Sir George, gives him hope that the boy is still alive. Parson Adams comes for assistance, in pursuit of Lord Fellamar, to save Fanny. Joseph, weak from his wound, is admitted, and relates his misfortune. When told that he cannot call out Lord Fellamar on account of his humble station, he, in bitter words, reproaches fate, that made him of low birth. Then the gypsy, who has seen him through the window, rushes in and tells Sir George, “There stands your son!" which brings down the curtain.

Act iv. takes us back to London. Poor Fanny would have but little chance of escaping Lord Fellamar's insults did she not find an unexpected ally in Llewellyn, who, having received a beating from his patron, swears to be revenged by frustrating his plans. By his advice Fanny expresses a wish to see Ranelagh Gardens, and is taken Joseph and his friends at the point of the there by my lord, where she is rescued by

sword.

The act ends by Joseph asserting his rank and challenging Lord Fallamar.

The last act contains a scene between the lovers. All the characters assemble in a tavern; the young man, though a novice in duelling, has wounded the accomplished swordsman, who makes full reparation by denouncing Lady Booby's share in the abduction of Fanny, and the declaring the girl spotless. And so all ends happily for Joseph, who has gained a sweet bride and found a kind father. Lady Booby is utterly defeated, and Parson Adams is provided with a living by Sir George.