HELEN DAUVRAY and her COMEDY COMPANY, Under the management of Wm. R. Hayden. WALDA LAMAR. A COMEDY-DRAMA IN THREE ACTS, Paul de St. Germain, a French nobleman......Alex. Salvini Richard, secretary of the Prefect. Monsieur Lecocq, Police Inspector. Doctor Varney.. Baron Von Rosenfeld, a diplomat. Joseph, servant to Walda Bernard, servant to Valdauré. Adéle Regnier, actress at the Odeon.. William Payson G. B. Clayton .G. F. DeVere Lin Hurst James Bell Gus. Brooke George Ellis Adeline Stanhope (Her first appearance at this theatre.) Duchess de St. Germain, mother to Paul.. Ida Vernon Louise de Valdauré, betrothed to Paul... Miss Enid Leslie Mme. de St. Dié, friends of Blanche de Blainval, the family Justine, maid to Walda.. Miss Percy Haswell .... Miss Carrie Lewis Miss Nadage Dorée McNOONEY'S VISIT. Martin McNooney. Ely Umstead... Clara Grizzle.. Lionel Mellan.. Judge Halweiser. Mary McQuirk. Nora Gilmartin. Adele Spoonful.. Mr. Harrigan ..Mr. Wild Mr. Collyer Mr. Bradley Mr. Fisher Mr. Sparks Mrs. Yeamans Miss Lee First appearance in New York in six years of MME. SARAH BERNHARDT, Supported by a full Dramatic Company, under the management of Messrs. Henry E. Abbey and Maurice Grau. Monday evening, first production in America of Georges Ohnet's famous Comedy-Drama, LE MAITRE DE FORGES (LADY CLARE). Tuesday evening (positively last time) FEDORA. Wednesday evening (positively last time) FROU-FROU. Thursday (only time) ADRIENNE LECOUVREUR. Friday evening (only time) HERNANI. Prices, $2 and $3. The price of yearly subscription to THE THEATRE is three dollars in advance. We cannot undertake to return manuscript that is not suitable, unless we receive sufficient postage to do so. Care is always taken not needlessly to destroy valuable manuscript. **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. **All articles appearing in THE THEATRE are written especially for it unless credited otherwise. *** Advertising rates of THE THEATRE will be furnished on application. Address all letters on this subject to GEORGE W. HARLAN, Manager Advertising Department. DRIFT. Dur MR. BOOTH'S engagement in San Francisco has been a personal and financial triumphmost befitting the greatest living actor. ing the first week of seven performances the receipts were over $22,000, and last week it was thought they would reach nearly $20,000. In 1852 Mr. Booth made his first appearance in California in company with his father. Then they played to poor audiences. Twenty years afterward the young Booth again played in San Francisco, with great éclat, and then immediately went to Germany, where he was pronounced the greatest of all Othellos. He ITALO CAMPANINI thinks that in "Otello" Verdi has reached the culminating point of his operatic art in delineating musically the characters of the principals in the drama. says: "Iago towers above them all, and stands in strong relief. Deep and earnest must have been the study bestowed by the great master of Busseto on Shakespeare's drama. The play reigns supreme throughout the opera. The interpretation of the work at La Scala is worthy of the noble traditions of the house. It is only justice to praise above all the baritone Maurel, who makes of his rôle a creation worthy of any great tragedian. He is a truly wonderful lago, atoning for some weakness of voice by his wonderful art. Tamagno, on the other hand, is a singer of extraordinary vocal powers. His splendid tones are irresistible in WHOLE NO. 54 effect and take the audience by storm. In this opera he has shown remarkable progress as an actor, Verdi himself having taught him the rôle of Othello. What is still more wonderful is that his vocal powers seem to grow every night he sings, while he preserves his diligence and conscientiousness as an actor, though he does not perfectly interpret Shakespeare." Campanini also says that the rôle of Desdemona requires a voice of perfect modulations, such as is needed for Ophelia and Margherita, and that Signora Pantaleoni's singing is of too marked a dramatic character; but she sings beautifully and with great feeling, especially in the last act. ** IT does not appear that Saint Saens's new opera Proserpine is altogether successful. The story of it can be told in brief. It is founded on a poem by M. Auguste Vacquerie. published about ten years ago. The Proserpine of M. Vacquerie is a courtesan of mediaval Italy. Renzo has a sister named Angiola whom Sabitano wants to wed; but Renzo will not permit marriage until he is assured that Sabitano is no longer in the toils of Proserpine. Proserpine determines to be revenged, and at last finds Sabitano and Angiola singing a love duet, when she rushes out from behind the hangings and stabs the latter. She is herself stabbed by Sabitano, and in her deathstruggle forgives him. Saint Saens has given the opera much Wagnerian style of music and much of it is very wearisome. It was produced for the first time March 17, at the Opera Comique, in Paris. * ** On this same evening Helen Hastreiter, the American singer who made such a success here last season with the American Opera Company, made her début in London in "La Favorita.' On Friday evening the Chicago diva, Marie Engle, made her first appearance in Martha," and much pleased a large audience which was described as suffering from an arctic atmosphere, which even the irrepressible Colonel Mapleson did not warm by his energy. Mme. Hastreiter on this occasion played Nancy, Del Puente was the Plunket, and Ravelli was Lionel. It is now announced that Miss Decca, a daughter of Judge Johnson, of Washington, has joined Carl Rosa's troupe as third soprano, and that Miss Norton (Nordica) is shortly to be married. Her first husband went up in a balloon some time ago and hasn't come down. The Augusta (Georgia) Chronicle, in speaking of the Suwanee River, says: "This dark river has its romance, as being the place which gave rise to a melody which, like "Home, Sweet Home," the affection of the heart will never let go. For it was here that a French family in the time of Louis XIV. came over and settled upon the Suwanee and made a plantation. After a while the father and mother and all died save one daughter, who, disheartened and desolate, returned to France, and there wrote, adopting in part that negro dialect which she had been familiar with on the plantation in her girlhood, a feeling tribute to." the old folks at home" in their graves in the far-off country." Monckton, Marion Terry, Charles Brookfield, Charles Sugden, and Robert Pateman. MEANWHILE there is a great deal of stuff and nonsense being written about Mrs. Potter. The latest intelligence is that Mr. Potter is trying to persuade his wife not to go on to the stage. Happy man and wife this must be! Brown Potter must have a large amount of force in his character! The next piece of "intelligence" is that Brown P.'s father has gone over to Europe to see what he can do about it. Yet the thing goes on-and the expense too. It ought to be recorded in THE THEATRE what M. Worth has been doing about her wardrobe, and through the medium of the Herald's war correspondent in Paris, I am enabled to describe in full: Inspiration number one is of lilac crépon, a soft, clinging material admirably suited to Mrs. Potter's beauty, over a plain skirt minutely pleated down the front. A Greek tunic floats gracefully over the petticoat and is rather full in front and loose behind. The waist is outlined by a soft black sash tied negligently in front. The back of the corsage is finely pleated and set into a Louis XIII. collar of bise guipure, forming several points in front. The sleeves are artistic and full to the elbow, thence to the wrists exceedingly tightfitting and covered with guipure similar to that on the neck. A large hat of coarse black straw, turned up on the side, is to be worn with this dress. It is ornamented with a huge bow of black silk gauze. Inspiration number two is a morning costume of brown woollen material, also soft and clinging. The very long tunic is slightly draped and lifted in graceful folds over a petticoat to match. The corsage is shirred at the neck and at the waist. The collar is formed of three rows of narrow golden loop fringe, while the waist is girded by a broad band of fancy metallic braid, edged with golden fringe, that ties once in front and hangs down in two short ends. A perfectly charming little Henri II, toquet of brown lainage has a large bow of Suède corded ribbon on the left side for its sole ornament. With this gown is to be worn a brown mantle of the same material as the dress. The collar and the points at the back and front are of Havana cloth. The third inspiration is composed of light mignonette or réséda bengaline, outlined into squares by narrow dark green and cream stripes. The jupe falls in broad flat pleats all round, while a short tunic, taken far back behind, is slightly picked up. This gown has a Directoire corsage, with a tiny Garrick collar turned back from the chest, with large revers over a full pleated jabot of cream silk and India muslin. A broad cream moiré sash passes round the waist, crosses behind, returns and is tied in a full bow in front. A large Kate Greenaway, or "poke," of coarse black straw is tied beneath the chin with narrow black velvet strings. The crown is simply covered by a large knot of cream silk. Mr. Worth declares that these three dreams are the result of his deepest concentration of thought, and were nothing less than inspirations as great in their way as Doré's were in his. ** ** IT is announced that Miss May Brady, daughter of Judge Brady, is shortly to start for England where she will spend a season in London under the charge of Mrs. Thomas Hitchcock. Miss Brady will doubtless end by being another Mrs. Potter. She has begun by being an admirer of Miss Dauvray, and is personally intimate with her. She has also formed a strong |