Abbey opened his season with a company of twenty people, but in "Caste" seven only of them were concerned. Suppose "Caste" had given indications of a seasons run, what would have been thought of Mr. Abbey if for "economy' sake he discharged the other thirteen members of his company? All last season Mr. A. M. Palmer had some of his most expensive artists "walking about" and drawing their salaries. He had, moreover, an assured season's "run" with "Jim the Penman," but I doubt if it ever even occurred to him to get rid of Miss Annie Russell, Mr. Stoddart and the others with a fortnight's notice. Mr. Miner no doubt considers himself a brother manager with Messrs. Palmer and Abbey, but I wonder if he will ask their opinion of his managerial behavior. But perhaps these illustrations are not sufficiently direct for Mr. Miner's acceptance, therefore I will try another, as many people know Mr. Miner was at one time a respectable and efficient member of the Brooklyn Constabulary force. When he attained that attitude no doubt he considered himself "fixed" for life, or at least, during good behavior. But if the Mayor of Brooklyn had taken the notion into his head that the peace of the city could be preserved with one constable less, and discharged Mr. Miner with a two weeks notice, would not that erstwhile, respectable and efficient officer protest with all the eloquence and wealth of his vocabulary? If actors have little veneration for the sanctity of contract they must be admitted to have some excuse when managers of capital and reputation practice the aconomic tactics of Mr. H. C. Miner. THE WEEK. "THE BEGUM." THE composer of "The Begum " is to be congratulated on the wide range of his musical experience and the wonderful tenacity of his memory. He was evidently familiar with the score of every comic opera of the present day and has made a special study of the works of Messrs. Gilbert and Sullivan. The result of this is that in "The Begum" we have the most remarkable electric opera of modern times. Every number reminds one of some other opera, and even an uncritical auditor might fancy that he was listening to a miscellaneous concert selected from the works of modern comic opera composers. As the Stranger" says in Holzebue's famous play when the young lady with the guitar sings a melancholy ditty, "I have learned that air before, but it was to other words." So the old tune came o'er" many of the auditors at the Fifth Avenue Theatre on Monday, when Mr. De Hoven made his music public, and Mr. Harry B. Smith developed his story. Both gentlemen had evidently put their heads together and resolved that "The Mikado was good enough for further use and might obtain fresh popularity if its scenes were transferred from Japan to Hindoostan. They were right too, for "The Begum" pleased from the first and scored a genuine success in the record. The "Three Little Maids from School" was replaced by four Hindoo damsels, and they sang just like their predecessors, and acted with as much vim. Ko-ko was repeated in HowJei-Dhu, and had similar matrimonial difficulties, while Pooh-Bah had a most most accurate counter-part in Myhut-Jhulup. And so the authors of the "The Begum" wended their pleasant and innocent way, and drew drafts of inspiration from all the composers and librettists known to history. Messrs. De Koven and Smith do not claim originality for their work and may therefore be treated gently. The music is pretty, sometimes melodious, and nearly always "catching." Mr. Smith's verses are invariably good though devoid of the quaint comments for which Mr. Gilbert is famous. The authors are to be congratulated on having such a generous manager as Colonel McCaull and such a magnificent company as that which introduced their work to New York. The mounting and costumes were simply exquisite, and the scenic effects of the second act have never been surpassed on the local stage. Miss Cottrelly acted and sang The Begum,” but found herself the exponent of an ungrateful part. She brought all her wellmatured talent to bear on it, and probably made more of her character than could have been done by any other artiste. The lists of the opera were achieved by Messrs. De Wolf Hopper and Digby Bell who were allowed to run riot in the second act and kept the audience in a veritable roar of laughter while they were on the stage, which happily was nearly all the time. A prosperous career may be easily predicted for "The Begum,' and thus encouraged, its authors may find time to produce an opera with a dash of originality in it. IN Mr. Harrigan's new play there are some very good things, but there are unfortunately, other things which do not give evidence of his usual careful work. In the first place the story is in itself common place and out of place, and the people who are engaged in evolving this melo-dramatic portion of the play assist yery largely in giving it a very serious Bowery flavor which almost borders on the ludricous. All this Mr. Harrigan should cut down. Nearly the entire first act could be eliminated without injuring the play, and much of the second act needs condensing and alteration. The comedy scenes in "Pete are fully up to Mr. Harrigan's ingenious standard, and his impersonation of an old darkey although on the Uncle Tom" lines, now-a-days this portrait of an aged African appears to be a necessity. In fact all old darkies seem to be alike. Nevertheless Mr. Harrigan puts into it a great deal of clever work, and it is probably one of the best things he has done. As to the play the scenes are the parlor of the Coolidge Homestead; Blossom Landing, on the St. John's River, Florida; the Old Mill at Bush Creek, by moonlight; and the exterior of the Coolidge Homestead. As a picture of Southern life, however, "Pete" in full of inconsistencies at any rate in the white face part of it. The negro business is all right, and whenever the songs and dances take place, there is generated such a good feeling all around that one is apt to give the rest of the play only a good-tempered criticism. Mr Braham has contributed a number of pleasing melodies under the titles: "The Bridal March," "Massa's Wedding Night," "Heigh Ho! Lingo Sally," "The Old Barn Floor," "The Stonewall Jackson," "Slavery's Passed Away," Haul de Woodpile Down," "The Old Black Crow," "Where the Sweet Magnolia Grows," and "Let Us Wander in the Orange Grove Tonight." A very large number of people are employed in the cast. Mrs. Yeamans has never been more happy than she is in the present instance as Mary Duffy. A more thoroughly enjoyable actress in her line of work does not exist. Mr. Collyer is especially good as Vilet, and so is Mr. Sparkes as the New York alderman. Some of the scenery is very elaborate, but it is to be doubted if such a collection of gaily decorated young women would be found at a place like "Blossom Landing." One thing must be said: it is hardly fair to pass final judgment on one of Mr. Harrigan's pieces until it is in good running order. Generally he discovers his mistakes as soon as his critics find them. PRODUCTION OF “LA TOSCA.” VICTORIEN SARDOU'S new play called "La Tosca," was produced at the Porte-SaintMartin Theatre, Paris, Thursday night last, and is reported to have been a great success. Mme. Sarah Bernhardt played Floria Tosca, the same part which Miss Davenport will shortly assume in this country. The scenes of the play are laid in Rome, two days after the battle of Marengo (June 14). Tosca is a cantatrice, a Catholic and an ultra-Royalist. Mario Cavaradossi is a painter and the hero of the play. He is a Republican and under close surveillance of the Bourbons. The story in brief is this: Cesare Angelotti has been sentenced to death. He appeals to Mario to be saved as he has just escaped from the jail. Mario aids him by means of some female drapery. This is brought about to appear to Tosca, Mario's lover, that the latter has fled with a woman. She is spurred on to blind jealousy by Scarpia, Regent of Police, who knows the real truth, but hopes to find through Tosca the hiding-place. She does find them, and then realizing the situation, endeavors to protect the fugitive at any cost. The rest of the tragedy is told as follows by the Paris correspondent of the Herald: The police drag Angelotti from his hiding-place, but he is in the last agony of death, having taken poison to avoid a public execution. Then Cavaradossi appears. He is as pale as a ghost; drops of purple blood trickle down his forehead; he has emerged from the torture, but he seems like a walking corpse. Perceiving the dead body of his friend Angelotti, he realizes that La Tosca has spoken. La Tosca tries to embrace him, but Mario pushes her rudely aside. Spurned by her lover, La Tosca falls insensible. Scarpia then arrests La Tosca and Mario, and sends them to the prison of St. Angelo. The fourth act opens with a scene in the palace of Scarpia, Regent of Police. Scarpia, besides being a sort of human bloodhound, is also a "minotaur," having scores of mistresses in every street in Rome. He knows that La Tosca hates him. He is in search of a new refinement of vice. He has never yet enjoyed the favors of a woman who thoroughly loathed him. He is supping in his palace. It is two o'clock in the morning. He sends for La Tosca, and when she appears, he tells her, with brutal fierceness, that Mario has been sentenced to be shot the next morning; but if La Tosca will consent to pass the night with him in the palace he will save Mario's life. He prom ises to give the lovers a passport to pass the frontier, but, to appear to obey orders, he agrees to have the captain of the guard have the muskets of the firing-party loaded with blank cartridges. Mario must feign death, and afterward, when the body is removed, arrangements will be made for Mario and La Tosca to escape together. Scarpia and La Tosca are seated side by side at the supper-table, candelabras brilliantly illuminating the hall. Scarpia places his arm around La Tosca and draws her to him. La Tosca, with lightning rapidity, siezes a huge carving-knife and plunges it into Scarpia's body, killing him instantly. La Tosca gazes blankly on her prostrate victim. She thinks of the Catholic Church, and with a strange impulse she seizes two huge candelabras and places them beside the head of the dead Scarpia. Then, with womanly instinct and tenderness-in dramatic contrast with her murderous fury of a moment before—she places a silver crucifix on his breast. In the fifth act La Tosca informs Spoletta, the captain of the guard, that she has performed her part of the engagement. Scarpia's assassination is still undiscovered. La Tosca tells the captain that he must now carry out Scarpia's orders about the feigned execution and escape. Mario This the captain proceeds to do. Cavaradossi is led out. The firing-party is drawn up, and the words of command are given :-" Ready! Aim! Fire!" Mario falls motionless to the ground. Spoletta steps forward, bends over the body and places his hand on his heart. He smiles and retires. La Tosca appears. She exclaims: -"Mario! Come all is ready! I have our passports! The carriage is here! an hour we shall have crossed the frontier!" Mario remains motionless. La Tosca rushes up to him, places her hand on his heart and utters a wild shriek like that of In Mario when he was undergoing torture. Mario is dead. Death is not feigned, but a reality. La Tosca discovers that the orders to the captain were to have muskets loaded exactly as for any common criminal, Scarpia's object being merely to gratify his desires and let the result take care of itself. La Tosca calls the captain an assassin. "My superior's orders,' rejoins Spoletta. La Tosca, beside herself with rage, boasts that she has killed Scarpia, and regrets that she could not have the exquisite delight of killing him again. The tableaux are as follows: Act 1.-Church of Saint Andrew. 2. The Palace Farèsa. 66 " 3.--The Villa Cavaradossi. 4. At the Regent's of Police. 6. 5. The Chapel of the Condemned. Here is some of the dialogue: Floria-Oh! That voice! How he suffers! (she retreats from the door.) Is it possible they can torture him thus! That being, Oh, horrible! And that monster smiles, and reeks with humane blood like the tiger that he is! Floria-It is finished, is it not? Scarpia-Finished? We have scarcely begun. Scarpia-Now to question him. Floria-You will torture him again! And learn nothing? Scarpia-You are mistaken. I will know all. He will be interrograted, but you will answer. Floria-I? Scarpia-Yes, you! And take care! Every refusal of yours to speak will be one more turn of the screw for him. Floria-Ah! Executioner! Scarpia-I am no longer the executioner--it is you, if you refuse to answer me. (Very loud): Come, Roberti! Be ready. We will begin once more. Floria-Assassin! Oh, pardon! Pity, your Excellency! Not that! It is too horrible! Not that! Scarpia-Come! Where is Angellotti? 串 * * The Captain-She would pay too highly for it with her life. La Tosca-Take it. then, And I will no longer have the horror of seeing Oh! corrupt people, to accept them! MRS. LANGTRY AND MR. SOTHERN IN BOSTON. BOSTON NOV. 25th-This week has been marked by the return of Mrs. Langtry and Mr. E. H. Sothern, the former appearing at the Globe in her new play, As in a Looking-glass," and the latter at the Hollis Street Theatre in "The Highest Bidder." At the Museum Sophia" is to give way to The Barrister next Nonday night, a new English comedy of pronounced merit; and "A Run of Luck at the Boston will also retire in favor of "The Exiles" the same evening. The Park has "A Bunch of Keys," with which to open the door of prosperity, always to be found within its precincts, in connection with these attractions, and the Jersey Lily will continue her sway over Boston dudedom during that week, while Mr. Frederick Warde, the tragedian, opens his engagement at the Hollis Street. Of the merits of Mrs. Langtry's play, nothing can be said. It has none. A disjointed dramatization of an offensive book, it lacks the steady stimulous demanded by a diseased imagination and purient taste by reason of frequent lapses into the realm of utter inanity. The reader of such a book expects to find its suggestiveness acted out on the stage-for the thought is father to the wish as voiced by many a man-abouttown and Harvard student found in the Globe corridors on Monday night-and possibly such a frank tribute to the text might redeem the play, and its performers by their transferrence to that part of the world where social amenities and respect for the moral code are secondary to the presentation of the "undraped actualities of life when staged for public instruction. In China these flaws in our mundane system of moral and physical ethics are boldly treated. The stage will illustrate with a close adherence to the facts collated by the local police department the fall of an erring wife; the blandishments of the man whose amusement is found in the destruction of a maiden's honor; and will in thus illustrating the nether side of human nature spare no cost in mountings or in accessories to fully present the subject in hand-nor are the feelings of those called upon to uphold the mirror of man's frailties spared in the least. They openly perform all the features of the plot, and where this fails to supply requisite material the actors are drilled by a licensed purveyor to the demi-monde of the Celestial Empire, who is supposed to be "posted" in all senses. Thereby the action of both play and players is true alike to the facts of the story and to nature. The judgment of the magistrate is endorsed by the cries of the audience when the exhibition ends, and of course, the verdict is executed upon the "star," who is then lead forth to death. This novel method of entertaining the public while the cause of morality and justice is maintained has its commendable features. Such plays are infrequent. First the star-actor, male or female, must be caught, not hired. The story thus furnished enables the authorities to stage it for one presentation only; and while vice is openly paraded for public instruction, in its details morality is subserved, the young are warned of its errors and punishment, and the theatres are never permitted to offer as "attractions" any plays of immoral complexion. The aforesaid star may be an old-stager in this line, but always a novice to the stage upon which a positively first and last appearance is made. Under the threat of torture the role is performed. The licensed establishments of the town supply the balance of the cast-for no decent actor is required to lend his presence to such an affair-and the general result of it all is. that at least outwardly the laws of morality are enforced where the reverse would be expected both in literature and the theatre. But as such a righteous censorship would be considered a relic of barbarism in this our nineteenth century of moral culture. under the benign influence of Christianity, it might be of service to those of the great minority in this country whose voice is raised against the introduction of the As in a Looking-glass" type of literature and play into our homes and communities to suggest that Mr. E. H. Sothern be asked to sell out to the highest bidder both the book and the play of that name. How instructive to see the indorser of such individualized! And as it is not intended to convey that the Chinese method be applied to those who star in such plays for the pecuniary return involved, the highest bidder might also bid in the fair Lily if he has treble the sum paid for Mr. Thornhill's estate by Jack Hammerton. This might remove the only star from the theatric firmament whom the public would pay tribute to in such a play, and one man would have the prize. It is with great pleasure that the enthusiastic reception of Mr. Sothern can be here recorded. His first appearance as a star in his own play was sufficient to pack the Hollis Street Theatre on Monday night, and pity 'tis that Mr. Rich has not retained him and play for a longer period than this week, an insufficient time for all to witness an excellent comedy, well acted and most handsomely mounted. "The Highest Bidder" affords Mr. Sothern rare scope for the display of his sterling abilities, and as Jack Hammerton he has won for himself the unstinted praise of our critics and our vet eran playgoers. The recent review of both by THE THEATRE renders it unnecessary to further elaborate the many charming features of this company and play. Both are very strong, in an artistic and dramatic sense, and Mr. Rich will have to search for a long time before he can find either one of each which will equal the reception accorded Mr. Sothern, his company and his play. Henry Whiting. SILENT SADNESS. SILENT Sadness! Sadness waking, And the place of sleep now taking, Taking, making hours so weary, Weary, lonely sad and dreary; Weary sadness, wherefore linger Forcing mem'ry point with finger, Pointing ere toward years by-gone. Years, which tears, have strived atone. Tears! which scald the eyes they fall from Tears! which broken heart doth cal! from Tears! by plaintive sorrow sown, Tears! harsh world must ne'er be shown, Silent Sadness! Sadness darken, So I may not, see, nor hearken, To the voices ever singing. To the voices backward bringing, All the buried hopes of past, All that to wind and waves were cast. Cast to sadness, ever dwelling, When they are gone, comes love not near. Sce mournful sadness take its place. Whose dread embrace, death only knows, Silent Sadness! Sadness spreading Showing how slight, and near harsh Fate, A FAMOUS CAST. BOSTON MUSEUM, Nov. 23d. TO THE EDITOR OF THE THEATRE: Noting the publication of old and rare casts in your magazine, I venture to send you the copy of one-not so old as it is rare-in the quality of performers therein. I would send the original but it is pasted in my copy of the play-book, which I would not like to mutilate. BOSTON ACADEMY OF MUSIC. will be presented Coleman's Comedy, in 5 acts. of the POOR GENTLEMAN, with this unrivalled distribution. |