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privileges, never in the slightest over-stepping his position or presuming upon their favor. To his fellow actors and actresses he gave always a due recognition and opportunity for prominence equal with himself, never refusing information or explanation in any mooted point or question,

Blessed with a happy disposition that could pick out a point for fun even in disappointment, and ready to take advantage of it and use it for the merriment of others, he forgot self and appeared the happiest when he had smoothed away a sorrow and made a care-worn face light up with laughter. He could stop at rehearsal to tell a funny story to a burthened stock actor,

was convulsed with the feeling, and his audience never failed to be in sympathy with him, their tears were always given a libation to his touching portrayal of sorrow, suffering or melancholy.

So between sentiment and fun, both so truthfully depicted, people doubted whether to call Adams tragedian or light comedian, so skillfully he acted them both, picturing his conceptions in clear, broad and finished colors.

Benjamin Rogers.

THE WEEK.

'TWIXT AXE AND CROWN.

crawling under the weight of heavy study, MRS. POTTER has some reasons for and lighten his load by cheering his thoughts. He knew by hard experience. the toil of a stock actor, and never insulted them by arrogance, but always helped them on as he so well knew how.

An actor by choice, he brought to his work a determination to achieve excellence that controlled mind and body to the study and toil, whereby alone the true workings of the heart could be learned and exercised, and by the tireless practice of which he in a few years gained a proficiency and place many more experienced might have envied. True his untiring study was aided by a fine, graceful figure and an intelligent, handsome face, capable of great expression and wonderful flexibility. His voice of great depth, sound and sweet, and his perfect control of it, gave to expressions of great excitement, either for woe or joy, a cadence that thrilled and delighted.

In scenes of great pathos, such as frequently occurred in some of the dramatic characters Adams acted, he was very fine, the spirit-stirring tones of his voice rising and falling as the intensity of passion increased or fell off, the very heart of the man blazed in his eyes, his whole frame

being discouraged by her New York reception, but she may rest assured that the intelligent and appreciative people have discovered in her, real ability as an actress, and a great deal of creative genius. Mrs. Potter has been on the stage two years. In examining a long list of actors I do not find a single instance where such remarkable progression has been made. Julia Marlowe, for instance is passed off on an unsuspecting public as being a wonder. She cannot act as well as Mrs. Potter, and I wish to inform this noodled public that Miss Marlowe has been on the stage since she was nine years of age. When Mary Anderson first appeared her genius made itself triumphant, but she was derided for many other things. Mrs. Potter is further advanced than Mary Anderson was at the end of two years. She is certainly much the superior to Mrs. Langtry after she had been two years on the stage. Mrs. Potter has pluck, and she has a good manager. It would not be wise in her to echo Mr. Vanderbilt's sentiments and say the public be d-d, for she must depend upon this public, but the time will come when she will be royally

welcomed by it. There is not a woman on the American stage, who has so much intellectual beauty as Mrs. Potter. She has in her what made Rachael eventually successful with the French; she has an individuality that put Bernhardt where she is, and she has all the sweetness of Madame Hading. She has been accused of copying Hading's art. But this is not so, as she has never had an opportunity of seeing her act.

All this I do not say by way of apology, Mrs. Potter needs none, but some of the critics have gone out of their way to be unjust and I simply defy them by these

statements.

The presentation of Tom Taylor's comedy "Twixt Axe and Crown," at Palmer's theatre, last Monday night, was effect

perfect pictures of human beauty. Their love making in this is the dream of poetry. With a great many people, of course much of the scene falls flat or floats over their heads. They would prefer the pounding sentiment of a Mantell and the fleshy humor of Annie Summerville. With this kind of intellect Mrs. Potterdoes not succeed. Now I do not mean to say Mrs. Potter is my estimationof a great actress; she has much to learn and unlearn, but I do say that her achievement is extraordinary, and there is every indication that her future will be crowned by success if she is not killed by idle and hypercritical newspaper paragraphs.

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ed before a large but unresponsive audience. ON Wednesday and Thursday nights of

There was no claque. The piece was well acted throughout by an excellent company-a thoroughly good lot of people-and the stage arrangement was notable for its. general effectiveness. Some of the scenery was very beautiful. The play is at times more or less dreary and is written in a stilted style that never would have obtained with Mr. Taylor had Shakespeare been of subsequent birth. But it is dramatic in some respects and as a piece of literature is well worth the hearing. As Mary Tudor, Mrs. Potter is not at her best. The atmosphere of the surroundings is cold and all the warmth imaginable could hardly put into it much that would charm in these days when contemporaneous human interest has reached its highest pinacle through such mediums as "A Brass Monkey," and "An Upset Teapot." The third act of the play which is annoyingly like "The Yeomman of the Guard," in setting and introduction of characters is played by Mrs. Potter and Mr. Bellew with delicious grace. Both the man and the woman are

the week Mr. Booth and Mr. Barrett gave a double bill, the former appearing as Bertuccio and the latter as Garrick. I have never seen Mr. Booth act with more force and intensity of feeling than he did on Thursday night. Bertuccio is one of his best characters. The play itself is exceedingly interesting and the part of the deformed jester gives a magnificent opportunity for such an artist as Booth to show his power. He is certainly at his zeinth,

and one cannot help but be seriously impressed with the fact that there is not another actor in the world to-day, who can approach him in versatility and magnificent resource. His Bertuccio is simply a wonderful piece of acting, and the critic's pen has been worn in its praise.

The company which is now in his support showed to good advantage in this play. The cast was as follows:

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Mr. Hanford was particularly noticeable not only by his graceful bearing, but by his clear speach and proper emphasis and discrimination. As the love sick poet Dell Aquila, Mr. Hawley was surprisingly good. Miss Gale, who shows continual improvement, acted Francesea with good taste and feeling.

The second part of the programme was the performance of the three act comedy of "David Garrick," which was made. familiar to the New York public several years ago, by Mr. Sothern. Mr. Barrett plays Garrick delightfully. It is really one of his best parts and shows him a master of comedy. I have always thought that if Mr. Barrett would stick to comedy he would be even more popular. The people are tired of Shakespeare and such a comedian as Mr. Barrett can be, would give rare entertainment. His Garrick has the sparkle of champagne. The company displayed their training and versatility by admirable support in this piece. Here was the cast:

DAVID GARRICK..............MR, LAWRENCE BARRETT Simon Ingot

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Mr. Ben. G. Rogers Mr. Owen Fawcett .Mr. Charles Collins Mr. Frederic Vroom Mr. Charles Koehler Mr. Beaumont Smith Mr. Walter Thomas Miss Minna K. Gale .Mrs. Sol. Smith ....Miss Agnes Acres

...

The veternan actor, Mr. Ben. G. Rogers, attracted much attention by his unctions acting as Simon Ingot and was frequently applauded.

Fileur.

PHILADELPHIA NOTES.

DEC., 19th.-A subject of managerial speculation just now is why the week preceding the Christmas holidays is generally so dull, and I suppose that the public in turn, is wondering why the theatres present such poor attractions during the same week. At the theatres of the first class this week, there is only one play that is billed as a novelty, and even this piece is of such mediocre quality that it is only welcomed. out of respect for the half a loaf adage. The originality of "Among the Pines," which was produced for the first time in this city last night at the Grand Opera House, dwells chiefly in the fact that it is the first play to which that name has been given, and that it serves to introduce a sawmill in operation. Although the immense dramatic value of this combination will be at once apparent to everyone, the authors of the play have not deemed the interest sufficiently startling to hold the attention of an excitement craving audience. They have, therefore, surrounded their inspiration with a number of venerable situations that are never know to miss a call from a thrilled gallery, and for which reason are considered essential to melodramatic success. These situations, of course, culminate in an astonishing triumph of the virtuous heroes, brought about by wonderful means. The role of the persecuted heroine was essayed by Miss Katherine Coleman, in whom according to the programme, is vested all rights and title to the production of the play, In other words she owns the play, and bases her style of actnig on that fact. The engagement is interesting however, as being the first departure at the Grand Opera House from regular operatic performances, and the trial has resulted satisfactorily.

Gillette's version of "She" is at the Walnut street theatre this week. It is a

decided improvement over the version produced here last season.

Alexander Wilson, or as he was better known to the profession, "Sandy" Wilson, the veteran stage carpenter of the Walnut street theatre died at Cramer's Hill, N. J., December 14th. He came to this country with Cook's Circus in 1836, and in 1839 became connected with the Walnut, where he remained for thirty years as carpenter and property man, and up to a short time before his death was employed as watchman at the same theatre. He was a general favorite with the actors who visited the Walnut.

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The new opera, America," held the stage for two weary nights before the composer, who was also the financial sponsor of the undertaking concluded to withdraw his work, and sat down to ponder on the cruelty of critics and the fickleness of the public. His grasp at fame cost a little over $5000, for which sum he has nothing to show but an assortment of comic opera properties and costumes. His private view is that the company, the musical director, orchestra, George Holland, the stage manager, the critics and the public are entirely responsible for the failure of the opera. I am enclined to think that the result was not unexpected by those connected with

the performance, for they all insisted on a week's salary in advance. By the way, what becomes of the native American operas that are so often announced for early presentation?

George Fawcett Rowe's "Phyllis," was to have been produced by the Temple Theatre, but the burning of the theatre followed the preliminary rehearsals, and nothing has since been heard of the opera.

W. T. Carleton and his company began four years ago to rehearse "Robin Hood," by E. A. Barrow and A. S. Burt, but I can not recall it's production.

Neither do I remember whether Rudolph Aronson has yet favored the public with his "Captain Kydde," but it was down for an early date several years ago.

Among the number of lost, strayed or stolen native operas I recall, "Flogeo" by Florence J. Heppe of this city; "Montezuma by F. G Gleason of California;

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