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JANUARY 19, 1889.

AN ILLUSTRATED MAGAZINE

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. DESHLER WELCH.. EDITOR.

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 that appear in THE THEATRE are written especially for it unless credited otherwise.

Generally speaking THE THEATRE is an original magazine, but the appearance of ony article bearing credit to some other publication is because such an article is thought to be interehting and especially valuable for preservation. There are two volumes of THE THEATRE every year, and these are not only handsomely bound, but are excellent reference books for the library sheli.

MISS

ENTRE NOUS.

You

ISS REHAN'S portrait as the frontispiece of THE THEATRE this week is bound to interest every reader. It is from a photograph taken in London and in the costume of Katherine. Miss Rehan's face cannot possibly be done justice to by the camera or engraver. might just as well try to catch the soft breath of summer as it comes over the meadows in the morning laden with its new-born perfume and bottle it. Miss Rehan's sweet face in animation cannot be pictured and when it is in repose the lines which make its character are so exceedingly delicate that they cannot be caught by machinery or artist's brush. I might write every page in THE THEATRE full with a description of Miss Rehan's successes in this country and abroad and then not exhaust the subject. But we who

are at all interested in theatrical triumphs know her career so well that I content myself at present by stating my admiration for her amazing versatility, her refinement, and the extreme womanliness which is the heart and soul of all er acting.

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WHOLE NO. 107.

attacks that have ever been engendered in New York City. The cause of these attacks is not very apparent but it would not be far wrong in surmising that in several instances they have been brought about through some personal spite Mrs. Potter is a woman who ought to excite the gallantry of the gods. She is the personification of loveliness; she is a charming thing to look upon, and back of all this she has menta strength and noble ambition which she is working to carry out with a purpose that ought to bring with it the respect of every one. As to her merits as an actress that is of course open to free discussion. I have my opinion and doubtless others have theirs, but it certainly stands to reason that any printed expression of opinion, as far as her professional ability and chances are concerned, ought to be given kindly, gently, and decently. In fact as if it were written by a gentleman.

The dastardly and disgusting criticism which appeared in The Evening Post on Monday evening, January 8th, shocked a great many of its readers. It was entirely uncalled for and unnecessary; and it was rather a painful thing to many of the old readers of the Post to find such a brutal article in its columns. I have been a constant reader of the Post for the last ten years. Many times I have been forced to greatly admire many of its critical essays on drama, music, and literature, and respect its conservatism and perfect freedom to utter its own unbiased judgment -and generally with most convincing argument.

Recently, however, the Post has admitted a number of "theatrical criticisms" that have been nothing more or less than the cowardly evolution of a billious temperament; a form of mental dyspepsia in which the owner does not know how to construe Man.

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must be under a great mental strain. She had toiled night and day with her rehearsals and was hysterically nervous over the results of her attempt. She worked out her scheme of Cleopatra on her own judgment of the character; she did not put on stilts, or carry herself with that falsely accepted notion we generally find Lady Macbeth and other Shakespearian queens acted. Why should she? The young critics who have formed their ideas, naturally enough, on the foundation of their early impressions of Shakespeare when their judgment had in mediation a pair of pantalettes or a possibly ignorant parent whose wiseness consisted in his experience with barn performances of the great writers and the superficial education that the binding on a volume of Shakespeare is bound to produce, should endeavor to imagine the existence of some other intellect than their own and the possibility that Lady Macbeth in real life was able to eat mince pie and doughnuts and even occasionally take a glass of sweet cider. I do believe that had Modjeska, Ellen Terry, or Mrs. Potter been in Shakespeare's company they would have been cast in pants which we think now are unsuited through our warped ideas effected by tradition.

MRS.

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RS. POTTER'S management has given us the most superb stage presentation that any play of Shakespeare has ever received in this country. Nothing could exceed the uncommon brilliancy of several of the scenes. The arrival of Cleopatra's barge assists in an arrangement of stage coloring that is positively beautiful, and the tableau formed is a blending of ideas that are suggestive of the realization in substance of the creations of Benjamin Constant, Alma Tadema, and Messonier. The scene at the gates of Alexandria, the triumphant arrival of Anthony, is exquisitely done. The whole movement seems to take place in the actual atmosphere of the Egyptian clime. Many of the cloud effects and the light of the tropical sun are exceedingly delicate and reminiscent of the poetry of Egypt. It is worthy of record that the scene painters are Goatcher, Young, Witham and Merry. The act drop which is the work of the two first mentioned is a notable painting. Every artist who can possibly do so should see these stage pictures. The archaeologist will be especially interested in

the attention to detail in stage ornament and necessaries for which Mr. Hamilton Bell is responsible.

The entire production is under the management of Messrs. Abbey, Schoeffel and Grau and it seems to me the public are sincerely indebted to them and to Mrs. Potter for this splendid opportunity. It is a magnificent piece of stage instruction.

**

THAT deluded body of men who are seeking

to suppress "English" performances in this country and who have individually expressed their gratification with the completeness of the "Cleopatra" production are probably fully aware that the examples of Irving and Wilson Barrett in this country and the inspiration they have given to generously minded brains have done more to bring this thing about than anything else. But this movement, which has been most unanimously ridiculed by the thinking press everywhere will doubtless die with as much silliness as distinguished its creation.

AL

**

**

LL the theatres are doing well. The weather, which is very singular, when it has been wet and nasty during the day has usually cleared off in time for the "show" at night. We have not had a bit of snow, and the days have been more as you would find them in the Springtime. But it is not the kind of weather I like; as we live now we actually need the cold of winter with the bracing enjoyments. It is the season of recuperation for the average New York system. The women of course don't count. They don't have time to recuperate at any period of the year. As I started out to say the playhouses are all doing well, but there is a marked change in the manner of entertainment now most popular. The "Legitimate" is really coming around in all its glory. You know it was bound to come in again. We can stand a good deal of nonsense, us Americans, but usually insist upon having an intellectual pie for desert.

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might not be worn at a fancy dress ball. I consider our pieces at the Savoy to be burlesques, and I have never allowed a lady to play a man's part, or to wear a costume that she would blush to appear in at a fancy dress ball. That is my limit." Then you would abolish tights?" "Of course I would, if they were merely worn to enhance the attractions of the leg. A Rosalind may wear decent tights, but they are necessary for the part. But what I object to are the rows of ladies' tight-clothed legs, which are merely worn, in my opinion, to gratify the eyes of the young gentlemen in the stalls. In the old days when I wrote burlesques I was glad enough to get my pieces produced, but, having no authority, I had no choice in the matter. When I came into power I was told that burlesques without legs meant ruin. As I have told you, I consider our Savoy pieces burlesques; was I right or wrong?"

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simply a dramatic sermon of the most powerful kind as to doctrine, eloquence and spiritual effect. I can safely defy any man to bring a word of reproach upon the theatre presided over by Mr. Henry Irving, who is doing all in his power to elevate the educational and moral tone of the stage, and therefore he deserves the heartiest support of all earnest Christian workers. I have a distinct personal authority that some managers and actors have been among the best Christian men that ever lived. The "Memoirs of Macready' might have been the record of the life of a Methodist preacher. All who know Mr. and Mrs. Bancroft, Mr. Irving, Mr. Toole, Miss Terry and others of that class will testify that they are continually doing good on a very liberal scale. No good will ever come of injustice, even to actors. Understand that there are some actors as bad as some preachers; and, on the other hand, understand that there are some preachers who are not a whit better than some actors. Let us be just and fear not."

Gaiety girls the opinion that the popular appre- GEO

hension of their merits and demerits off the stage is all wrong. Their conversation and manners are far above those of the native chorus girl· They are well educated and know how to speak

*

**

EORGE H. JESSOP, the playwright, contributes to the February Scribner the story of an Irish outrage, called "The Emergency Men," told from the landlord's point-of-view.

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their own language. When they converse it is BISHOP POTTER in an essay in the February

Scribner's on Competition in Modern Life, says: Let us understand, then, that competition, —a strife to excel, nay, if you choose, downright rivalry, has a just and rightful place in the plan of any human life. A prize fight is probably the most disgusting spectacle on earth, but it has in t just one moment which very nearly approaches the sublime; and that is when the combatants shake hands with each other and exchange that salutation as old as the classic arena, may the best man win.' It is the equitable thing that the best man should win."

usually about books and subjects of kindred interest. But, in general, they are reserved and conversation with them is in fact, dull. When an American girl of the same calling is addressed, she shows an alertness of mind that supplies an immediate answer, which she usually expresses in very bad grammar. The English girl on the contrary, replies: "Ah," "yes," "really," "very," and the conversational road becomes very weary and hard. They are least reticent concerning this country and its inhabitants, which they do not like. New York men, they say, are presumptous, and seem to think that because the English girls belong to the Gaiety THE good bishop might have gone a little furcompany they are gay and to be easily addressed.

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ther and said that the first moment of the struggle, when the superbly developed arms are drawn with every muscular tension, when each man looks into the other's eye, and then the few following strokes in sparring-all this cannot help but excite every manly interest and stir up every heroic emotion, but as soon as there is the

sickening strike, the first swollen skin, and the trickling blood, then we know it is brutish.

ONE

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NE thing leads me on to another of course, and I am reminded of an anecdote of Thackeray's last visit to this country. He was very anxious to see a regular "Bowery Boy" and one day in strolling up that thoroughfare was pointed out a typical Mose" leaning against a lamp-post, his hat tipped down over his eyes and a cigar stub pointed to the edge of his hat brim. Thackeray accosted him with: "My friend, I want to go to Broadway?" the answer was given with startling toughness; "Well, why in h—l don't you go?

**

FRANK CHAUFRAU made the Bowery Boy especially famous by his acting the character of "Mose." You remember the red-shirted fireman and his thoroughly independent and supremely interesting toughness do you not? Well," Mose" was drawn from real life and was famous on the Bowery but he had flaming red hair, and it is singular that Chaufrau and others who have acted the part have always shown him in a black wig.

* **

MRS. PADDLEFORD, daughter of General

Ordway, made her appearance on the comic opera stage in Chicago Monday night, Jan. 7. She sang under the name of Bettina Girard and played the part of Felisa in the "King's Fool" at the Columbia theatre.

* **

HAD the pleasure of meeting recently Frederick Paulding, the actor, on one of those certain nights when Mr. A. C. Wheeler, the well known critic, is always found "at home" in a delightfully unconventional style to his friends— and he has a legion of them. I have never met a man who had the best principles of his profession more thoroughly at heart than Mr. Paulding. His career of ten years on the stage has been fraught with the hardest kind of work and with numerous discouragements. He is a son of Colonel William Dodge of the army, who is now in active command. When young Paulding started out at the age of twenty to go on the stage he had the positive opposition of his father. His mother was wrapt up in her only child and

name.

believed he would be successful. She backed up her love with about $200,000 in placing him prominently on the stage before the public. The young man being expressly forbade the use of his father's name, assumed his mother's maiden He made many successes in legitimate work. His mother who continually stuck by him, traveling with him from one end of the country to the other, had a sudden reverse of fortune through the speculations of her financial agent, and young Paulding was compelled to seek a position under some certain management. He became leading man with Miss Mather and under five years of directorship with Mr. J. M. Hill who has helped him in his work immensely. I was charmed to witness the bond of affection

existing between Mr. Paulding and his mother

who was with him this night at Mr. Wheeler's. She is a most charming woman, and her son's constant companion, going through his hardships with him on every season's tour, always encouraging him, and never showing how tired she might be when a month of "one-night stands " followed each other in succession. In the summer she is with her husband at his army post; in the winter she and her son keep house together in New York whenever they have an opportunity to be in their "cosy nest," as Mrs. Dodge expressed it.

Trophonius.

IN THE LIMELIGHT'S GLARE.

WHEN a woman of Mrs. Potter's indefinite

array of charms makes a pretentious bid for public criticism it is remarkable how her auditors divide themselves into two absolutely distinct factions, one to brutally condemn, the other to fulsomely praise. It would seem as though there should be, in a community so intelligent as this, more people with discrimination to give the actress her dues, and proffer her some good ad vice.

I feel that we owe to Mrs. Potter, as a woman. a consideration somewhat tenderer than insult. A girl never reaches a condition which entitles an individual to go out of his way to snarl his contempt for her. And by becoming an actress, of whatsoever quality you choose, Mrs. Potter has scarcely committed an indencency sufficient to warrant the merciless flailing with which the

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