all sacred places, prevail here in undue calculations; here the virgin inspiration of true genius is as the breath of a healthy child amid intoxica

ted sisters. The opportunity that genius may achieve to be worthily admired is that escapade from the invitations to unchaste gossip from those men that labor without ardor, and thus to conserve all its intellectual energy for the "white days."

Artistic co-workers are indiscoverable because jealousy and envy are portioned to the art inhabitants for a spur-usage, an impetus to the weakening ambition. The acknowledgement to those youths and to those men that fashion grotesquely their daily lives and that grope feverishly for the undeserved "dewy laurels " should be made with a curled lip and with a deafness to eupheism. Genius would better shroud itself in silence in that beautiful inward philosophy, in that rosy mosque of self learning, and in every disaster to its sacredness be a defensive custodian. It is of great moment to a genius in any pursuit for fame to learn of what he would best enjoy, and try heartily to round its uncouth elements and to ivorize its charm. The dramatic genius is most confronted with an incapacity on the part of tradition to appreciate him in an ensemble of contending colors. of central hauteur, of envirous manœuvre; his voice-instrument is nullified amid the hurry and the discordancy of bursque and imposing characters. The unpleasurable strife is protracted and dire, making the conduct of life burdensome, and companionship a barrier to healthy imagination. If genius desire godliness, it must observe from its seclusion -if success, it must walk in royalty—if to be beloved it must perfect its gifts.

And yet returns the new interrogation-How to shame, to set to flight these vari-colored pretenders, these roguish talents, the adventurous students of biography, these social drawings in chalk feeding on backgrounds of medieval tapestry, these poachers in a sacred possession yearnings for orginality issue from the art world in vast radiation.

Let those earnest sensibilites approach and be assigned to fit places and circumstances of value in them, these pretenders will be heartily driven forth to their dark homes.

George Francis Hill.

seat in the house, and that house Daly's theatre, on such an occasion as the present performance can provide, ought to do much toward putting a man in wondrous good mood, and preserve his temperament with that humor in which hyper-criticism could not live. It was not the first night, but it was last Monday, when the presentation of the old comedy by Farquhar entitled "The Inconstant " was in good running order that I saw it. The audience was of that quality in which you feel very well satisfied with yourself to be mixed up with. Around me were the faces of some of the most conservative people in New York. Some were there whom I never saw in a play-house before. You will find them at the grand opera occasionly, or at a recital of music somewhere, or perhaps at an author's reading. I saw a dozen or more grandma-ma's who are always severely proper in their department. And of course the older these dear old ladies were the more they could appreciate the courtly manner as shown by Farquhar in this comedy along with the rather ancient sentimentality.

The first three acts of the play are curiously interesting. They are utterly artifical and devoid of any possible feeling. A singular arrangement was the accompaniment of the orchestra with some of the stage action-pantomimic effect partly carried on outside the picture. As far as the dramatic worth of these acts are concerned the trifle is too much considered and entirely inconsistent. As a piece of literary work it is worth a great deal of study; and the lines sparkle with wit, epigram, and retaliation in spry and biting converse that is perfectly delighful. The story of the play which is familar to many under the title of" Wine Works Wonders" is the endeavor of four lovers to outwit the other until the end becomes rather serious. As a comedy curiosity the first four acts are entertaining, but the fifth act makes the success of the play-an unexpected climax with an original arrangement for intense suspense. Young Mirabel has been enticed to the apartment of a woman where he is set upon

by her band of four ruffians and is about to be killed. There is some attempt at merry making over wine while Mirabel is crazed with anxiety. Suddenly he says to the bravos:

**I was never more disposed to be merry; lets make a night ont, ha! This wine is pretty but I have such Burgundy at home I defy France to match it!

There is a consultation; they ask him to send for the wine. His page who is in an adjoining room—and who is in reality none other than his sweetheart in disguise, whom he employed but a few hours before, is called. He attempts to inform the page his position but cannot say a word more than this:

Take this key and go to my butler, order him to send half a dozen flasks of the red Burgundy marked a thousand: and be sure you make haste. I long to entertain my friends here, my very good friends.

Now it can be readily seen that here is created a peculiar suspense. Mirable's suspense with the audience to know whether the apparently stupidly innocent page has understood aright. The situation grows desperate; there is too much delay, and finally when the game appears to be "up" there is a knock. They cry:" The wine, the wine!" and admit a body of soldiers headed by the page Oriana who thus brings her husband to happiness and reason as she contracted to do in the begining of the play. It is supposed that the ideas here set forth owe their origin to a similar affair in which Farquhar himself had some concern when on military duty in France. The comedy was first acted at Drury Lane Theatre in 1702 and met with great success. It was notably acted in this country in Philadelphia at the Arch Street Theatre in 1858 at which time Mr. John Gilbert played Old Mirabel, Mrs. John Drew played Bisarre and Mr. McCullough played one of the bravos.

At Mr. Daly's superb revival in which every thing is most delicately treated, Miss Rehan acts Oriana, and it is one of her very best personations. In the pretended mad scene a la Ophelia she exhibits her well known dramatic strength. Mr. John Drew plays Mirabel with dash and vigor, and Mr. George Clark is most excellent as Duretete. Miss Kitty Chetham is surprisingly good as Bisarre and Mr. Fisher as Old Mirabel furnishes an atmosphere of the traditional old comedy in which his only compeer now existing

Fileur.

"THE Pearl of Pekin" is doing a good "business" at the Bijou Opera House because it has in it a large amount of original fun, good acting, bright faces and catchy" music. The introduction of a man over seven feet high among the Chinese warriors creates a sensation, but imagine a man twenty-five feet high! January 11, 1613, some masons digging near the ruins of a castle in Dauphine, in a field which by tradition had long been called the Giant's Field, at the depth of 18 feet discovered a brick tomb 30 feet long, 12 feet wide and 8 high, over all of which was a mammoth slab of gray stone with the words, Theutobochus Rex" cut thereon. Upon opening the tomb they found a human skeleton entire. 25 1-2 feet long, 10 feet wide across the shoulders and 5 feet deep from the breastbone to the spinal column. Each of his teeth was about the size of those of a horse. Professor Silliman regards this as the most remarkable authentic find on record.

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The above three plays were all well given, and considering that it was the work of amateurs it was particularly trustworthy. In the last play Mrs. Griswold, formerly Annie Robe of Wallacks, was as graceful and charming as ever, in the character of Mrs. Honeyton. Mr. Wendell made an excellent Mr. Honeyton and in fact was good in all the three roles he appeared in. It is useless to praise Mr. Coward for everyone well knows he leads all the amateurs of this city as well as those in Brooklyn. The character of Henri De La Fire does not show this gentleman to such advantage as many other roles in his lengthy repertoire, and his short Knickerbockers on the small stage made him appear extremely tall. However, he was very effective and made a decided hit. The tickets which were placed at $2.00 each, judging from the size of the audience present, must have been all disposed of. So that the Working Boys' Club is some $600 richer. A word must be added in praise of Mr. William Francis Johnson, who had charge of the decorations.

I noticed during the above performance that the stage did not afford the room required by those taking part. In short the stage is to shallow. Now why doesn't some friend of Dr. Wight's mention this defect so that it can be remedied while the other alterations are under way. This is a point that should be attended to at once, and I trust that some reader of THE THEATRE interested in the welfare of the amateurs of this city will look into the matter and have it attended to.

Valentine G. Hall.

JAN. 15.

Said Pasha," a comic opera composed by Richard Stahl, was produced for the first time in this city at the Grand Opera House last night before an audience numbering over 3000 people. The opera was originally produced at the Tivoli Theatre, San Francisco, where it met with sufficient success to warrant an Eastern tour. "Said Pasha" suffers from the common disadvantage of late comic operas, a weak libretto, but this defect is more than balanced by the merit of the music, which is of a light, jingling order, abounding in pleasing melodies. On this fact, one critic bases his objections to the opera, but as the engagement is set for a month, he will be frequently reminded by hearing the airs whistled in the streets, that light melody in a comic opera is not only desirable but is in a measure necessary to success, and, I think, that is exactly what Mr, Stahl has aimed at, and that just at present he has no loftier aspiration, although in the choruses and finales he establishes his ability to write music of a higher order. There are several numbers which are certain to become familiar, a quartette and chorus in waltztime, a duet for Serena and Hadad in the first act, and a charming quintette in the second act.

The company has been well selected. Edwin Stevens as Hadad, an Englishman by birth, a sailor by occupation, a liar by profession, and a tramp from force of circumstances, and Stanley Felch, as Nockey, his companion in crime were entrusted with the task of keeping the audience amused, which they performed as far as their lines allowed, and occasionally a little farther. Helen Dingeon sang the principal female character of Serena very creditably, and won applause for her neat dancing. The remainder of the

company sustained their parts fairly well, but call for no special mention. The opera is elaborately mounted, the senery is new and gorgeous, and the costuming correct and brillant. Although, it is safe to say that the Eastern trial of "Said Pasha" has resulted in a decided success, and that the Grand Opera House will be well filled during the engagement. The performance was witnessed by a number of out of town managers, among whom were J. C. Duff, E. E. Rice, E. Amburg, W. W. Randall, of Brooklyn, and Eugene Tompkins of Boston. It is said that Mr. Duff has secured a date for the Standard Theatre after the opera leaves this city. Manager Amberg has applied for the privilege of producing the opera in German at the Thalia.

A three act eomedy, entitled "22 Second Floor," by Geo. H. Jessop, was produced last night at the Walnut Street Theatre by Annie Pixley and her company. The new production affords Miss Pixley with the best opportunity she has yet had of exhibiting her ability as a comedian, and is, without question, one ot the happiest farces presented in this city for some time. The play is stated to be a "modern Comedy of Errors", and hinges on a confusion of identity.

Twin sisters, who have grown up ignorant of their relationship, have taken up a residence in a New York flat, Mrs. John Ellis, a sedate young matron living with her husband on the second floor, while Miss Flora Featherstone, of the "London Frivolity" occupies adjacent apartments. Among the admirers of the latter lady is a frisky and convivial broker much given to jolly suppers and champagne, and as the rooms of his charmer are inconveniently near those of Mrs. Ellis, it is not impossible that he should blunder into the wrong room, and be detected by the irate husband. Again it is not improbable that the irate husband should be discovered by his wife while taking supper with a giddy young actress. With this material. Mr. Jessop has constructed a rollicking farce which holds its interests to the finish. Miss Pixley played the dual roles of Mrs. Ellis, and Flora Featherstone, giving in the one a charming picture of a quiet young married woman, and of a vivacious and merry actress in the other. M. C. Daly gave a breezy air to the character of the frisky broker, and John T. Burke was an excellent bewildered husband.

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At the Broad Street Theatre, Leonard Grover's 'A Noble Son" was produced for the first time. It is doubtful whether this piece was intended to be comedy or melodrama, but the latter element seems to predominate. It contains excellant material for either style of play, but the matter has not been handled to the best advantage. The noble son, who is somewhat of a scapegrace comes home drunk, but prompted by remorse, leaves the house, after writing a note expressing penitence for his fault. A sum of money is stolen that night, and the father on reading the note suspects his son of being the culprit ; the son in turn suspects his father, and each declares himself guilty to shield the other. The son, under the name of Prof. Daggare, opens a dramatic school, and in the following scene lie the redeeming features of the play, a series of burlesque acting by the members of the school.

The work of Miss Johnstone Bennett, as Daisy Dammer, one of the pupils was especially clever, and with the forcible acting of E. J. Buckley as the noble son saved the play from failure.

Julia Marlowe's engagement at the Broad terminated in the most brilliant triumph of the season The mercenary minds who gauge ability by box office statements regard the young actress as a wonder. The receipts of the opening night were $69.-,and for the closing performance $1465.

REA

* **

EADING in last week's THEATRE the name of Edmon S. Connor, I was reminded of a story told of the veteran actor, which has at least, the novelty of age. Back in 1850, Mr. Connor twined his heartstrings around two objects, one, the Arch Street Theatre of which he was manager and the other, a fine black cat on which he lavished all his affections. The chief amusement of this interesting animal seemed to consist in wandering between the feet of the company and getting itself kicked. A howl of agony would bring Mr. Connor down on the luckless offender, and the company soon learned by experience that the man who kicked that cat placed himself in imminent danger of receiving a duplicate assault from his manager. The cat must have have been aware of its protected condition for it never lost an opportunity of throwing the heavy man or of tripping the villain, but its most frequent victim was the comedian of the company. Whenever that unfortunate individual stepped from the wings for rehearsal he was almost certain to also

step on the cat, and equally as certain to assist in a stormy interview with his manager. Finding himself late one morning he came through the wings on a run, and as a matter of course fell over the cat. The cat gathered itself together and braced itself for the customary yell, but the comedian was to quick for it. He made a hasty grab for the doomed animal, caught it by the throat and jammed it in a bucket that had been conveniently forgotten by a stage hand. The performance was seasoned with some strong language, but when the skin is taken from a comedian's knees and nose, you will find that he is but human after all. The murderer picked himself up and soon forgot his crime during the rehearsal. Everything was moving along smoothly, the villain was laying out the ground for his death struggle, and the hero was practising a difficult smile, when a shriek of terror from the leading woman brought the company hastily to her side. The actress could do nothing but point a trembling finger towards the right of the stage. The comedian turned and almost fainted with friget; there, with its four legs planted wide apart, tail and ears standing out stiffly at an angle fortyfive degrees, and with glar1ng eyeballs fixed on the shivering actor, stood the manager's cat The horrified comedian threw a flower-pot at the phantom but it did not not stir, another missile followed, the cat opened its month and out came the old familiar yell, and Connor's footsteps were heard hurrying to the stage. Connor offered a large reward for

the detection of the miscreant who soaked his cat in a bucket of sizing, but the company were loyal, and the reward was never claimed.

The theatrical sharp who told me this story neg. lected to explain how Connor thawed out his stiffened cat.

THE SELECT WEEKLY.

(Boston Globe.)

Jefferies.

THE THEATRE is the select dramatic weekly of this country. It has a handsome letter-press and a handy form, and contains the choicest matter relating to the drama, music, art and literature. It begins its fifth volume with the issue for Dec. 29, which contains fine portraits of A. M. Palmer and Kyrle Bellew and the papers, "Adelina Patti in Paris," "Our Unprotected Stage," "Mrs. Potter's Gorgeous Gowns," Reminiscences of Edwin Adams," dramatic gossip and news, and New York play-bills for the week.

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Mrs. Asia Booth Clarke, London; Frederick Marsden, playwright; Thomas A. Dow, actor and manager; Mrs. Knowles, widow of James Sheridan Knowles, London; Frederick Mortimer Vokes, London; Mrs. Rignold, London; Mrs. W. H. Chippendale, Tom Egbert, Mrs. Charles Dillon, England; J. Newton Gotthold; H. Butler, Manager; George R. Chipman, treasurer of the Metropolitan Opera House, New York; Henry Vandenhoff, English actor; William H. Stephens, English_actor; George William Stoddart, New Jersey; Bartley Campbell; William P. Davidge; Karl Elmer, Viennese playwright: Lester Wallack; William Warren; Auguste Maquet, French novelist and dramatic author; William E. Spalding, theatre manager; Lizzie Kelsey; John Clayton; Charles DeWitt; C. Wilkinson, manager; Lillian Olcot; Mrs. Sophie La Forrest, Philadelphia; Mrs. W. G. Noah; Alfred S. Phillips; "Old Bouffe," veteran French actor; Jeanne Delaime, Brussels; Edmund Gondenst. French dramatist; Frank Sparrow; George Griffith; Edward Aronson manager; Thomas Kean, dramatic critic Buffalo Courrier.

MUSIC:

Ginseppe Francelli, tenor, Florence; Jean Delphin Alard, French violinist; Mrs. H. E. Sawyer; Henri Herz, pianist and composer; Panofka, Ġerman violinist; Frau Voggenhuber, German vocalist; Stephen Heller, German pianist and composer; Marie Bastia, Italian prima donna; George Harrison; Baron Blaze de Burz, musical critic of the Revue de Monde; John R. G. Hassard, LL. D.; critic of The Tribune; Helene Crossmond. prima donna, daughter of Mme. Rachel; T. Morton Dewey, Springfield, Mass; Emil Naumann, German composer; Mrs. Anne Seguin; Dr. William H. Schultze, Syracuse University; Tito Ricordi, Milanese music publisher; Hermann Levi, Musical conductor, Munich; Geerge Holman. Canada; Mme. Casimir, Paris; Walter Bache; Oliver Ditson, publisher, Boston

PAINTING AND SCULPTURE.

A. J. H. Way, still-life painter, Baltimore; Wiliam H. Titcomb, Boston. artist; Felix Auguste Clement, French painter; Mrs. Duveneck, Boston, artist; F. O. C. Darley, the famous designer and illustrator; Robert Herdman, R. S. A., Scottish painter; Louis Matout, French historical painter; Dudley H. Williams of the firm Williams & Everett, Boston; Henry de Braekeleer, Belgian painter; Gustav Boulanger, Fayen-Perrin, French painters; William Wallace Wotherspoon, painter and sculptor, Utica, N. Y.; Thomas Robinson; J. R. Tilton; Paul Ragon, French etcher.; Mrs. Lucy Meyers Mitchell, writer on sculpture; Mary Sproat, landscape painter; Theodore Frere, Paris, Oriental painter; Claude Vignon," French female sculptor and novelist; Signor Amendola, Italian sculptor: