and music recited by the authors. In passing reference, let me say that the libretto will prove the most original of its kind ever seen here. As to the score, I hesitate to say all that I might. It was a revelation! Here was some music written for a comic opera, that was original and classic; full of dreamy numbers, grand choruses and marches, delicious opportunities for orchestration, and ingenious juxtaposition with the humorous and serious lines in the libretto. Here was music that was new indeed, and as I sat in rapt attention and heard it all, and afterwards listened to the young composer's improvisations on the same, I said to myself: A new master has been born an American at last! D. W.

WILLIAM WARREN.

William Warren was born in Philadelphia, November 17, 1812, and came of truly theatrical lineage. His father, who came from England in 1796, at the age of nineteen, and was in his lifetime an actor and manager of repute, married in New York a Scotch girl, Esther Fortune, who, like her sister Euphemia, the grandmother of Joseph Jefferson, was a good and popular actress. Young Warren's first appearance was made on October 27, 1832, at the Arch Street Theatre in Philadelphia, the occasion being a benefit to his father, and his part Young Norval. He was sufficiently successful to be allowed to give up the mercantile life which had been mapped out for him, and to take to the stage instead. After some irregular exercise at different times and places, he became a member of the Boston Howard Athenæum company, which he joined on October 6, 1846, playing Sir Lucius O'Trigger. Here he made his mark, and was engaged at the end of this season for the Boston Museum, where he began his work on August 23, 1847, as Billy Lackaday and Gregory Grizzle, and where he remained until his withdrawal from the stage at the end of the season of 1882-31 -a period of thirty-four years, broken only by a short time of touring in 1864-5 as head of the Warren-Orton combination, under H. C. Jarrett's management. During all this extended professional life Mr. Warren only played once in New York, on April 14, 1841, when he appeared as Grizzle. He also acted once in London, for a benefit, at the Strand Theatre, in the year 1844. when he played Con Gormley in "The Vermont Wood-Dealer."

When the half-century of his work was nearing its close, Mr. Warren was invited to accept a testimonial benefit tendered him by fellow-citizens who represented the best in Boston society, art, and literature. Performances were given on the afternoon and evening of October 28, 1882, and the Museum was crowded, although to the double price of the seats was to be added in most cases a considerable auction premium. In the afternoon he acted Dr. Pangloss, and in the evening Sir Peter Teazle, and a special programme, bearing a

fine steel portrait and some biographical details, was distributed. The local press printed several appropriate sketches, and it was noted that he had performed, in his thirty-four years at the Museum, 13,345 times, in 577 parts, 5,799 of these performances having been in only 68 characters. After the evening performance there was a small gathering of friends at his residence, when some testimonials were presented to him, among them a silver pitcher from the Boston Theatre company, and a loving-cup" sent him by Booth, Jefferson, Barrett, McCullough and Mary Anderson, Mr. William Winter being the messenger, and accompanying the gift by a eulogistic poem.

Shortly after this the regular season closed, and Mr. Warren then severed his long connection with the Museum, and, as the result has proved, withdrew finally from the stage.

In the course of his long, unbroken career. beginning in the time when a single part a year was never so much as dreamed of for an actor's stock in trade and test of his ability, but when, on the contrary, a half-dozen new parts a week were a not uncommon task, Mr. Warren necessarily assumed the enormous number of nearly six hundred different rôles- from the trivialities of extravaganza, burlesque, and fairy spectacle, the oddities of farce, and the "character parts of regular and sensational drama, to the highest walk of elegant comedy and the dignity and wit of Shakespeare. Beginning with a faithful determination always to consider his duty first and himself last, his powers widened, strengthened, deepened and rounded with each year, until he not only did the old things better every season, but also annually added to his repertory something which until then he could not have mastered. The genuinely ridiculous earnestness of Poor Pillicoddy, John Small and Box prepared him for Tony Lumpkin, Fathom and Dr. Pangloss. From these he passed to Touchstone and Polonius, to his Sir Harcourt Courtly, high bred for all its vanity and selfishness, his Sir Peter Teazle, unrivaled for finesse, delicacy and point, and to his Triplet, full almost to excess of irresistible pathos. Acquiring in the mean time the French language, and studying the French character, he was able to make other great successes in such digressions from his vernacular parts as Haversack, M. Tourbillon and Jacques Fauvel, in most of which mere humor was laid aside for deeper and stronger traits.

Mr. Warren's face is mobile, and, "better than that word," belongs to that class through which, as Macbeth said, the "spirits shine," conveying a hundred impressions with comparatively slight modification of feature-like Rachel's, Neilson's, Salvini's and Edwin Booth's. The changes which pass over it can rarely be analyzed and detailed as examples of expression, and yet the thought, the purpose, the meaning and the feeling of the moment can be read there infallibly. He was never skilful at dancing or singing, or in any gymnastic accomplishments; but these limitations have seldom impaired his effects. His voice is of a peculiar timbre - reedy, and with a kind of edge to it. It may fairly be called unique, and is always

recognizable on the instant; yet this strange quality is not unpleasant, and the organ is susceptible of many modifications as truly expressive of tenderness and pathos, of woe and weakness, as of piquancy, eccentricity or dry humor.

Although Mr. Warren has always remained a bachelor, he has nothing of the recluse about him. His residence has been for tens of years in the quiet boarding-house of the Misses Fisher, in central, old-fashioned, almost forgotten Bulfinch Place - a little street of a dozen houses hidden away behind the Revere House, at the foot and back of Beacon Hill. Here he has had really a home, other boarders being few, and then only specially favored members of the dramatic profession, while the mistress of the house has watched his comfort with sisterly care, and made his personal friends welcome heartily. As a consequence of this tranquil, regular life, the natural placidity and gentleness of his disposition have been nurtured in the intervals of his study, and he has at the same time preserved a bonhomie and an original humor which are rare among comedians of the higher and more thoughtful types. He is kind-hearted, generous, quickly responsive to any worthy appeal - often, indeed, more willing to be imposed upon to his own cost than to believe another to be an impostor or a cheat and very fond of the nieces who come occasionally to make him happy by a visit. He is a man of good taste, but easily pleased, fond of reading and of friendly unprofessional chat, and takes a real uneritical satisfaction in seeing and encouraging a good amateur performance. Beyond and above these traits, he is honorable, dignified, loyal and upright, with a conduct, a character, and a reputation which many a pillar of a church might honestly wish to parallel.

Howard Malcom Tickner in Harper's Weekly.

Mrs. D. P. Bowers opened the season of the New Chalet Theatre in Pittsburg two weeks ago, and the East End Bulletin of that city thus speaks of her and the company :

"Lady Audley's Secret' has seldom, if ever, been acted, as a whole, more effectively than it has been presented by the company supporting Mrs. Bowers. In general conception, thoroughness and finish, Mrs. Bowers' work in Lady Audley's Secret' is as superior to the lame performances of stars whose ineffectual efforts to portray the passions simply weary us, as high art ever is to mediocre displays. There have been very few actresses in any age or on any stage whose art enabled them to effect the transitions from lightness and grace to fierceness and over-awing force, with the skill that Mrs. Bowers displays. As Marie Stuart she masters the poetic phase of the character. Mr. Joseph Wheelock's Robert Audley is one of the most natural, easy, graceful and forcible portraitures our theatre-goers have witnessed. Miss Fanny Gillette has maintained a praiseworthy excellence in all that she has done. Mr. John A. Lane, in the main idea and in the detail that assists in defining character, has perfectly realized the highest anticipations. Miss Alberta Gallatin displays the grace, delightful intelligence, intensity and force that marks the true artist. Miis Jennie Carroll has mastered the gesture and expression that reinforces admirably conceived eccentricities in character coloring. Mr. Mark Lynch and Mr. Rudolph H. Strong are capable actors. It is a pleasure to witness a company combining the degree of intelligence and experience that these people exhibit. In their hands, whatever requires grace, force, or the play of fancy finds adequate expression."

EDWIN BOOTH'S PERSONALITY.

(From the Charleston News and Courier.)

A CHECK for $1,000 sent by Edwin Booth, the tragedian, to an old and dear friend in this city, whose home was destroyed by the earthquake, was received yesterday. The munificent gift was accompanied by the following beautiful and feeling letter:

BOSTON, September 1, 1886. MY DEAR OLD FRIEND: The earthquake horror reminds me that I have (or had) many dear friends in Charleston. I can't help all of 'em, but if the inclosed can relieve you and the dear ones, use it- would to God I could offer more. Bad as it is, it might be worse. The Almighty loves us despite His chastisement. Be true to Him. He will not desert you. My little life has been a chapter of tragedies, as you know, but I have never despaired-never lost my grip" of the Eternal Truth. "The worst is not so long as we can say "this is the worst.

--

FOR the first time in this city, "The Minute Men" was presented at the Boston Theatre last night. Its late production in New York, coupled with extensive criticism in the metropolitan papers - freely quoted in advertising it here had prepared Bostonians for its reception in the Hub. Recalling, as it does, many stirring features of our revolutionary struggles, in which the battle of Bunker Hill and General Warren's death play an important part, the action of the plot frequently aroused the patriotic sentiments of the large audience present, the elemental qualities proving sufficiently strong and connected in the presentation of what can be called a "catching" play. Mr. Herne has written a clean, wholesome drama, interesting, and, in the main, well acted.

At the Hollis Street Theatre Miss Clara Morris last night opened a week's engagement as Cora in Article 47." It is a pity that her wonderfully powerful and finished acting cannot find its highest level in plays that are pure in plot and action. The inference obtained from a consideration of her plays for this season leads to the conclusion that the French school in its wealth of immoral productions contains the highest scope for dramatic ability, and therefore must be accepted if we desire to witness such in our favorite stars. We must forget that a play illustrates the life and business of those whom the world marks as unclean, in the quest after emotional ecstacies born in contemplation of their delineation by the gifted artist. If in reply to the oft-repeated question, Is the stage a public educator in its moral tone? would its friends point to Article 47" and "Camille?" True, one swallow does not make a summer, nor do these plays preponderate in our land; yet how farreaching in their effects upon susceptible hearts no one can tell till the cause of modern degeneracy in high places of trust is laid bare.

Miss Morris, with excellent support, showed the value of her emotional powers in repeated climaxes

which thrilled the audience to painful sympathy in her naturally depicted sufferings.

"Harbor Lights," at the Museum, continues to pack it to the fullest extent of its seating capacity. The play runs brilliantly and smoothly, and Miss Evesson and Mr. Vanderfelt, with Miss Craigen and Mr. Wilson, form a quartette which Mr. Field is to be congratulated in possessing.

"The Little Tycoon " entered its second week at the Park Theatre with a rush, and its popularity is now so well defined that it is fashionable to be thought a Japaned-American. H. W.

BROOKLYN NOTES.

LAST Monday night Mlle. Marie Aimée appeared in Jessup & Gill's comedy force, entitled "Mam'zelle," at Colonel Sinn's Park Theatre to the provervial large audience, and one roar of laughter characterized the evening's entertainment. Mr. Newton Chisnell as Col. Hiram Poster, the prosperous manager, was exceedingly good, and his very appearance without utterance, was the signal for laughter. Mlle. Aimée sang several songs during the evening, but she scored her greatest success in " His 'Art was true to Poll." In this she forced to respond to five encores, the song seemingly having struck a popular chord. At the Grand Opera House " Clio" has been doing very well during the week, and left Brooklyn last evening with many admirers behind them."

The benefit at the Park Theatre recently given in aid of the Charleston sufferers, amounted to $1,403.75. This was the first theatrical benefit in this country, and, adding the $106 sent the week previous, makes in all $1,509.75 sent to the relief of Charleston from this theatre.

Robson and Crane appear at Henry Miner's Brooklyn Theatre shortly, when a treat in the way of genuine fun is expected, for their entertainments are always good and their houses always well filled.

The Brooklyn Academy of Music opens next Wednesday evening with Miss Clara Morris in "Article 47," Thursday evening she will appear in "Miss Multon," Friday evening in "The New Camille." Magdalen," and Saturday afternoon in The rush for tickets is already very great, and those who wish to witness the efforts of this superb actress will have to purchase seats early. "A Rag Baby" opens a week's engagement at the Park Theatre on Monday night, and this company will give place on the 27th to the Carleton Opera company. D. F.

WALLACK'S.

BROADWAY AND THIRTIETH STREET. Tickets purchased from speculators not received at the door.

JOSEPHINE SOLD BY HER SISTERS.

Artistically presented by the MCCAULL OPERA COMIQUE COMPANY.

EVENINGS AT 8.

MANAGER

SATURDAY MATINEE AT 2.

Unparalleled Success of the Sparkling
Comic Opera,

ERMINIE.

"RECEIVED WITH ROARS OF

LAUGHTER."

SATURDAY MATINEE AT 2

at 2.