The Sunday Oregonian. (Portland, Ore.) 1881-current, May 24, 1908, SECTION FOUR, Image 39

The Sunday Oregonian., May 24, 1908, SECTION FOUR, Page 3, Image 39

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Newspaper Page TextV THE SUNDAY OREGONIAX, PURTLAXU, MAY 24, lifVS. New York Is Won By Kyrle Bellews Production of "The Thief" Play-Goers Greatly Regret End of Season at Lyceum Theater Charles Frohman Makes Extensive Arrangements for Next Fall's Attractions Emilie Frances Bauer Gives Latest Theatrical News of the Metropolis. " N 1 :. ( J . Hl : M' v -v : 'Mr r i' ?i"s 'n III d fesr w vj fl W - - a . ff -7U 1 f -v I. j Ji A A ;f " V- - : r- mf f ffHi 1 ;-rnr if wil, V-- . ; BY KMIIIE FRANCES BAUER. NEW YORK, May 1. (Special Cor respondence.) When "The Thief" end ed its season last week at the Lyceum Theater, there was hardly a play-goer in New York who did not regret the fact and really envy those who are to fee it during the next six weeks. Neither the success of Margaret Illlng- ton nor ot Kyrle Bellew. that exquisite nnd refined rcprescntatls-e ot every thing that is mature and elegant, is the vital interest in the play, but the play itself is important far beyond person alities. "The Thief" is the story of a woman who steals in order to gown herself in such a manner as to win her husband's admiration, or rather to hold it. It is different from most mod ern plays, especially. French plays, in asmuch as the woman is deeply in love with her husband, and when -she notices that he is more attracted to her when she is well dressed she gets In deeper and deeper until she is carried away with the mad desire for everything that is "smart" and '"fetching." There has never been a moral more riellclously sugar-coated than in "The Thief." and while all women are won to the charm of the play, as a play, its influence upon the male constituency in the all-Important feature. The hus bands who go to see "The Thief" should go with their eyes and their minds wide open, and they may learn what a little attention, admiration and praise will do to keep family conditions happy. There is little use to indicate that if husbands expect their wives to dress on almost nothing, and continually ex press admiration for exquisitely gowned women, that they are adding fuel to a fire 'of some sort. If. as in the present case, the wife insists upon loving the husband through it all, there is little alternative from the course adopted by poor little Marie Louise. If her devo tion be less pronounced, she will find other avenues. Arthur Brisbane clev erly said of this play: Richard is the husband in this play. When he learns how his wife has been hounded, how she has finally stolen from their best friends to pay for dresses that he admired, but wouldn't buy. he goes through many beautiful moral spasms. He might have saved the spasms, if be had done one of two things: Buy the handsomest things for his own wife, or refrain from admiring those things on other women. "Dresses and looks seem trivial things, perhaps, in a world in which so much that is Important goes wrong. But nobody knows what suffering women go through, yearning for the admiration of their husbands, and de prived of those things which they feel would make them attractive. How dif ferent the man - from the woman! "Women live with thin, scrawny, under sized. Insignificant, bald husbands. They praise those husbands constantly. If he can't irrow a beard, then the wife hates beards. If he has a beard like the mane of a roaring lion, then the wife thinks the beard ' is so manly. If the husband is bald, the wife thinks that is a sign of brains and refine ment, or she says she thinks so. She even points out the fact that Zulus and burglars are never bald. "If the husband is a thin-legged, narrow-shouldere(J little person, the wife hates "mere brute strength." If the husband is as wide as Jeffries and as tall as Fairbanks, then the wife studies up Hercules, and is always ask ing the husband in public to double up his arm and let people feel his muscle, or to swell out his foolish chest. "What do husbands do? They ask their poor, little, dumpy, fat wives if they can't pul! themselves together a Annetta Essipoff, one of - the greatest women pianists of the world. The last Mme. Leschetizky was dearly loved by all the students and, as many of his American pupils know, she has been his right hand for a number of years. At, the age of 80 he may be regarded as too old to teach with the same vigor as formerly, but he is evidently not too old to wed his young Polish pupil, Marie von Ros borska. . . Charles Frohman, who is still in Lon don, will return to America in July, and IMPRESSARIO AND VIOLIN SOLOIST NEW YOEK SYM PHONY ORCHESTRA. It vi' , t .jl IB v li"lilter DamroBcb. Alex. Saslavsky, little,' and 'have some style.' If the tips of their wives' noses get red in the early morning, Instead of ignoring that, they talk about it, and give sage advice. They tell tl:"ir wives about new gray hairs and wrinkles. Truly, it is wonderful the patience that wives have with husbands, wonderful -how they stand them. We sincerely hope that Charles Frohman will parade this play. 'The Thief,' all over the United States, in all the cities and towns, and compel as many husbands as possible to see it.", All the musical world is in paroxysms over the latest eccentricity of Professor Theodor Leschetizky, who has just di vorced.his third wife-and married another of his pupils, as each of his former wives had been. The first was Mme he will begin immediately the arrange ment for next season's attractions. In addition to the plays already announced in these columns, Mr. Frohman will give a cycle of. comedies by W Somerset Maugham, presenting in order three which are .now running in the London theaters, and one which Mr. Maugham is writing . expressly for Mr. Frohman, and which will belong to him in England as well as America. The plays are "Jack Straw," "Lady Frederick" and ''Mrs. Dot," in which Marie Temple is play ing, the title role at the Comedy Theater. It is likely that the new play which Mr. Maugham -is now writing, in Italy, will be produced in New York, and Mr. Frohman feels that he has found an other bonanza In the playwright, who is entirely unknown in this country. Mr. Frohman has postponed Miss Doro's appearance in "The Morals of Marcus" on account of the unexpected success of "The Admirable Crichton," where she was to have appeared after theJ Barrle play, which also was postponed fort the same reason. Mr. Frohman . expects to engage 600 actors for the coming season, and he ha also sent ahead of him, through William Seymour, his general stage manager, a trunk of new manu scripts and designs for new scenery and costumes. Hattie Williams is now In Paris, where she is spending all her time with the dressmakers and milliners to prepare for the "Fluffy Ruffles." Miss Williams la also frequently seen at one of the widely known pavilions, where the second act of the musical comedy is laid. There is a Shaw revival in Europe at - present and no doubt It will reach Amer ica by the time- the theatrical season opens. "Candida" has just been produced for the first time in. France; in fact, this Is the first appearance of George Bernard Shaw in that country. His new play, called "Getting Married," was produced at the Haymarket Theater, in London, May 12. The playwright, in discussing it before Its production, said: "This play is my revenge on the critics for their gross Ingratitude, ar rant philistinism, shameless and intellec tual laziness, low tastes, puerile romanti cism, stupendous ignorance, susceptibility to cheap sentiment, insensibility to honor, virtue, intellectual honesty, and every thing that constitutes strength and dig nity in human character." Overwhelmed by this cyclonic outburst, the interviewer had barely the courage to inquire the exact nature of the revenge to be wrought by the new play. "It is very simple," said Mr. Shaw. "You remember the production of -'The Dream of Don Juan in Hell at the Court Theater? You remember the howl of tor tured rage with which it was received by the press? Yet that lasted only 110 min utes. Well, this time the 110 minutes will be stretched out to 150 minutes. "There will be nothing but talk. talk, talk Shaw . talk and the characters will seem to the wretched critics to be simply a row of Shaws, all arguing with one another on ' totally uninteresting subjects. The Shaw in the Bishop's apron will argue with the Shaw in the General's uniform; the Shaw in the Alderman's gown will argue with the Bhaw dressed as a beadle; the Shaw dressed as a bridegroom will be mar ried to a Shaw in petticoats.- The whole thing will be a hideous and indescribable eternity of brain-racking dullness. Yet the critics will have o sit it out. "I am not a vindictive man, , but there is such ,a thing as poetic justice, and next Tuesday It -will assume its sternest retri butive form." "Am I to understand that in order to revenge 'yourself on the critics you have written a deliberarely bad play?" asked the Interviewer with a pitiable lack of humof. "Good heavens, no! There Is nothing that they would like better." thundered Mr. Shaw. "I have deliberately written a good play. That is the way to make the critics suffer." In . the course of further illuminating talk Mr. Shaw stated that -his new play OPEN SUNDAYS FROM 10 A. M. TO 2 P. M. ONE-FOURTH OFF Ladies' Purses and Handbags THIS WEEK ONLY Our entire line of Ladies' Handbags. Purses, Carriage Bags and Backstrap Bags at one fourth less than the regular price. The showing includes all the latest popular shapes in very newest shades and leathers, and the prices they regularly bring run from $1.00 to $50.00. 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Home A 6171 hail nn tilnt hp. van a dramatic Doet. not lasting nearly tnree hours, ana carried on a. plotmonger: his play was an argument with unflagging cerebration by 12 people and a beadle all honorable, decent, nice people. DAMROSCH ANNOUNCES THREE GREAT PROGRAMMES New York Symphony Orchestra, at the Armory, Wednesday and Thursday, June 3 and 4. h , J2k 1 - if ? 4 n -H IT may be aet down to the great glory of the German race that from the be ginning of the modern art of music by which term Is meant music In its pure estate, the opera being excluded as a mixed art-form dowr to the present time, there has been no period when the King ship was not In the hands of one of Its children. One might easily compile a genealogy of the royal race In music In Scriptural manner. Thus It would run: Bach begat Haydn; and Haydn begat Mozart ; and Mozart begat Beethoven, who was a prophet and seer; and Beet hoven begat Schubert; and Schubert be gat Schumann and Mendelssohn they that served daily In the Temple of the Beautiful; and Schumann begat Brahms nnd Brahms begat Richard Strauss, who wandered from the fold, following strange rods, and has begotten a countless prog eny of imitators. Thus for nearly 200 years there has been a continuous over lapping of dates In the vital statistics of the great German composers, each King, by the grace of Genius, living long enough to place a fairy gift in the cradle of hU successor, or to assure the Apos tolic succession by a veritable laying on of hands. Bach of these royal masters, taking up the art where it was left by his prede cessor, first impressed his individuality upon Its accepted forms, and then carried them a step farther, but of only one of them can it be said that he not only brought the art as it existed before him. to a culmination, but started it also on new roads leading into regions that have not yet been thoroughly explored and which no one Is venturesome enough to attempt - to bound. That one is Beet hoven and it is only by following the progressive manifestations of his genius that the full beauty and significance of his music can be appreciated-" Thus does Krehbel. wielder of a mas terful musician's pen, write of the great composer, whose magnificent Fifth Sym phony No. 5 C-minor, will form part of the opening programme which the New York Symphony Orchestra, under its dis tinguished leader, Walter Damrosch, will present Wednesday evening. June 3, at the Armory. The Fifth Symphony of Beethoven is generally conceded to be the most masterly of the eight purely in strumental symphonies. The ninth, hav ing a choral ending, stands in a class by Itself, but cannot be said to surpass the fifth in the essentials of artistic per fection. The spirit of the Fifth Sym phony has been described briefly in the words, "Durch nacht zum licht" (through darkness to light), and indeed, they seem to describe it well. The programme for the opening night of the three concerts is herewith given: Overture, "Cheron" Weber Aria, "II re Pastore" .Mozart Mme. Mary Hlesem de Moss. Symphony No. 5, C-Minor Beethoven PART IL Hungarian Rhapsodie No. "i LJszt "Evening Under the Trees" Massenet ve!lo solo, Mr. Bramsen. Clarinet solo, Mr. Leroy. Polonaise, from "MJgnon" Thomai Vltava, "The River Moldau" Smeiana Symphonic Poem. The programme which Mr. Damrosch has arranged for the Thursday afternoon matinee will contain enough contrast and variety to enchant every one, for there will be captivating rhythmic strains from Delibes. electric trumpet-like harmonies, aglow with passion, from IJszt, and the great stirring Slav March by Tschai kowsky. The Thursday afternoon pro gramme is given in full: Overture. "Misnon" Thomai Air on the G etrfnr Bach Polonaise for strings Beethoven Concerto for violin, D minor. .Vieuxtemps Mr. Alexander Saslavsky. Valse Iente. pizxicati, from. "Sylvia".. Dellbes Symphonic poem, "Le Preludes" Liszt PART II. - March, from "Le Prophete". .Meyerbeer "The Sedan Chair" Chaminade "The Rain" David Larghetio from Symphony No. 2 Beethoven "March Slave" Tsehalkowsky The Thursday evening programme will be an evening of unalloyed delight to all lovers of Wagner, for that programme will be devoted entirely to the great Ger man's masterpieces. It is a programme calculated to bring out the noblest and best, and the New York Symphony Or chestra is justly famous for its wonderful interpretations. The Thursday evening programme will open with the prelude to "Lohengrin," that wonderful musical de scription of the gradual, appearance and disappearance in the sky of the light of the Holy Grail. The music begins with soft chords in the highest registers of the violins, gradually develops into the theme of the Holy Grail, rising to greater and greater strength until, at the, blazing cli max, thundered fortlrby trumpets and trombones, the mystic light of the Grail, shedding its wondrous radiance, is seen in all its glory. Gradually the light fades again until the music dies away with the same A -major chords with which the pre lude begins. The whole programme fol lows: "Lohengrin" Prelude. - Eisos Song "On the Balcony." Prelude and "Bridal Chorus." "Die Metstersinger" Prelude. Prize Sonic. "Die Walkure" The Ride of the Valkyries. PART II. Siegfried" ' , The Sound of the Forest. Study from "Tristan and Isolde." ' "Dreams." 1 Mr. A lexander Saslavsky. . "Tannhauser" . March. Act 2. "Song- of the Evening Star." Overture. No orchestra in this country has road more steady progress forward to' the realization of its highest ideals than the New York Symphony, and the three or chestral concerts they will give at the Armory, June 3 and 4, under the leader ship of Walter Damrosch. one of Amer ica's most distinguished musicians, will constitute the most important musical event ever presented in the Northwest. The opportunity thus given of hearing a great and' complete New York orches tra If one that should be eagorly seized, not alone by music lovers, but by all students and lovers of the beatuiful.