THE SUNDAY OREGONIAN, PORTLAND. DECEMBER. 6, 1908.
SICILIAN ACTORS INVADE NEW YORK CITY
AND GIVE A HAIR-RAISING PERFORMANCE
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milift Trances Bauer Writes of Stage Conditions in Ea stern City, and Tells of New Plays Now Being Presented.
N
I W YORK. Nov. 30. (Special CnY-
respondence.) There Is no limit
to the attractions this week in
the Innumerable theaters In New York,
together with two opera-houses where
"Parsifal" was on at the Metropolitan
and "Carmen" at the Manhattan.
They have been well filled of late.,
and that prosperity Is on Ms way back
cannot be doubted when glancing over
the theaters of New York. It seems
to me that no one yet has ever been
able to estimate Just how many the
aters there are, because they spring
up like mushrooms after a rain. But
they do not partake of the character
istics as far as a short life Is con
cerned, for most of them grow to be
healthy. . hearty Institutions. This
means financially, or course, as many
of them are anything but healthy In
their offerings.
The long awaited Sicilians have at
last arrived and opened on Monday
night at the Broadway. There were
those who thought that they were
writhing under the emotions of th'e
operatic setting of "Marta of the Low
lands." as depicted In Eugene d' Albert's
""Tlefland." but this was mild beside
' the excitement Into which the spec
tator was thrown who witnessed the
first performance of these remarkable
players on the same night Just a block
from the Metropolitan. Not only
American actors, but foreigners who
present themselves for American hon
ors, have a certain regard for con
ventionalities, but these actors are re
alists In the extreme and know of no
reason why passion should not be per-1
mitted fullest scope. It was a hair
raising performance they gave of a
Sicilian drama called "Malta," by Lulgl
Capuana, In itself not so startling, but
as performed by these players lurid in
every sort of emotion. One can hardly
help wondering whether they represent
the characteristics of their own coun
try, because It is hard to believe that
In any civilized nation people should
give up so completely to their ele
mentary natures and that emotions
should have such a free rein. The
leading woman is Mlml Agoglla, who
:s remarkable beyond description in
the portrayal of passion which
amounts to a frenzy. One sometimes
feels that a little more restraint would
strengthen the drawing, but of Its kind I
It la brilliancy at its greatest. In this
play she represents "Jana." who Is be
trothed to a young Sicilian, "Nlnu."
but In her love for her sister's hus
band, "Cola." she leaves nothing to the
Imagination. Her demeanor, from the
moment of the sister's wedding to the
opening of the flood gates of passion.
Is such as to astonish as much as it
revolts, because there is no phase,
however slight, that is left untouched.
as like a whirlwind she tears through
the entire gamut of passion. It I
horrible. In fact, one horror Is piled
on top of another, as "Cola, who un
derstand the situation, takes advan
tage of the violence of her affection.
Her ardor has cooled and her betrothed
now learns of what happened. He de
mands revenge and meets his rival In
the street where, notwithstanding the
attempt of the villagers to keep them
apart, they plan a duel unto death.
No such exhibition has ever been see
under any conditions and one can only
think of Infuriated beasts until the
nnal leap when "Nlnu " seizes a razor
and with one slash ends the combat.
Words are weak to describe either the
action Itself or the effect which it had
upon the audience and It would not
be possible to say whether this com
pany will prove entirely revolting or
a great sensation. The gifted cast of
characters was as follows:
J'na Mlml AitUKlla-Frrrau
Ned.ia Tra AguKtla
Zia.l'tna Marianna Balestrteri
"atrlna Sasa Aguaila
Vecchia Carlatla Rnslna Anselmt
Nlnu Toto Majorana
i'o!a Salvatore Lt Turco
Massaro Paolo 'Nstddu. . .Salvatore Peszlnaa
Don Saveria Teri Alessandro Anselm
Mastro Nunzfo a. Attlllo Raplsarda
.uactro Taddunza L.ulg-1 Agugila
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Willie Collier, who as dramatist is Will
lam Collier, was received with open arms
at the Garriek Monday night. He col
laborated with J. Hartley Manners and
succeeded In moving the story and char-
acters from a mining camp in Nevada to
a fashionable apartment In London, there
by laying the opportunity for as many
lashes of manners and opinions as can
well come within the limits of the law.
There ta no need of telling of Mr. Col
lier s qualities as an actor, for he us one
of the brightest representatives of the
dramatic profession in America, and he
lias been long enough before the public
to know what it appreciates In the way
of drolleries. He has provided himself
not only with a very unusual play, but
with a role especially adapted to hii
lry. quiet humor. Mr. Collier as Sir
Augustus Plantagenet Armltage is first
presented to us as a miner, who, unable
to find gold, was able to score with hi
men by his habit of making speeches. In
the mining camp he i an American pa
triot, but In reality he isof the English
nobility, and with his mining fraternity
lie leaves the camp to enter the fashion
able life in an exclusive London set. In
order to inherit his uncle's fortune he will
be compelled to marry his kinsman's
ward, and under the training of a valet
lie prepares to enter society. There is
nothing funnier In the play than his
lessons from the valet and hie final meet
ing with the young lady who has been
chosen for him. "The Patriot" finds
himself, however, una the old mining MXe
has made more of a man of him than the
ttuperficlal life has made a gentleman
and he throws over the girl in favor
of the little Western girl and declares
himself an Independent American. The
lay Ifl full of quaint Collier sayings,
and of course the audience applaud vio
lently when he says, "Ten minutes in
New York are better than ten years in
London." and when the curtain goes down
the audience knows that the "Patriot'' Is
golit to marry the American girl to save
her the trouble of climbing the hill to
school every day.
The cast follows."
Rlr Augustus Plantaa-enet Armitage
William Collier
Fop Strong
Stve JtalTsoii
IVrrlval Robertahaw.
t'!rtr
"tVamnltkt!
Hlvnn
Kid Sugar
Shorty
NeM
Hl;u Strong. .
L'la
I khii!a-Washt
. .Jnhn Savllle
....Wallace Worsley
Frank Weaterton
Thomas Martin
...Thomas Heauregard
Juhn B. Adam
Buster
V E Kelly
Helen Hale
Helena Colller-t;arrlrk
T. Haula Marr
Margaret Warren
Honorable Ferguson Armitage
Rez McDouxall
(ialnsfiird Reginald Mason
Albert .....Max Kuberg
K-lwari James Merrill
Mrji. Berkshire Annie Ksmond
Nora Helena Bryne
A third successful opening on Monday
nV:lit was that of Annie Russell In a
pl.iy called "The Stronger Sex." This is
a soi-ety comedy which promises to bring
lnrge audiences to the Weber Theater.
The play was written by jnhn Valentine,
and this is his first attempt, although he
interested himself In literary work In
Iamdon. Miss Russell has the sort of a
part which she in expected to have In
''W York. This public has seen her In
these parto before, and therefore her re
appearance was much in the nature of a
homecoming. While this is a comedy,
and a society comedy at that, with Its
graceful scenes and with that pathos
with which those familiar with Annie
Jtussell identify this crowning actress.
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-KAnAMi:. -AGirOLZA JZJ.&ZAZtZA" OO-CXr
there Is an emotional outburst In the sec
ond act where "Mary," the mild little
woman, turns on her husband wlt.i a
revolver. , pf counse one is reasonably
sure that It Isn't loaded, but she has
her chancy at melodrama Just the same.
Miss Russell as Mary Is an American
heiress who has taken on an English
husband, whom she believes would event
ually be nil right If he could be properly
whippea Into shape. He lives In her house
and she makes him understand it. and
adds Insult to Injury when she offers
to put him on an allowance, for which
he has to call the first day of each month.
This, however, is due to the fact that
she has discovered, on the day of their
marriage, that her money was the attrac
tion, and at that instant she made up her
mind to conquer him. The useless Brit
ish husband finally develops into a finan
cial king, and there la a happy ending
to an amusing and yet simple comedy.
The cast Is as follows:
Hon. Warren Barrlngton Oswald Yorke
Mary . Miss Russell
Oliver Thorpe ..Rohert Llrouet
Robert Foray the Frank Petera
Joan Forsythe Alma Kruger
Mrs. Van Oarkerken Helen Tracy
Mra. Davenport Cecilia Radclyffe
Lady Frampton Ina Rorke
Mrs. Prescott-Lane ....Louise De Rigney
Itdy Day Nora Krumm
The Hon. Miss Nicholson .. Mabel Frenyear
Miss rholmondelay Agnes Wadley
Miss Rose I.arkln Adelaide Barrett
Mrs. Devereaux Caroline Wright
Abraham Isaacs Dore Davidson
Isaac Abraham William Wadsworth
William James Du Sang
Jenkins Elwyn Eaton
Simpson W. A. Lincoln
Oscar Hammersteln has his hands full
now If ever. A man is supposed to be in
only one place at a time, but he seems
to solve the problem of being in New
York and Philadelphia. He Is an in
ventor of no mean capacity and much of
his money has come through an Inven
tion of some years ago. He is now work
ing on how to carry a long-distance
phone in his pocket so that when he Is
at his meals he will not have to leave
every three minutes for a half-hour con
versation with the city In which he s
not. The new opera-house In Philadel
phia Is the most superb house of this
sort perhaps In this country and seats
In the orchestra 1S00 people. He gives
four performances weekly there and In
addition to his season here, he has all
In the way of work that Is coming to
one man. Hammerstein has added to
his reputatisn by acquiring the rights
to Strauss' "Elektra," which the direct
ors of the Metropolitan feel should have
come to that housp, and It is rumored
that there are strong feelings against
Dippel, to whom Hiis was entrusted.
While It might have been possible to
secure this for the Metropolitan, it would
have seemed doubtful, as Strauss was
more than sore against the management
of the Metropolitan and not egainst
Conreld. as the objection and the con-
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sequent removal of "Salome" came from
the directors and not from tile manage
ment. However, Hammerstein has the
rights and In all probability "Elektra"
will be seen there before the end of this
seasdn. Schumann-Helnk, who Is mak
ing a triumphal tour of Europe, has been
engaged to create the great part of
Clytemnestra. which in a certain sense
is more important than the title role.
It was stated earlier that 1f Mr. Ham
merstein succeeded In acquiring "Elek
tra" Mary Garden would have the title
role, especially after Strauss saw her
powers as "Salome." Miss Garden has
several new roles that are extremely
congenial to her. One of these is that
of Jean, the simple, which Is the lead
ing character in Massenet's "I Jong
leur de Notre Dame," an opera written
exclusively for men, but Massenet re
wrote the part for Miss Garden after
her remarkable success In "Thais."
The story Is one of great beauty and
the Massenet .music enhances It greatly.
As Boniface, the cook, Renaud has one
of his most attractive roles, but alto
gether different from the parts in which
MARY GARDEN IN "THAIS" IS THE GREAT
. SENSATION OF NEW YORK OPERA SEASON
1 -1 ' TW) ' aO
, : VS. i i ! e
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NEW YORK, Pec. 1. especial Corre
spondencesMary Garden is In a
large measure the sensation of the
opera 3ason this year, as she was a year
ago. She will app?ar this week In "Le
Jongleur de Xotre Dame," by Massenet.
In which she will take the part of a bov.
The part was intended for tenor, .but t he
composer obligingly rewrote it for MIks
Garden. The story Is Interesting that of
the street Juggler who joins a holy or
der and who not knowing how he may
phi.se thevVirgin goes to her chapel andj
kneeling before the altar sings his street
songs and tosses the batls in the air.
It Is a patheti3 story, and it haa been
set to well-scored and Interesting music.
though not music of the highest order.
In fact, the street songs are tne most
7HSO VZEW5,
-3
characteristic and interesting part of the
musical score. MLss Garden should be
Interesting In the part of a boy. She
carries herself well In the flimsy costume
of "Thais." The greatest Interest In Miss
Garden's appearance this season, how
ever, docs not center In the production of
this week, but in the Strauss "Salome"
which is to be done In Hecernber. Miss
Giirden is adept' In the art of arousing
puolic anticipation. So she has allowed
the facts about her "f'nlome" to crxp
out gradually, and has reserved the de
scription of her .costume till the last
moment. Publio curiosity is on edge in
New York. Miss Garden's voice is a
subject of controversy. To some ears
It has little melody and no sympathy. In
f?.ct, the persons who like Miss Garden's
vocalizing are few. But, like Katisha,
Miss Garden "hs a left shoulder blade
which people come miles to see." In
"Thais" they see not only the left shoul
der blade of Miss Garden, but tle perfect
outline of the rest of her figure. Only
c suit of fleshings stands between Miss,
Garden and Eve's simplicity.
we are accustomed to se this polished
artist and singer.
The period of the opera is the four
teenth century and the scene of action Is
in and about the Monastery of Cluny,
which In the Middle Ages was famous
as a center of piety and learning.
The curtain rises on the public square
of the village, on one side of which
stands the abbey, with the statue of the
virgin over the door. It Is the first of
May and market day. Both boys and
girls are dancing the "Bergerette." Mar
ket men and women are vending their
wares. To the delight of the crowd, a
strolling juggler is seen approaching.
They are disappointed to find him young
and of sorry mien; hungry-looking and
poverty-stricken. "King Famine!"
somebody exclaims, though he boldly
announces himself as the "king of jug
glers." He makes his little speech, an
nouncing his entertainment, which is me
with derision by the assembly. One aftev
another calls for a song. "The Praise of
Wine" Is selected by popular vote, which
Jean the juggler, after begging pardon
of the holy virgin, proceeds to sing in a
thin, quavering voice to the chorus of
the villagers. Suddenly the door of the
abbey opens and the prior appears upon
the steps, indignation written upon his
countenance. The crowd flees, leaving
Jean alone and trembling. The prior de
nounces his irreverence and pictures the
awful punishment in the hereafter
meted out to Jugglers and their kind. He
advises him to renounce his mode of
life and seek to save his soul by becom
ing a monk. The appearance of Brother
Boniface, the monk who presides over
the monastery kitchen, mounted on his
ass, laden with choice viands for the
brethren, finally convinces the starving
juggler that there is wisdom in the
prior's advice. Upon the announcement
that dinner Is ready, all the monks flie
into the abbey, little Jean slowly follow--ing.
In the second act the monks gather
In the studyhall of the Abbey. Each is
at the work which he has chosen in his
iervice of the Virpin. the newly completed
' statue of whom occupies a conspicuous
position. Around the musician monk sev
eral are gathered learning a hymn -which
he has composed in the Virgin's honor.
Present also are the painter monk, the
poet monk and the sculptor monk. It is
not long before they become involved in
a heated argument,, as to whose service
is the most , acceptable to the Holy
Mother. Their dispute reaches the point
of acrimony wnen the prior interposes
and compels them to embrace one another
in fraternal love. Then all leave the
hall, Jean and the big-hearted Boniface.
Poor Jean is in the depths of despair.
He feels that there is nothing that he can
do to honor the Virgin. Then Boniface
points out to him the virtues of sim
plicity and humility as opposed to such
exhibition of spiritual pride as he has
Just witnessed. What the Virgin esteems
most is the humble service of the
humblest human being..
The painter monk is putting a few fin
ishing touches on the statue of tlto Vir
gin in the abbey chapel when, as the cur
tain rises on the third act. he observes
little Jean entering stealthily on tip-toe,
and carrying his Juggler's bag. Hiding
behind a pillar, the painter watches the
little fellow remove ihls monk's garb, dis
closing himself in his Juggler's outfit.
Jean has concluded that lie. too, will
honor the Virgin by exercising the only
art of which he has knowledge. Accord
ingly, he proceeds tq perform his
customary Juggler's entertainment lie
fore the Madonna. He is in the
midst of the performance when, the
other monks, notified by the painter,
enter, headed by the prior. They are
amazed and indignant at this profanation
of the sanctuary and are about to rush
upon Jean to eject him. The good Boni
face however, stops them with a ges
ture, pointing to the statu of the Virgin.
A strange light gleams around her face.
"A miracle! they all exclaim. while
celestial voices are heard in the air. Kit
tle Jean, however, is prostrate, begging
forgiveness from the prior. The latter
raises him and asks that he, rather, pray
for them. The youth then, discovering
the illumination of the Virgin's features,
becomes transfixed. An ecstasy possossts
him too strong for his frail body. At last
he knows the truth, "the blessedness nf
the simple." Tho Holy Virgin and
Heaven's angels are calling him and his
soul passes away, while the monks chant
the Kyrie Elclson, their voices blended
with the angelic Hallelujahs from nbovo.
EMI LIE FRANCES BAL'BIt:
I'ntakrri; Not Paid For.
Calgary Herald.
Andy McTavLsh was "no feolln' juist
wee," so he went to the doctor and
stated Ills complaints.
"What do you drink?" demanded tha
medico.
"Wliusky."
"How much?" '
"Maybe a bottle a day."
"Do you smoke?"
"Yes."
"How much?" . .
"Two ounces a day."
"Well, you give up whisky and louiiec
altogether."
Andy took up his cap and in three
steps reached tho door.
"Andy." called tho doctor, "you have
not paid for my advice!"
Alim no' takkin' it." snapped Andy, a
he shut tho door behind him.
The Very I.nteNt.
Puck." 1
Oh. I lov- the modern story!
In its modish cloths I glory.
Outfits trig.
And the iashio i-pl.i ted hero.
With his blood about at zero,
Is a prig.
I adore the six-bost-seller.
With Ita people swell and swelier.
Anil its sham.
I admire tho hero's strutting
And his wealtu of truly cutting
Epigmri.
You may have the Dickens novel.
With Its background of the hovel
And the Jail:
Put I'll pay rny dollirr-tif ty
For the smartly bound n nd nifty
Swairtrer t;ile.
A bad buck turns every twenty-four
hours into one dull round of pain and
misery you are lame in the morning,
nagged all day by a dull, throbbing
backache, can't rest In the evening or
sleep well at night. It hurts to bend
over, straighten up. get up' from a
chair, or lift even a light weight. Any
sudden twist, turn or awkward move
ment sends a tearing twinge of pain
through the weak spot.
Backache is really kidney-ache. The
kidneys are in the small of the back,
and any pain there Is enough cause to
suspect your kidneys. If the urine Is
discolored, contains sandy sediment, or
passes too frequently, then1 you have
double proof.
Keep the kidneys won and the kid
neys will keep you well. Well kidneys
filter the blood and keep It pure. Dis
eased ' kidneys only partly purify the
blood. Neglect weak kidneys and you
Invite uric add poisoning, gravel, stone
In the kidney, rheumatism, heart trou
ble, diabetes. Bright's disease, and a
long list of other serious disorders now
recognized as having their cause in
kidney weakness. ,
At the first sign of backache or
urinary disorders, give the kidneys
quick help, not with plasters, liniments.
nor any other outside applications, but
wRh a special kidney medicine. '
aaimimaBtmnmiHgmBHiuuiuiBBiiniiiiuiiuaj
WHEN YOUR BACK ACHES
It is a Warning that the
Kidneys are Sick
and Need Help.
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rf fetllT TELLS A
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