Judge — October 17, 1885 — page 10: what you’re looking at

Machine-transcribed from the original scan — historical spelling and the odd misread are preserved.

THE JUDGE. so that a manager ora play be recognized as first-class until he or it has become involved in a law-suit; litigation is a sort of adjunct to all well- regulated theatres. that the drama cuts in court proceedings is 1 unmistakable recognition of its import- ance and prosperity. A successful play is a gold mine to a good manager in these days of theatrical popularity, and where there is a gold mine there will be squabbles, grab- bings, and lawyers—even as buzzards. will be where the prey lieth. But these conten- tions are expensive, and may endanger dramatic prosperity. ‘Therefore there is much need that congress should recognize the growing importance of the theatrical business by legislation that shall more clearly define the rights and limitations of power of authora, managers, players, and all rela- tors. A bill for this purpose should be pre- pared by a committee of actors and man- agers for submiszion to congress. New York was a gainer in every way by — the pulling-and-hauling advertising uncer- tainty over the removal of “ Adonis,” for Mme. Janish is strengthening her repels The conspicuous figure | had been a constant dropping against Amer- ican’s strong prejudice for two years past in favor of this VFrench woman who was auda- ciously heralded as playing immoral roles, such as French girls are not allowed to wit. ness. ‘This hint was intended to pique the curiosity of the daring, go-where-you-please ety woman of New York. And it did. Fair audiences were insured for every per- | formance by subscription for the whole or for half of the season, ‘The appearance of the audiences now indicates that subscribers | —as Mrs. Toodles would say—are so handy to have in the house.” Less and less interest is manifested in Mme. Judic. She who was so marvelously beautiful proved to be of only omely matronliness. Her captivating grace encompasses only her face and fore-arms; never does a wave of it reach her short neck or side-aftixed elbows. She is graceful—as far as it goes. And the contents of those | | much glorified forty-two trunks have nearly all been onexhibition. Frenchy? Decided- ly. Magnificent? Beyond telling. In good jaste? Mme. Judic is of the But rarely. dumpy type, and her favorite style of dres- she retains “ Adonis” and does not lose the | tion asa successful ‘star in Now Yor! bY | sing is bunchy. It emphasizes the prepon- new “Evangeline.” The latter has been | SPPearing at the Grand Opera House this | gerance of her embonpoint over the sym- revived with more than her pristine glory | Week. |The experiment isa wise one, 1 i8 | metrical outline of a perfect form. Really, at the Fourteenth Street Theatre. The tans »y bay ike the anc othe person | this Parisian lady has no more taste than an changes that have been made in the play | '8 due as well to the plice as to the person | En olish beauty. An American woman en- since it made ‘The Lone Fisherman” and | #24 play. The Grand Opera House has a i cumbered with her form would not be guilty of dressing as unbecomingly as Mme. Judic frequently does. he costume that repre- sents the dollars’ worth, but has no relation to the person Wearing it, is no longer accepted as beautiful or artistic by us. | Mme. Judic’s voice is sweet and pure in quality, and most judiciously used. In this lies her charm, Its subtle influence is as agreeable to us as the sentiments expressed are unusual on our American stage, large class of supporters who never fail it. “ Anselma” is not without merits, but it has been made more popular by Sardou’s name and much litigation than by its intrinsic worth, Mme. Janisch deserves credit for | her pluck and perseverance. Her first ap: ance in New York was a failure and she | pronounced as unworthy the name of | actor. In spite of this defeat and of personal | defects that seemed insurmountable, by hard work and determination she has won acom- parative triamph on the old battle-field. | Anne Pixley will be seen at The Grand the ‘ Heifer” historical, are for its better- ment, while the ‘* business” pri 3 many | new acts and situations as funny as thoso that originally characterized play, The caste has been greatly strengthened by the addition of Mackay and Miss Fay Temple- || ton, and the whole performance is brilliant. | P' {| geline” promises to be as great a | success as it was before, possibly greater. burlesques are more popular now than they were when “ Evangeline” was young. This | revival raises may remintscences. ‘The Lone Fisherman ” of yore is dead (rest his | soul) bat others of the original cast are not- ables extinct. They hind legs of that won- derful heifer have risen (as hind legs do not | often) to be th 8 || win. Eliza Weatherby, Nat Goodwin's wife, I think was also inthe cast. The front legs of the be ome a fine comedian in “The Merry War,” Dora Wil husband, And last, not least of the survivors, is Harry Dixey, the dancing Galatea of ‘* Adonis.” Opera House next week. Reasons Enough. Mr. Maurice Grau’s sagacity in pushing | Sewing has been forced into the crowded the subscription policy in Mme. Judie’s be. | currienlam of Philadelphia schools and. the | half—as well as his own—is clearly manifest papers ask why this cannot be taught at as her scason draws to aclose. This affable Boris instead. Ans. (1) No.one to teach and discerning gentleman managed to create | it at home; (2) No government at home to quite.a furore about his incomparable star, | compel girls to learn it; (3) What are before her appearance at Wallack’s. Mr. | school-teachers paid extravagant salaries | Grau was persistent and ingenious, ‘There | for? ‘To live in luxury and idleness? | UTILITY AND ORNAMENT.—WHAT TILE PANIER IS. GOOD FOR. | comicbooks.com