Judge — August 28, 1886 — page 6: what you’re looking at

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

"t you se AN: ho’ Ise kin, but ¢ f > FISH . Jist look at dis pon’, SOME ENGLISIL MELO-DRAMAS. Like the chestnuts th come with the autumn, and the probabi re that this sea- son will produce a more than generous crop. Their great characteristic is that the playgoer recalls one from the other solely by the thrill- ing remembrar hat in the “ Thief-taker of Hoxton” the villain was crushed to death by a train in the underground railway, while in “Beneath the Dark Arches” the assassin of the hero's grandmother was run over by a penny boat under Waterloo bridge. T append a sample of what v this winter, after reading the announcements of managers who intend to exhibit ‘ unri- valled stage settin; effects upon Amer: tion gold dust.) H. C.—‘‘ At last my exile is o'er. Three months and the shores of old England will meet my tear-dimmed eyes. Poverty forced me to leave my pretty bride and seek my for- tune in distant climes ; but now ‘tis made, so hurrah for the sound of Bow bells!” {Enter life-size steamship with real smoke issuing from funnels, tars manning the yards and band on the poop-teck playing “The Union Jack of Old England.” Mules and wagons are driven aboard; the King of Ashantee comes down to wharf with suite; ballet by native girls and dusky warriors The whistle shrieks (real steam) and vessel glides ay expect | es, each containing a load of imita- and realistic English | off, with Herbert C. obliging the captain with a little fire on the bridge (reat cigars). ACT IL. sisal FarmMer—‘ Now you've finished dinner, perhaps you'll tackle that cord | of wood out there?” Tramp—“ 1 guess not, boss ! Scene—Old Ness lodging-house in Spitalfields, wich view of | ne to try to digest that tough beefste: Whitechapel church, Aldgate purrp and the Great Eastern railway arch over Brick lane. Mabel Chauncey lying on pallet of real straw with old Meg at her side.) Mabel—‘ am dying, I fear—dying. Raise me head and let me see dear Aldgate pump again. Fifteen years, and still no news of me ‘usband.” Old Meg—“'Thou shouldst have married Lord Tody, dearie. Then thou wouldst have been a lady.” Mabel—‘* "Tis his per- secution which has driven me to this. leave me now, Meg; ‘tis ne for business.” [Exit Old Meg with basket, shouting “"Ere’s yer fried fish and bread @ penny.” Lights lowered, and enter Lord Tody and Tiger. Mabel hides under the pallet. | Tiger—* Me ‘art fails ne, me lud. “Tis a fiendish plot.” Lord T.—‘ Enough! I have thee in my power. Dost remember \that forged note? Ah, T see thou shrinkest! From this window we can reach the railway line the easiest. Chaun- cey will be a passenger the next train. rail removed, and wi then ? Ah, well mayest thou shudder! Then But| |my adorable Mabel will be a widow indeed,” [Scene revolves, showing railroad. Lord T. cuts signal wire fas train approaches and Tiger pulls up a rail with his teeth. Mabel leaps from window with red lantern hand. Scene—Lord Tody's city chambers, with view of new law courts, Strand, Punch office and Holborn viaduct, Lord T.—“So all my scheming was in vain. Chauncey was not a passenger on the |train I wrecked. Ah, woe! (fixing his upon the Punch office) sorrow and dre: phantoms haunt me, Ah, that noise! the police!” (Jumps out of window.) | {Scene revolves, showing Lambeth bridge, Millbank prison, houses of parliament and bone works, with Lord T. in boat on the Thames. } Lord T.—* Perhaps I may escape after all. New-York is my haven. Once there I could sponge on the first families for the rest of my days.” {Police officers, haked ‘tater men and Herbert Chauncey appear on bridge ; shoot fugitive, who sinks in th (real water). Then Mabel dashes in and grand reu: of husband and wife, in which seven pounds of red fire are ‘consumed. } 3 Such, gentle Claudian, is the standard E lish melo-drama—“ one in all and all in one | We have all seen it, with the same old plot | that always brought about seven murders and asuicide, And yet we are told there are no American playrights who can supply manag- ers with the drama. | But such is life. WALTER STEPH WHY SHE CAN 00 IT, She (boastingly)—** Ican dress in ten min- utes.” He (unfeelingly)—"* Yes, my dear; EN MURPHY, but you {must remember that you belong to a comic opera company.” Nonsense—The opi of the fellow that |doesn't agree with you. of yourn. It's going to be hard enough work for al OPENING FOR THE ROAD. Manager (prepar- ing for the road to property-man)— “Well, Wiggins, have you got every: thing together ?” Wiggins— “Yes, sir; everything but | them things the com- pany is to present to you as testimonials, sir.” Manager— “Well, + get one paste diamond, new, and then goover to the Union Rectan- gle and try if you can't borrow their property gold headed cane, and then | see if little Inkman | has gotten the com- pany's presentation speeches ready. I want to begin rehears- ing ‘em on that busi ness before we start out; there's no telling how soon we may | need all our cards.” Reason—Your own ” opinion. comicbooks.com