Life — April 6, 1893 — page 12: what you’re looking at

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

ee ker VE 71 NVR THE SILENT BATTLE. NY one who has gone through a course of training as a spectator of the performances given by that remarkable concern known as the Theatre of Arts and Letters, might with composure sit through the first act of “The Silent Battle.” The piece is Mr. Isaac Henderson's dramatisation of his novel “ Agatha Page" and is played at the Standard Theatre by Mr. Charles Frohman's “Comedians.” The first act is as talky as anything yet produced by the concern mentioned above, but with the essential difference that in this case the talkiness is not clever dialogue but explanatory con- versation needful to the understanding of the plot. In the second act the action begins to show itself and the spectator is inclined to think that after all he was justified in not going away after the first fall of the curtain. It contains some entertaining comedy, especially the love scene between Gaela and John Dow. In the third act the real strength of the play is developed, and at the end the impression is that if a lot of the talk could be chopped out, “ The Silent Battle” might be better than the average semi-emotional drama. In casting his ** Comedians” in a play of this nature, Mr. Frohman evidently uses their title in the broader sense, Their work hitherto has been confined to humorous material, and the present production is much to the credit of the com- pany’s versatility. As usual, the bulk of the work falls upon the shoulders of Mr. Joseph Holland, and, as usual, they are fully equal to the burden. With every new part in which Mr. Holland ap- pears, comes additional proof of the fact that he is about the best-equipped and most conscientious of our younger actors. Just what are Miss Grace Henderson's capabilities has always been an open question. In the first part of the play her act- ing is angular and unsympathetic, but in-the last she fully sustains her right to the position of leading lady by a most artistic and not over-acted presentation of a strongly emo- tional scene. The Fitippo of the piece might perhaps be worse acted, but it certainly could not be worse dressed or more ridiculously made up. The other parts are well sus- tained, and the mounting of the piece leaves little to be desired. Metcalfe. A VETERAN. RIMUS: Fanning lost his arm at Malvern Hill, but Jobson—why should he have a pension ? SECUNDUS: Well, er—you know he lost his head at Manassas. SUDDEN DEATH. HERE was a man named Peter Poke Whose taste was very bad, He bought a gorgeous necktie once Which made his friends all sad. He wore this necktie out one day Along a country road, ‘There was a bull, whose presence there No good to him did bode. Now when that bull beheld that tie Did he rush unaware, And did he toss poor Peter Poke Right up into the air ? Oh, no. When he saw Peter Poke He lifted up his head, But when he caught sight of that tie He simply dropped down dead. Tom Masson. IT WOULD BE NECESSARY. PREND: Do you think you will marry a rich girl ? PorT: I'll have to if I keep on in this business. “Have YOU THANKED UNCLE CHARLES FOR YOUR DOG YET, FReppie 2?” “Yes; nut | OUGHT ER HAD IT ANYWAY; I'VE BEEN PRAYIN’ FOR A DOG THE LAST TWO MONTHS.” comicbooks.com