Life — October 25, 1900 — page 12: what you’re looking at

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

BOUT once in a canine lifetime New York manages to discover for itself the artistic merit of a dramatic entertainment. That such discoveries are made is no fault of the Theatrical Syndicate, for that con- ‘ cern is not given to originating things artistic. It deals only in ready-made successes, even though the success mark is put on by no authority better than the dirt- loving audiences of the minor theatres of Paris. A pleasant proof that New York is not completely fooled by the Syndicate is the quick appreciation given to the highly attractive performance of Henrietta Crosman as Nell Gwyn in the play called Mistress Nell.” Nellis a lady whose relations with Charles the Second of England have been touched upon by history, but the dramatist has not gone into too much detail, and the episode with which he deals—Nells restoration to the King’s favor by counter: mining the attack of Louise, Duchess of Portsmouth—is skillfully handled a Henrietta Crosman came here unheralded, but not unknown, She has been a member of several New York companies in which it was possible to secure something like dramatic training. Of late she has been banished to the vicissitudes of “touring,” but, by accident securing the use of a New York theatre, she has secured recognition for her genuii ability. She enters thoroughly into the rollicking spirit of Nell and the mood of her time, bringing to the part presence, intelligence and magnetism. Her delivery is good, and she has a sense of humor. The Charles of the piece is not an especially interesting character, but Mr. Boucicault managed to give him sufficient kingly dignity and personal pulchritude to make him poss Neil's condescending lover. The other characters were sufficiently well rendered to make an efficient background, and the scenic appointments were satisfactory. In a community given to demand- lence of material and performance in its theatres, “* Mistress ight not cut an extraordinary figure; in the present era of meretriciousness and mediocrity it comes as a very refreshing and agreeable surprise. Some day, when the obituary of the Theatrical Syndicate has been written, American theatre-goers will wonder why artistic en- deavors like ‘ Arizona" and ‘* Mistress Nell" had to sneak into New York by stealth, when the coming of clap-trap was widely heralded, and room was always ready for the production of inferior or pernicious trash. d carries no offense. I N direct contrast to a play like ‘ Mistress Nell,” and directly in line with the taste and fancy of the great bulk of New York’s theatre-goers, is the entertainment entitled ‘The Rogers Brothers” in Central Park,” and it shows that New York's popular standard is a pretty low one. As the leading attraction we have two comedians working hard in a school, the fun of which has been thoroughly exhausted by themselves and their competitors in the same line, Messrs. Weber and Fields. The two Germans, who speak impossible English in an impossible dialect, were very funny at first, but they have grown tiresome. Their place is now on the & GAME OF LEAP.FROG country circuit, far from Broadway. Surrounded by other talent the Rogers Brothers might be endured, but they show no cleve ness in giving their own abilities or disabilities an attractive back- ground. Their play is a crude one and its lines and business not funny even to the easily-pleased crowds who flock to see them from force of habit. With one or two exceptions the songs of the piece are neither good nor well sung, even if judged by the music- hall standard. None of the lesser members of the company are funny or clever, and worst charge of all that can be made against an attraction of this type—the chorus-girls are anything but shapely or beautiful, in fact few of them even good-looking and many of them ugly And yet this performance nightly fills a New York theatre with people among whom may sometimes be seen persons who fancy themselves advanced New Yorkers and who speak with authority concerning, entertainments of this sort. It simply goes to show that a large part of the New York public would rather see a bad show of this sort than patronize anything that calls for intelligence to comprehend. Another justification of the charge that New York is not a metropolis but a “jay” town, Metcalfe, LIFE'S CONFIDENTIAL GUIDE TO THE THEATRES. Theatre Repndtic—James A. Herne’ of Sag Harbor and Its citizens. Fmptre.—John Drew, as Richard Carvel, gives a nightly object lesson In anglopbobla. Metropolitan Opera House. large company of competent artists singlug grand opera tn the vernacular of the United States, Daty's.—“ San Toy.” Bright, amusing and toneful, Miss Minnie Asbley, a8 Rhoda, who kept ® pagoda, sings and dances dull care away. Hlenrtetta Crosman in “ Mistress Nell." See above- Mr. W. H. Crane's “David Harum. An American type, done by an American actor, with American humor Lyceum.—Annte Russell and a competent company xatirizing the ways of royaity to an easliy digestinie play called “A Royal Family." " Herald &uare.—** Arizona." Touching, stirring, well-acted and thoroughly amusing. Watlack's.—"* The Greatest Thing in the World.” acted, but not really the greatest thing in the world. Garden,—Richard Mansfield in “ Henry V."" One of Shakespeare's least interesting plays handsomely mounted, Victoria. —‘ The Rogers Brothers tn Central Park." See above. ISDOM loves solitude; that is why the majority of men are gregarious. artistic and humorous depiction Interesting and well