Life — April 3, 1902 — page 12: what you’re looking at

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

LIFE Rural New England and in The Tenderloin. = at its very best the New England rural comedy of the “gosh damm” type has grown tobe rather tiresome, “Sky fsbo of drains aad Ie far away from being among the best of its kind. Of course none of these plays could be staged without a large amount of realism, and in “Sky Farm” we have real horses, a real hay-rake, real wheat, real pep- permint candy, and a real, old, genuine plot about a will with a lost codicil, ‘This play and its accessories are reported tohaye had a considerable popular success in Doston, Massachusetts, Boston, Massa- chusetts, is said to be the most fastidious of American cities in the way of culture. Boston, Massachusetts, has been known to sneer at New York City, New York, sor the latter's crude taste in matters ar’.etie. But New York City, New York, will aardly give its popular or artistic approval to “Sky Farm,” real as may be the horses, real as may be the rake, real as may be the wheat, real as may be the peppermint candy, and real as might be the codicil to the will in the certainly real, old, genuine plot, A realistic popular play in New York City, New York, has got to have a real, or transplanted, Irishman in it, The Boston idea of ying purely American types shows what might be called the provincialism of Boston, New York liked ‘t The Old Homestead,” with Denman Thompson, but that play brought New England into New York's own surroundings, Irish policeman, Grace Chureh and all, When New York hasto leave its own town and go up into the neighborhood that Boston knows, New York doesn’t like it a bit, New York likes its Bowery and its Tenderloin and its Four Hundred and its Grand Opera and its imported Problem Plays and its Lon- don Successes, but New England farm Jife, with real agricultural accessories, has lost the realistic charm which still holds good in Boston, This is no reflection on the good taste of Boston, Massachusetts, It only shows that New York City, New York, is not the same. y Farm” might please Boston and and for local reasons. Intrinsically it is not a valuable contribution to dramatic art and is tiresome for the person of average intelligence outside of New England, ° ° . sl (gies New York Jerald has not yet con- cluded arrangements with Mr. Charles Frohman to write its dramatic criticisms next season, It still remains, however, the TBE way is paving for the production of a Passion Play in New York, Salmi Morse, years ago, lost fortune, reason and life, in his ambition to give a fitting stage version of the great story of the New Testament. Mr. Clay M. Greene has secured two representa- tions, one at a Jesuit college in California, and one before a semi- private audience in New York, of his dramatic setting of the Christ tragedy. It is said to be most reverential and impressive. Mr. Greene's work, entitled “‘ Nazareth,” is not likely to be seen again, because Messrs. Hayman, Klaw, Erlanger, Charles Frohman and the other gentlemen of the Theatrical Syndicate are reported to have a play of their own dealing with the life and death of Jesus Christ, which they will produce in the near future with all the resources at their command, ° . . N “The Diplomat,” at the Madison Square, Mr. William Collier makes a personal success." The piece, for any purposes of criticism, does notexist. Jtis a thread on which a frequent bead of merriment is strung by Mr. Collier and his associate performers, but as a play it has no plot nor coherence and has spoiled a good title. The sudden introduction of the ballet girlin costume into an assemblage of well-bred persons would be a very amusing incident and would be effective were the contrast more sharply drawn, but in the general Nine- teenth Precinct atmosphere of the production the situation rather Joses its value, “The Diplomat” is diverting, so far as Mr. Collier and Mr. Abeles, who impersonates cleverly 8 very remarkably wise valet, make itso. Otherwise it might be called light-waisted, Metcalfe, LIFE’S CONFIDENTIAL GUIDE TO THE THEATRES. eackcatemy, of AMuste—" Under Two Flags," Oulda’s novel, tn spec- jjow—Atnelle Bingham and company in “A Modern Magdalen.” Notice later Broadway. Sul “ Beanty and the Beast.” Falry spectacle, well done. 1Criterion,are. Lente Carer ia * “Du Barry.” Elaborate staging of an ity ee Mtugo's “Notre Dame” dramatized by Paul Potter, Melo- dramatic and sxclting. Twin Sister.” Costume comedy, well acted, m.’* See above, Notice later. Herald Square.—Lulu Glaser and company in “ Dolly Varden." Melo- dlous and prettily-moanted light opera. Knickerbocker—" The Toreador." Comic opera of the ordinary type, Manhattan Herbert Kelcey and Efle Shannon ta international ee “ Her Lord and Master."* lerately Interesting. Madison are.—Willtam Collier tn *The Diplomat.” See Republic. orletta Crosman as Hosalind in au excellent einen of “As You Like It" Well worth seein, ‘Saroy.—Rovert Edeson in “Soldiers of Fortune.” veraion of the novel. Cleverly done. French opera company tn répert Amusing stage oltre. ‘A Gentleman of Fraace,” with Kyrle Bellew as the Sght- e ng hero. Weber and Fields's Music Hall.—Burtesque of “The Girl and the Judge” and “Du Barry." Low comedy at high prices. DIAGRAM SHOWING THE RELATIVE PROPORTIONS OP THE VARIOUS PARTS THAT GO TO MAKE UP A STAGE SUCCESS UNDER SYNDICATE MANAGEMENT. Ce ee ee ee Other peopte’s braing, Pald-for critéclane, Advertiing of manager's name, PU porting. Prove agent. Uaudy scenery. Push farnitare. official organ of the Theatrical Trust. comicbooks.com