Life — March 26, 1903 — page 14: what you’re looking at

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

- LIFE « The Dullness of Mid-Lent. TN spite of the clever and high-salaried -rsons in the company of Weber and Fields the performances’ given by the organization have lost much of the origin and mirth-provoking char tics which made the early v these entertainments, ‘The mate placed at the disposal of the « pany this season, in the way of lines and music, has fallen con- siderably below the former stand- ard, The individual members, too, scem to have lost the zest and spontaneity which, although times demonstrated with question- able taste, gave unusual piquancy toanything done at this house. From the present rather commonplace entertainment there stands out one piece of work which, although not in the highest field of artistic effort, is really a gem in its way. This is Fay Templeton’s Sarak Crude, in the burlesque ‘ The Big Little Princess.” has seen Mi in “ The Little Princess" is bound to wonder at the fidelity of the imitation, particularly when it is remembered that the original is slender and spirituelle in person, which Fay Templeton certainly is not. But even in looks the resemblance is made wonderfully close, and in carriage, gesture and intonation the reproduction is so exact that if anything should happen to Millie James, Fay Templ ton would be a most desirable understudy. The imito tion is the more interesting because it is done so seriously and is very slightly exagger tured. “The Little Princess” was so delightful a performance and appealed to such good instincts ia the human breast, that it seems alm i lesque it, but Fay Templeton’s per! and the horse-play is so frankly horse-play that one sn’t resent it seriously, With, though, the materials mand it might have been made funnier ccasionally remarked that it is dif- ficult to secure good seats from the box office at Weber and Fields'’s Music Hall. This is still true, ° ° . GP i KE Diogenes looking for an honest man, the |B] American critic looking. for acting and actors has to have a lantern, a pair of binoculars and microscopic eyes, like the boy Dickens tells about who starved to death because his this season seem to roe Any one who jie James's Sarah Crew ed or carica- mance is so clever miraculous vision showed him dis- tinetly every wouthful he attempted to eat. the living animalcule in Even with all this equipment very little that's worth while comes into the critic's field of vision. The omnivorous Trust which attacks the vitals of everything it touches has almost eliminated living actors and liveacting in America, The latest announcement is that even the poor shadow which existed at the Empire in the I-am-going- away-from-here style of art is about to give up its feeble ghost, and that next year New York will have no stock company outside of the cheap theatres on the side avenues. ‘Therefore, even the slenderest attempt at a play and acting de- serves attention, and Lire sticks to its duty manfully in giving serious conside! n to efforts which in less Trust-stricken times would be thought almost too trivial to notice. In ‘he case of “Cynthia” and Elsie de Wolfe there is, at Jeast, an attempt to do something which is not musical comedy, negro cake-walking, dirty linen nor tommy rot. The play tells. a most simple and threadbare story, and in the telling brings in a few clever speeches and one rather ingenious situation—that of a loving husband who fancies his wife's secret is that she has betrayed him, when the trath, which makes him happy, is only that she has ruined him financiall The English of the piece would make the late Goold Brown, wherever he is, do agonized handsprings, and its paucity of plot shows the pitiful condition of the dramatic church-mouse who Wolfe lacks personal magnetism, her voice is unsym- and ghe is wanting in grace, this last fact made painfully evident in a dance lugged in to give the play its final climax, ‘The dance is not pretty and fails of its point, It might easily be devilish and effective. Even with all these defects the star the piece and appears to better advantage than ever be- fore in her career. She has intelligence, distinction of manner, and a good delivery. With the exception of Mr. Max Freeman, who has a nice fat part as a Jew money-lender, the others in the st are not noteworthy. ““Turnips is a poor food, God gie us grace, but even turnips is better than starvation.” “Cynthia” is rather amusing, and in these times of dearth of really good plays has a reason for Metcalfe, scores i existence. LIFES CONFIDENTIAL GUIDE TO THE THEATRES. Academy of Music —* The Suburban." Notice later, Belasco.—* The Varling of the Goda.” Elaborate and arlistic production of well.acted tragedy of Japanese life. Bijow.—Marie Cahill tu Nancy Brown.” Musteal com- edy.. Ordinary. Hroadway.—* The Prince of Pilsen." Casino.—* The Chinese Honeymoon, edy, Reasonably tuneful and funny. Criterion —Last week of “The Jewe' of Asta.” Musical comedy, It never will be missed. Daly's.—Last week of “The Billionaire. comedy. Good riddance to bad rubbish, Garden, Hamlet.’ Last week of Mr. Sothern. Garrick —Aunie Russell in * Mice and Men,” Clean and amusing. Herald square.—Grace George in “Pretty Peggy.” Notice later. Knicker bocker.—'Mr. Riuebeard. Handsomely mounted but chestnutty. Madison Square.— Eiste de Wolte in above. Mojestic.—" The Wizard of 0z."* clever. Manhattan.—The Earl of Pawtucket.” and well-acted comedy. Princess.—"The Frisky Mra, Jobnson.’ with Amelia Bingham as the star, Rather interesting Notice later. ‘Musical com- Mastcal Mastcal comedy. Cynthta” See Spectacular and Bright The Girl with the ara Bloodgood in Worth Society piay by Clyde Fiteh. Green Eye rm Victoria — Resurrection.” Impressive perform- ance of dramatization of Toistol's story. Wallack’s.—" The Sultan of Sulu,"* and mirthful. Weber and. Fields's,—Borlesque and vandeviile. A little poll and considerable money will secure good seats from the ticket speculators, Melodious comicbooks.com