Life — April 6, 1911 — page 39: what you’re looking at

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

the face of many later uses of similar material, it is still an interesting play. The public has grown a little more subtle in its tastes where drama is con- cerned, so some of the old play’s inci- dents and business seem a bit crude and childishly simple. Love-making which involves nothing more complicated or guilty than marriage seems rather ar- chaic and old-fashioned on a stage which is largely given over to the prob- lem and the triangle, In combination with the horrors of war and Mr. Gil- lette’s impossible artist, it has still some power to amuse those who have not be- come blusé, & & ® 2 2 HIS week the New Theatre affixes “To be continued in our next” to this in- stalment of its ca- reer, and the pres- ent building will house the present company no mor In line with the educational func- tion of an institution such as it was hoped this would be, is the series of afternoon lectures by Professor Brander Matthews, in which the rise and decline of the English drama from the earliest times to the present is illustrated by ex- amples put into acting by the company. Professor Matthews, in the first of the series, briefly but clearly described the churchly origin of our drama and ge ee brought its development through the morality plays. One of these, “Nice Wanton,” was given as an example of its kind, following “Noah's Flood,” chosen as a specimen of the earlier miracle play. Neither of them has been seen here before, and, according to the lecturer, “ Nice Wanton” has not been played for more than three centuries. To both these quaint examples the New Theatre was able to give delight- ful settings and adequate presentation. The Windsor background from “ The Merry W was appropriately used for the environment, and children and adults from the company were utilized as village spectators. Space forbids a description of the presentations, but in connection with the lecture they gave a large audience a clear knowledge of the intermediate steps between the eccle- siastical and the profane drama. Re <S ARNUM and Bailey's Circus has been divested of its “leaps to death” and similar hair- raisers, which is a mark of in- creased circus intelligence in this day of automobiles, when every American citizen is sup- plying his own leaps for life. After a day of ordinary street travel, it is really reposeful for the average New York person to go to the circus and see nothing more exciting than charming ladies doing nothing more hazardous than hurling themselves and EXPLANATORY NOTES O DIDNT KNOW IT WAS LOADED is QTNOVONT IT WENT OUT THOUGHT THEY WERE BLANKS 2 @érc. MAP SHOWING CONDITIONS THROUGHOUT THE UNITED STATES JULY 4, 191T 683 one another through mid-air. As a re- lief to the sensations of the yellow jour- nals it is soothing to behold one ex- tremely large but handsome and sym- metrical lady toss her good-sized hus- band about as though she was amusing herself with a tennis ball, Every Suf- fragette should see her. Metcalfe. Life’s Confidential Guide to gthg Theatres _.Astor—Low politics made dramatic in Mr. Sheldon’s “ The Boss.” Belasco— The Concert." Comedy of the musician-worshipping woman. Laughable and well acted. Bijow—Melodramatic exposition of the sa- credness of the Roman Catholic confessional under the title of “ The Confession.” Broadway—" The Hen-Pecks.” “Mr. Lew Fields and big company in elaborate and di- verting musical show. Casino—" The Balkan Princess.” garian comic opera. Cohan's—" Get Rich The crooked promoter rural community. Comedy—" I'll Be Hanged If I Do." Ab- surd comedy exploiting Mr, William Collier's ability to create laughter. Criterion—" Thais.” Spectacular but not convincing staging of the Anatole France story in dramatic form. Daly's—" Baby Mine. Troubles of the newly married turned into laughable farce. _ Empire—Mr. Gillette in his own concep- tion of Sherlock Holmes, Gaiety—"* Excuse Me." Mr. Rupert Hughes's fun with a carload of transconti- nental travelers. Garden—Mildred Holland in repertory of plays at popular prices, See above. . Garrick—Banished from Boston, “The Fasiest Way " returns to New York, with its iction of life in the Tenderl worth in “ Little _ Herald Square—* Everywomai ¥ interesting and elaborately staged morality play of New York in our own time. Hippodrome—Ballet, circus and war play. Hudson—" Nobody's Widow.” — Blanche sing light comedy. Over Night.” Risky and not brilliant farce. Knickerbocker —“ Maude Adams as the main feature of the much ad- vertised French poetic and allegorical drama. Lyceum—Mrs, Fiske in “ Mrs, Bumpstead: Leigh.” Notice later. Lyric—* The Deep Purple.” Well_acted and absorbing expose of one of New York's forms of crookedness. Madison Square Garden—Baroum and Bailey’s Circus. See above. ny in_spec- Ife's “The Bo mian Girl" in English, Old-fashioned, but not badly done. Maxine Elliott's—"The Gamblers.” Fi- in interesting drama. nance of the da: Nazimovo—" As a Man Thinks,” by Mr. Ingeniously constructed Mun- juick Wallingford.” ving fun with a Chantecler.” Augustus Thomas. play, with the Jewish race question as part of its theme, New—" The Piper and “ The Blue Bird.” Last week of the New Theatre. Republic—Last week of Rebecca, of Sunnybrook Farm.” Pleasant and whole some play based on the well-known stories. Wallack’s—" Pomander Walk." uaint and well acted romantic comedy of Iife in England a century ago. ¥ er Garden—Big vaudeville and musi- cal show. comicbooks.com