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There was the same crowding together of
strong attractions in Omaha last week that
there was in Lincoln, and as in this city De
Wolf Hopper and Delia For in "Panjan-
'drura' topped off the week, so far as box office
receipts were concerned. Some of the news
papers in Omaha criticised the taste of the peo
ple in tilling the house when "Panjandrum" was
presented, while Crane was allowed to appear to small audiences.
The Excelsior intimated that "Panjandrum" is thin; that Dejla Fox
is stout and that Hopperjis inclined to be tiresome. Crane the
same authority likens to Willard,and "Brother John" is given the
highest meed of praise. In this city Toby Rex saw much to admire
in Hopper's production, while the effusive dramatic critic of the
Journal raised "Panjandrum' above "The Fencing Master"' as an
opera. ".Brother John" was not enthusiastically received by
the people who like a "show" better than a play. We
agree with our Omaha contemporary that Hopper's opera is thin
and that Delia Fox is stout; but we can understand why the per
formance last Friday night gave such general satisfaction. There
have been better operas than "Panjandrum given in Lincoln; but
in our opinion there has seldom been a play or an opera better put on
here than Jhis huge burlesque. It was acted with the same dash
and spirit and close attention to detail that accompanied the pro
duction in the large cities. There was no cutting of Bcencs and in
cidents as was the case in "The Fencing Master," no slurring or
hurrying. Hopper recited "Casey at the Bat" with just as much
vim as he ever put into this piece, and he gave one more recitation
not on the program. Delia Fox is still Delia Fox, though there are
evidences of a tendency to embonpoint, and she furnished on the
whole about as much amusement as Hopper. In the improvised
base ball game she exhibited a delightful abandon, and she was
altogether entertaining. The chorus was well trained and the
scenery the same as that used in New York. Clever people and
much hard work and pretty scenery save "Panjandrum" from being
a failure, and make it, if not a great comic opera, an amusing enter
tainment. It appealed to the popular taste and was received with
marked demonstrations of approval on the part of the audience.
There are many people who enjoyed the raillery of "Panjandrum"
who would not have greatly appreciated the comedy presented by
Mr. Crane and his excellent company the Wednesday evening pre
ceding. Crane and Robson and comedians of that ilk appeal to a
narrower circle than does a broad and showy production such as
De Wolf Hopper always appears in, and it is not at all surprising
that "Brother John" should have had a smaller house than "Panjan
drum." "Brother John" is brim full of fun, and there are many
rather strong situations in it; but after one has followed Mr. Crane
through the play and thoroughly enjoyed his cleverness and that of
his company, which, by the way, has little scope in this piece, there
comes the thought that "Brother John" is not the best that Mr.
Crane can do, and one wishes that, with his artistic merit, he would
stick to plays of a higher order than this one, which is crude in
many places, and palpably overwrought in others. There is a de
mand for high comedy, comedy without any coarseness. Mr. Crane
is competent for high comedy roles, and we believe he will in time
aim a little higher. "Brother John" is not as good as "The Senator'
in which Mr. Crane was last seen in this city, although there may
be a larger measure of a certain kind of humor in it. Miss Gladys
Wallis, who made Buch a delightful impression in the latter play two
years ago, was appropriately placed in "Brother John," and this
petite actress was full of grace and daiaty effectiveness as Maggie
Solan. No company has visited Linoaht iaa long tiaaexkatkas
contained so many handsome and r'"Btti wm at this rrafniTi
tion. It is too bad,, that some of then set hare abetter oppor
tunity to display. fcfp ability. Mist Aaty.Baafcy km a atost attrac
tive stage prsatMraad her utarpratatiaa ef the comparatively
wmBBortaat feaatBaan hat.fell tohar lot vaca intelligently and
graotfaUy done that eaa felt a wiah to this actress in a role com
Maturate wkaffcar aterit Helen F" Sprague (her part), together
with a number of other people who might be said to walk through
the play, had very little to do with the story, and that the author
used her and some of the rest as material to fill up the chinks, is evi
dent from the summary manner in which they were dismissed at the
end of the third act. Helen has a great deal of trouble with Henry
De Ruyler, a worthless fellow, and these two are allowed for a few
fleeting moments to engross the attention 'of the audience. Then
they are rushed back of the scenes, and the people in front are left
in ignorance of their fate. Whether Helen marries Henry and re
forms him, or whether she doesn't and he goes to the bad, or
whether she does and they both go to the bad, we do not know
Better not to have brought them on at all than to treat them in this
fashion. Miss Collier was a fine Hettie, Brother John'' a employe
and by the way, there was a very improbable scene at the close
where Hettie finally asked John to take her. A girl as modest as
Hettie was would have waited a lifetime before she would have pro
posed herself. Miss O'Neill as Sophie made the most of her part,
and it was a pretty fair part.
In the meanest theatre, frequented by the commonest people, as
well as in tho gilded palaces of pleasure, the feelings of the audience
are stirred when for the moment villainy triumphs over virtue. The
hardened street arab in the gallery, the society belle in the box, and
the blase man of the world who occupies a seat in the parquet, each
feel the touch of sentiment. Eyes become dim, handkerchiefs
flutter, ana as outraged virtue is trod upon by the heel of vice, what
an awful suspense there is! Finally when virtue triumphs, as it
always does on the stage the audience applauds and smiles and
laughs, and the people go home happy. Off the stage it is different
The daily newspapers record events infinitely sadder than any de
picted on the Btage, because they are real; but the reader is not dis
turbed. People read these dark pages in the history of life merely
as amusement There is no sympathy for the victim or sufferer, no
generous desire to rescue the perishing, no stirring of the heart; at
least there is seldom any sympathetic manifestation. At the theater
there is no more touching scene than when a maiden seeks to defend
her honor. The awful import of the struggle seems to be appreciat
ed there, with the glow of the footlights and the slow music of the
orchestra. But in real life a woman betrayed seldom excites any
other feeling than that of curiosity. No expressions of sympathy
are heard. People cry as they witness the sham battle between
virtue and vice right and wrong, on the stage. Off, the more terri
ble conflict that is always going on is generally unheeded. The wail
of the vanquished brings only its own echo.
Thomas W. Keene is reported as saying: "It is my intention after
next season to limit my tour to ten weeks, after the manner of Mr.
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