THE COURIER
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Thomas J. Kelly, who in tho columns of
the World-Herald, has done much to ele
vate musical and dramatic criticism in the
metropolis of tho state, discussed what he
1 called "The Encore Mania" in a recent issue of
Mr. Hitchcock's and Mr. Bryan's paper. Mr.
Kelley doeBn't like encores. He says: "The
audience will clamor for encores? True, they
will, if they are encouraged to do so. The matter lies with the ar
tists, not with the audience. If one or two recalls are politely ac
knowledge by 'deferential lowering of the head' the audience will
soon grasp the idea that the artiste is an artiste, and is not caught
by the audience-chaff of irresponsible applause which is given indis
criminately, and they will listen to his or her next number with in
creased interest and respect. The more decioedly amateurish a singer
or player is the more he will encourage the obnoxious habit. The
more strictly professional he ib the more he will discourage it, by a
courteous but firm refusal.'
Henry D. Estabrook in a published communication takes excep
tion to Mr. Kelley's expressions. "In France, Germany and Italy,"
says Mr. Estabrook, "the people bubble over with enthusiasm, and
an artist, or an artiste, who would not or could not, receive inspira
tion and encouragement from the ardent, tumultuous appreciation of
an European audience would be a stock of stone heartless, con
scienceless. Last year in New York I took in the grand opera as
often as possible. I witnessed a sight never to be forgotten twelve
consecutive, rapturous encores I I whooped her up with the rest of
em ! I suppose Mr. Kelley would have sat through it all in a rigid,
frigid state of petrification. Only two weeks ago I attended a
Thomas concert in Chicago. Tiiero was an audience of at least
5,000. Joseffy, the very greatest American pianist, and surely
among the greatest of the earth, played one of Brahm's concertos.
It lasted forty minutes forty mortal minutes of piano music think
of it! The audience brought him back with thunders of applause.
He repeated the last movement. The applause was deafening.
Whereupon the artist seated himself at the instrument and
played for twenty minutes more."
Mr. Estabrook in conclusion has a few words to say of Omaha aud
iences. He thinks that if a touch of pathos should surprise a tear
from the eyes of Omaha people it would surely condense ere it had
time to fall and hang, a melancholy icicle, from the tips of their criti
cal and upturned noses. "God bless the artist," he continues, "who
can not paralyze an Omaha audienca, for it is already paralyzed
but galvanize us into some show of life.'
There is the same unnatural repression on the part of Lincoln aud
iences. There seems to tw a feeling in this city among the people
who are always thinking about appearances that any show of enthus
iasm argues a lack of experienceprovincialism; and so, as a rule,
the people in the parquet and dress circle an 1. to som j extent, the
balcony sit, like so mauy stoughten bottles, leaving the gods of the
upper tier to make evident the fact that the audience is not entirely
composed of dummies.
"The Lost Paradise," Henry C. De Mille's play, with the talented
young actor, William Morris, as leading young man, was presented
at the Lansing theatre last night The Courier's review of the
play is of necessity deferred until next week.
Manager Burgess of the Empire theatre, Omaha.one of Crawford's
theatres, has given up his lease, and the house is for rent. Mr.
Burgess will go to New York soon to book attractions for the new
Creighton theatre, which is to be, according to the Omaha papers,
"tbe finest play house in the west,'' and which will be opened some
time in September or October.
"Trilby," now being presented in the east uy A. M. Palmer is in
terpreted by the following company:
Mr. Burr Mcintosh Taffy
Mr. John Glendenning The Laird
Mr. Alfred Hickman Little Billee
Mr. Wilton Lackaye.- Svengali
Mr. Robert Paton Gibbs Gecko
Mr. Leo Dietrichstein . .. , Zouzou
Mr. Herbert Ayling - Dodor
Mr. V. M. De Silke Antony
Mr. Edwin Brandt .'":-. Lorimer
Mr. Edward L. Walton Rev. Thttaas Bagot
Mr. Reuben Fax Colonel Kaw
Mr Morel Bean Phillippe
Miss Virginia Harned Trilby
Miss Bertha Welby Mrs. Bagot
Mme. Mathilde Cottreliy Mme. Vinard
Miss Grace Pierrepont Angele
Miss Lucille Nelson Honorine
Mies Monta Elmo ,. Mimi
Mies Joseph Bennett Musette
Th audience at the initial performance was, according to a corres
pondent, one of the most notable, fashionable and enthusiastic ever
assembled in a Boston play house. The play won unequivocal suc
cess. Many distinguished people came from New York to witness
the production. Among them were five representatives of Harper &
Brothers, and Messrs. Charles Frohman, Daniel Frohman, Marc Klaw,
Abraham Erlanger and Joseph Brooks. The errand of the New
York managers was to make arrangements to produce the play in
territory not used by Mr. Palmer. There was no discordant voice in
the general verdict that the play is certain to enjoy great popu
larity. Mr. Palmer, Mr. Potter and the entire company were up
roariously called before the curtain at the end of the third act, and
Trilby's death at the end of the play created another sensation.'
Doubts were freely expressed before the rise of the curtain
whether the atmosphere of the book could be successfully trans
ferred to the stage. These doubts were soon set at rest. Mme. Cot
treliy came bustling on the scene in the smart gown of Mme. Vinard,
the concierge; Burr Mcintosh entered in his shirt sleeves as Taffy
carrying logs for the tire. Then John Glendenning as the Laird,
with a wealth of Scotch songs; then Alfred nickman as Little Billee
and lastly Virginia Harned as Trilby uttered her war cry, "Milk
Below," and appeared in her military coat, the striped petticoat and
list slippers. Close behind her came Wilton Lackaye as Svengali,
in his dirtiest clothes, and Payton Gibbs as Gecko, the Hurgarian
gypsy. So that when Svengali and Gecko had begun to play Schu
bert's "Adieu" the illus on was complete, and all skepticism about
the dramatic uses of Du Maurier's novel vanished. There was con
siderable doubt whether the hynotic portions of the piece would
produce the effect contemplated by the playwright He has proved
however, to have made a clever calculation of their dramatic value,
and few scenes have thrilled an audience more profoundly than
that in which Svenyi li places Trilby in a trance and forces her to
write the letter which parts her from Billee. Similarly the pcene of
the third act, where Svengali dies on the stage, and that of the
fourth act, where SvengalCs photograph causes Trilby a death, pro
duced an impression not often equalled in the drama. Mis3 Virginia
Harned made a notable success as Trilby. Though somewhat
shorter in stature than Du Maurier's heroine, she was altogether
lovely in her curls, he r military dres. her gnsette gown and her
famous cloth of gold. Her death scene was remaakably well done.
Mr. Wilton Lackaye wa6 effective as Svengali. aud with every move
ment held the closest attention of the audience. Tho cast, on the
whole, was most satisfactery, and such musical effects as the singing
of "Au Claire de la Lune" and the plajing of the Hungarian band
did much to heighten the interest.
FATAL CRITICISM.
"I thought you didn't like Cadsby?" said the friend to the literary
critic.
"1 don't like him."
"But you said his novel was remarkable for its lofty moral tone;
for its lack of anything that could be construed as indelicate."
"Yes. I did that to spoil the sale of it"
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