THE COURIER
"The Lost Paradise," presented at the
Lansing theatre Friday evening of last
week, is by Henry 0. De Millo and De Mille
collaborated with David Belasco in th
'authorship or adaptation of "The Charity Ball'
and "Men and Women," and if one is to judge
by "The Lost Paradise" it was Belasco that put
5L mosioi rsa nner ioucuisid iub iwo last uauiou
plajB. De Millo's play is a toned down melodrama. Dealing with that
most real element of life in these closing nineteenth century days
strikes, it is full of unreality. The actors declaim or talk senti
ment and then posing in tha yellow light that Hoods in from one
side of the stage, present a series of living pictures or tableaux that
are not exactly appropriate occuring as they.do in an atmosphere of
attempted reality, with whirring machinery and a mob of striking
workingmen. Some parts of the second act are decidedly sensation
al. William Morris who does the hero, Reuben Warner, created
this part several years ago, and also created the part of the cashier
in "Men and Women." He is regarded as a distinctly capable actor,
but in "The Lost Paradise" he poses and declairae and is altogether
too stagy for an actor of his experience. His wife, Etta Hawkins,
appeared in her original part, Cinders, and in the second and third
acts she receives almost undivided attention when on the stage.
Miss Frances Gaunt, Margaret Knntclton, has beauty and grace.
She overacts her part just a little, but is always interesting and
effective. Mr. Hunter gave a representation of Andrew Knoiclton
owner of the works, that was free from objection, and hie one sided
conversation over the telephone ordering a collation from the cater
er, was the most real thing in the play. Mr. Zehlinger, who as
Ralph Standish threatens to become an out-andout villain all
through the play until near the end of the last act, when he makes
a particularly graceful exit, was so ferociously melodramatic just
prior to his departure during the quarrel with Margaret that an
audible smile was forced from the parquet and dress circle and there
were jeers from the gallery even. Some of the minor parts as, for
instance, Billy Hopkins, were in able hands.
Since Frank Polk dived in "Among the Breakers" and brought
out fame that will in all probability last as long as he does, there
has been no such ambitious amateur theatrical performance in this
city as that given Monday night at the Funke opera house by the
dramatic club of the University of Nebraska. There was a dismal
opening piece entitled "The Open Gate." There was not enough
action and not enough light, and some of the performers were
afraid of their voices, Miss Lotteridge being a notable exception.
Following this the university glee club sang two selections one of
them being the popular "Romeo and Juliet" song, and the banjo
club also added to the musical interest of the program. Miss Agnes
Sewell, whoso appearances in public have been sufficiently few anu
informal as to make this occation partake somewhat of the nature
of a uebut, charmed the audience by singing "The Life of Love is
but a Day." She sang with much effect and sweetness and was
most enthusiastically encored. Then came "Chums," a one act play
the points of which the young performers succeeded admirably in
bringing out. 'three of the performers, C. F. Tucker, Harry Shears,
and Keene Abbott appeared in feminine attire, and Mr. Tucker
made an instantaneous impression by his impersonation. He ap
peared as a dizzy blonde, and his face was a source of mingled won
der and admiration. He out-Yawed Miss Yaw when he sang.
Some of his notes were so high that he was compelled to stand on
his toes. Mr. Tucker can view with satisfaction his exploit in the
tield where George Fortscue won renown. Mr. Abbott as Mrs.
Breed had a more conventional part, but he made the most of the
opportunities afforded him and scored a success. When Harr
Shears appeared as Flora there was a general murmur of admira
tion. His waist was not like those that Gibson's girls affect, and
his voice suggested the need of the use of "Frog in Your Throat,"
but with a light summer dress with balloon sleeves, golden hair and
coquettish hat he was a realistic vision of charming femininity and
his acting was in accord with the illusion. Mr. Shears has learned
the art of walking across the room and his hands dj not trouble
him in the least He has observed the ways of women. Robert
Manley as a Wahoo farmer exhibited a tendency to sprightliness
not exactly suitable to his supposed age. Ralph Andrews was
spirited but not quite at his ease as Harry, the son. The entertain
ment, on the whole, reflects credit on the participants, and on Mrs.
Manning, the director.
Rice ib himself again. The beauty and light and music of "Evan
geline" live again in "1192." The company that presented this
brilliant spectacle at the Lansing theatre Thursday night is not the
same that made the two season's New York engagement such a dis
tinguished success; but the bright scenery, the pretty girle and strong
chorus and such clever performers as Yolande Wallace, Will H.
Sloan and Mark Smith, all contributed to a performance that was
highly satisfactory. There was an unusual freshness about the
scenery and costumes and a sprightliness on the part of the perform
ers. Katie Putnam, who is not without admirers, gave a performance
at the Lansing theatre Tuesday night designated on the bills as
"The Old Lime Kiln." It was the same Katie Putnam and the
traditional Katie Putnam performance with a trace of novelty in
some of the specialties.
Last night "Dblmonico's at 6" was the attraction at the Lansing
and 'A Temperance Town" at the Funke.
The appearance of shapely young woman at alleged theatrical
exhibitions in New York minus drapery is, it is to be hoped, the
climax of the aeries of indecent exhibitions which in the last few
years have disgraced the New York stage. The police would have
been warranted in removing some of the "living pictures" from their
frames and putting them behind the bars for indecent exposute.
That this latest development in fin do siecle theatricals is not inter
fered with by tho authorities, and that the theatre where the exhi
bitions take place is crowded nightly, are not a favorable commen
tary on the state of public and private morals in the chief city of
tho United States. The first young woman who posed nude before
New York audiences accumulated a stock of modesty after a few
exhibitions, and asked for drapery. Her place was promptly filled
by Miss Bessie Stanton, from the front row of the ballet. "I flatly
refused to pose nude any longer, and that's why Miss Stanton is
posing at the Casino and J am not. The understanding all along
has been that I was to wear either tights or drapery, but the effect
aimed at was perfect nudity," said the first young lady to a reporter.
The situation can best be understood by the statements made by
Miss Stanton, who is a pretty brunette, about 23 years of age. She
said: "I feel tine over my contract. Of course, Wednesday night
was my first in this business, but I was very much delighted with
my debut, and so was Mr. Bradley. He says I am a decided success
and I guess I am, for I was encored four times. Mr. Bradley says
that I'm apt in falling into the poses allotted to me, and that I am
perfection when it comes to stillness. He thinks that I threw a
great deal of life and character into my work. After posing as
Phyrne. I stepped off the pedestal and the applause was so great
that I was ordered to take position again. I stepped back and
afsumed the same attitude in a second, and this is very difficult even
for old posers. What do I intend to do about fleshings? Why, I
don't intend to wear any. I am going to pose nude. A woman can
show as much natural modesty undraped as she can with a street
dress on. I look at this thing from an artistic standpoint, and these
bronze statues are art from the ground up. 'Which had you rather
pose in, living pictures or statuary?' the reporter asked Miss Stan
ton. In the bronze statuary by all means. In the living pictuies
one puts on fleshings to represent the form as nude; this is suggest
ive. In the bronze statuary one's identity is completely lost, the
really nude figure is so much like metal, I didn't know myself when
I looked into the glass after I got my coat of gold paint on. By the
way, I'm not afraid of this stuff as my predecessor wan. It takes
only a few minutes to put it on and about five to get it off. The two
men who pose in the groups have lovely complexions, and I'm hoping
that mine will be improved instea1 of harmed by the bronzing pro
cess. Then, another thing, there is not so much hurry and scurry
in this branch of art as there is in the living pictures. This is harder
but I like it better. In this I had no support as I did iu the pic
tures." Just how a woman can show as much natural modesty
undraped as she can with a street gown on is not exactly clear. Miss
Stanton should explain. But Miss Stanton probably has about as
much modesty as her managers have decency, and it is not surprising
that-she is a bit muddled in discussing it.