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This newspaper page contains 23 articles. Subscribers can read the full text of each article.
Newspaper
Cincinnati Commercial Tribune
Location
Cincinnati, Ohio, United States of America
Date
Jun 21, 1908
Page
21
The article surveys Henry Arthur Jones on how theater fiction versus life shapes public perception. It notes stage illusion, time limits, and the contrast with novel writing, highlighting Miss Barrymore’s visit to England and Frohman planning a new season play.
A country cousin is unsettled by a stage meal that reveals artificiality in a performance. Seeing a starving man and others feigning eating collapses his illusion, leaving him feeling cheated as the theater no longer seems real. The dinner ruins his enjoyment for the rest of the evening.
A critical discussion of how Mr. Jones misreads stage life as real life. The piece argues the average playgoer mistakes drama for reality, suggesting such misperception fuels disillusion and undermines the theatre’s mirror of nature.
The tale traces Eleanor Robson's start in theater through a spur of the moment substitution at the Frawley Theater in San Francisco. Her mother Madge Carr Cooke urged her on, and though early progress was slow, persistent effort eventually brought notable success in acting.
The article traces Margaret Anglin and Ada Rehan from modest beginnings to star status, detailing how figures like Charles Frohman Henry Miller and Augustin Daly steered their careers. It notes Rehan’s early debut with Mrs. Byron, Daly’s tutelage, and how Daly’s death marked a shift in her rise to glory. It mentions Mary Mannering as part of these Broadway trajectories.
The account claims sudden fame for Miss Mannering after a brief success, but the piece notes she had years of stage work in England before Daniel Frohman brought her to the Lyceum in New York. It emphasizes her beauty and talent while denying overnight mastery.
The piece traces actors like Mrs Fiske Viola Allen E H Sothern Edwin Booth Joseph Jefferson and Sir Henry Irving from childhood stage exposure. It notes parental guidance and costly labor required to build fame on the stage and the dramatist's craft amid industry restraints.
The Metropolitan English Opera Company opens at Chester Park with Robin Hood. Star tenor Joseph F. Sheehan leads as Robert, Earl of Huntington, joined by Thomas Richards Little John and Aida Hemmi as Maid Marian. Chester promises a first rate cast and a strong chorus and orchestra plus season ticket success.
The Chester vaudeville bill features Thea and her Dandies as headline acts on the afternoon show this week. Local acts and acts from nearby circuits round out the program.
The piece notes two evening shows at 8 30 and a 3 30 matinee featuring the Kronemann Brothers and the Trillers with a novelty act Rag Pictures. Seymour and Dupre also appear on the bill. The warm return brings crowds to Chester's renowned bathing beach.
Continuous vaudeville at the Grand Opera House attracts large business alongside living singing and dancing pictures. Daily shows run from 1 p.m. to 10 30 p.m. with a 90 minute intermission for dinner. The venue promises cool comfort if weather is warm.
Not since 1903 has the sand bar at Queen City Beach been in such favorable condition. The river runs low making safe wading for children, a smooth bottom, and no deep spots. Low water is expected all summer, extending the sandy beach for promenaders and bathers. The beach will stay open nightly until 10, with the shore and water lit by thousands of electric lights.
Next week at the Zoo features Philippine Week and Turners' Day with a 2:30 PM children’s entrance. Kesley Schoepf and August Herrmann finish lemonade service before sports and exhibitions start, ending with water fireworks at 9:45 PM. Philippini's Band and vocal quartet perform nightly alongside operatic overtures and lively selections.
The Lagoon advertises new attractions including Prof. Devilin and trained black ants performing mimic battles and toy cannon feats. An ostrich farm offers rides with Old King permitting a child or lady to ride. a man can win $100 for riding. Vaudeville in the amphitheater features Galvin and Futch, Dot Gregory, Fleming and May in various acts.
The article previews Good Old Times at Coney with singing and dancing acts by Kirbro and others. It highlights the Bijou Theater vaudeville lineup Woods and Balton McDaragh and Sherwood and other acts, plus river trips and summer crowds.
The review describes Mrs Dot, the lively Maugham comedy, with Marie Tempest in the title role at Frohman's Comedy Theater in London. The plot centers on Halstane's mistaken vanity and romantic entanglements among Nellie, Mrs Dot, and Freddy Perkins, ending with Nellie and Freddie eloping as Halstane reconciles with Mrs Dot.
The return of William Gillette promises an eventful season in a Bernstein play titled Samson. Bernstein’s satire on modern society follows Jacques Brachard, who rises from poverty to wealth and schemes to ruin his rival, with Anna Marie D Anderline and Le Govain in a web of deceit. The Paris production drew praise for Le Bargy as Anna and for Bernstein’s tight construction and vivid minor roles, including servants and club life.
William Collier, during his Denver engagement in Caught in the Rain, accepted an invitation to attend an early meeting of a newly formed cult in the city. The group titles itself The Faith Healers a play on the phrase with a wand-like reference.
At the Empire Theatre offices Charles Frohman and aides completed contracts for forty six actors and actresses for forthcoming Frohman productions. Fifteen hundred speaking parts are planned before Frohman returns to America, with emphasis on securing the exact actors chosen in London. A test audition for John Drew’s play Jack Straw featured a hopeful actress chosen for a silent role with a modest seventy five dollar salary.
A critique argues that simplicity and naturalness in acting are misused myths. It cites John Drew Otis Skinner and Maude Adams, warning that many actors mistake method for diminuendo and fake simplicity for truth, urging restraint through economy and proper staging for true atmosphere.
The one act play emerges on the English speaking stage as an artistic form in an experimental period. Lena Ashwell in London recently staged four pieces at a matinee, mainly by English writers. Notable work includes Anthony Wharton's Irene Wycherly and The Latch by Mrs. M K Clifford in Grand Guignol style. The era sees Strindberg as a prime source for thrillers. Velma Swanson Howard translates his works for English audiences.
The article notes actors in the theater world doubting Friday openings and the number thirteen. W J Block cites four major hits launching on Fridays or the thirteenth, including The Girl From Paris produced by E E Rice. Wagenhals Kemper reportedly postpone deals to the thirteenth, reflecting stage superstition.
Mrs Stopes argued Shakespeare’s fortunes were favorable not only in birth and parents but in education and marriage. She contended that his upbringing, grammar school and worldly circle aided his genius, while debunking the view that he lacked heroic or maternal influence.
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