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This newspaper page contains 10 articles. Subscribers can read the full text of each article.
Newspaper
Washington Post
Location
Washington, Washington Dc, United States of America
Date
Aug 21, 1904
Page
20
Fred F. Schrader argues that technical skill alone cannot define great drama. He contrasts Shakespeare and Wagner with modern managers who demand perfected plays, urging critics and the public to value conception, soul, and intellectual engagement over mere technique.
William Bullock notes David Belasco's influence on David Warfield amid theater plots by outsiders. Warfield remains loyal despite legal and financial pressures, praised as a serious actor with a strong comedy past. The piece contrasts Warfield's enduring reputation with Belasco's artistic guidance and the broader stage economy in France.
A banker recounts a dispute where managers try to bind others by three rules: no direct or indirect relations between managers, no shared financial administration, and no drawing from the same money source. Authors’ committee imposes strict bans on engagements, scenery borrowing, and consultation with rival managers, while jokingly permitting occasional dinners with friends.
Improvements at Chase’s theater emphasize safety and comfort with thorough cleaning, repaired plumbing, repainted dressing rooms, and enhanced ladies’ retiring room. The Renaissance interior receives green tones, new drops, borders, and ceiling reliefs. Adelaide Thurston to open at Norfolk. Polly Primrose to be retained with Frank J. and Claxden Wilstach, September 2.
London managers plan a fall season after a weak theatrical year. Cyril Maude opens with a new play by W W Jacobs and Louis N Parker titled Beauty and the Barge. Waller revives Miss Elizabeth's Prisoner at Imperial. George Alexander appears in The Garden of Lies then Jones at Garrick. Frohman brings Adams and Robson to London with a new Zangwill vehicle. Volker receives attention for The Dictator. American shows regain prestige. The Prince of Pilsen and The Darling of the Gods boost crossings. Frohman to lead ten companies. Harvey to stage Hamlet in Dublin. Beresford to premiere Our New Man.
The column lists actors and productions shaping the season across U.S. stages. George Wilson teams with Richard Mansfeld, Nellie Howard of Howard and Williams appears locally, and many plans unfold for August debuts, Paris rights, and new plays with stars like Nat Goodwin, Miss Hading, and Bertha Galland. Shakespearean and musical works, tours, and openings at major houses are described, with manager changes and rehearsals under way in New York, Washington, and other cities.
Charles Townsend in the New York Dramatic Mirror argues modern thrillers misread Shakespeare. He defends Lady Macbeth as intensely human, active, and morally complex, countering legends that she is a mere brutal femme fatale. He notes readings by Story Goethe Lowell and others as inaccurate and cites textual evidence of her conscience and resolve. Mrs Fiske prepares a Vanity Fair season in New York with Beck y Sharp staged by the Manhattan Company, featuring a large cast including John Mason and George Arliss.
Marburg and Gillpatrick promote contemporary Spanish drama with an adaptation of Maria Rosa and a strong comedy drama by Gal dos. They hold English and American rights to these plays and are working on other Spanish works. They previously adapted Arta of the Lowlands.
Fanny Rice, now touring the West as a special attraction at Hopking Theater Forest Park Highlands in St Louis, is praised by the New York Telegraph for her keen humor and enduring stage fame. Her career spans several years with constant engagements, noted for a signature accent and a distinctive impersonation.
Nellie McHenry stars in M liss at the Academy of Music with a Sierra Nevada setting inspired by Bret Harte. The production blends romance and comedy as MinIS unfolds through scenes of mining camps and a schoolteacher love, with Yuba Bill aiding the heroine.
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