Identifier: playersplaysofla02strauoft (find matches)
Title: Players and plays of the last quarter century; an historical summary of causes and a critical review of conditions as existing in the American theatre at the close of the nineteenth century
Year: 1903 (1900s)
Authors: Strang, Lewis Clinton, 1869-1935
Subjects: Theater -- History Theater -- United States Acting and actors
Publisher: Boston, L.C. Page
Contributing Library: Robarts - University of Toronto
Digitizing Sponsor: MSN

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g more than seductive sweetnessin her presentation of Pauline. Mrs. W. G.Jones, as the Widow Melnotte, displayed thegrand manner to the best advantage of all.This veteran actress of years of experience inthe stock company of the Old Bowery Theatre,thoroughly knew her business when it came toacting a part in The Lady of Lyons. Shehad breadth and freedom and authority; shegave everything its full melodramatic value.Still she did not overact, but kept always wellwithin both the part and the picture. Shenever shuddered, not even at the famous line, No divorce can separate a mother from herson, but let it sweep out over the footlights as ifshe believed that it meant something; and herreward for so doing was a solid round of ap-plause. Sheridan Knowless The Hunchback wasalso acted in the United States in the springof 1902, with Viola Allen as Julia, Eben Plymp-ton as Master Walter, Jameson Lee Finney asModus, Aubrey Boucicault as Sir Thomas Clif-ford, C. Leslie Allen as Fathom, and Adelaide
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VIOLA ALLEN as Julia in The Hunchback Robertson and the English Drama 23 Prince as Helen. The seventy-year-old com-edy, cut and slashed though it was in the pro-cess of reduction within the two hour anda half limit, endured the process of revivalin excellent fashion, for its presentation byMiss Allen and her companions was goodenough to emphasise its merits and minimiseits defects. For this satisfactory result one didnot go far astray in thanking Mr. Plympton,who staged the play and also acted MasterWalter with comforting authority and delight-ful finish. There was homogeneity in the per-formance and unity in the acting, both of whichmanifested the guiding hand of one thoroughlyfamiliar with the material dealt with. The modern style of abbreviated dramaticwriting was not in vogue when The Hunch-back first made its appearance on the stage.Then it was quite the correct thing for charac-ters to talk a great deal. A playwright was induty bound to furnish at least a line for everyemotion,

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