Jesters' Premiere a Triumph. Very Artistic and Finished Production Given of Dramatization of Mark Twain's Novel "The Prince and the Pauper."
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JESTERS' PREMIERE A TRIUMPH.
VERY ARTISTIC AND FINISHED PRODUCTION GIVEN OF DRAMATIZATION OF MARK TWAIN'S NOVEL "THE PRINCE AND THE PAUPER."
Thursday evening and Friday afternoon of last week, the "Jesters," presented at Parsons' Theater, for the benefit of the Young Women's Branch of the Y. W. C. A., "The Prince and the Pauper" adapted from Mark Twain's novel of that name. As the feminine roles were believed to be too important and too difficult to be acted by the college men they were entrusted to the more theatrically talented girls of Hartford.
The story deals with the fortunes and misfortunes of the Pauper boy, Tom Canty, and Edward, Prince of Wales, whose marvelous likeness is such that upon exchanging clothes in jest, their identities are also shifted, and the Prince of Wales is turned adrift to bear the abuse and ill-treatment of Tom Canty's father, and the gang of beggars of which the latter is chief; while the Pauper, miserable and lonely in the midst of the splendor and luxuries of the palace, in vain endeavors to establish his own identity. But the Prince in his lowly condition, meets one friend, Miles Hendon, a soldier of fortune, but lately returned from the wars. He rescues the Prince from an imminent ducking and conveys him to his lodgings, from whence the Prince is decoyed by Hugh Gallard, the lieutenant of Canty, and spirited away to the Rogues' Den in Southwark. There the poor Prince very nearly loses his life at the hands of a crazy peasant, Mad Anthony, but is saved by the timely arrival of Miles Hendon. Both are captured and in great peril of death, but are rescued by a party of soldiers who kill John Canty.
Meanwhile, in the Palace, Tom Canty is faring but ill. The ceremony and state of royal life weigh too heavily upon him for enjoyment. So it is with infinite relief that he receives the message from the Prince which Miles Hendon has sworn to deliver, and in which the Prince sets forth his claims to the throne. So the curtain descends upon the Prince once more in his rightful state, with lessons of justice and mercy taught by the hard ten days through which he has passed, upon Tom Canty, his mother and sister as royal wards, and upon the faithful Sir Miles Hendon, Earl of Kent. A side plot portrays the course of a love affair between Lord Seymour and the Princess Elizabeth, later Queen of England.
As may be seen the play is a very long one, and the four acts and seven scenes into which it is devided range all the way from the barn in Southwark to the throne room of Westminster Palace. Despite the length of the play and the numerous changes of setting, the play went off very smoothly and with no delays. Great as is the credit due the players, by far the greatest praise should be conceded to Mrs. Henry A. Perkins, under whose direction the play was produced. Throughout the long and dull routine of rehearsals her energy and enthusiasm was unflagging. How great her technical knowledge, was attested by the smooth and polished presentation of the play itself. But only those who worked with her through the long months of preparation can appreciate how much of herself she gave to the play; how thoroughly alive and unselfish her interest in it.
Turning to the players, the task of singling out any special members for approval or criticism is rather difficult and delicate. The work of the cast was of the highest order throughout. There was scarcely a trace of what is vaguely called amateurishness. Perhaps the most distinctive work of all was the Princess Elizabeth played by Miss Frances Williams. She was truly a royal princess, and yet a very human and understandable girl very much alone in the midst of the great and hostile court of her father. It was an extremely interesting side light on the life of an unusually fascinating character, and it was beautifully handled by Miss Williams. Her voice, her bearing, her eye was eloquent of her royal position, and yet there was a strain of girlish gaiety that accorded very well with her youth. In the shorter and less brilliant role of Mrs. Canty, Miss Mildred Corson managed to conceal her attractive personality, and to become the faded and cowed fortune teller. Her scene with Seymour in the barn was extremely tense and well acted. Even less opportunity was afforded Miss Esther Lyman in the part of Nan Canty, but she played it with a spirit that was quite delightful.
The double role of Edward, Prince of Wales, and Tom Canty was taken by J. A. Mitchell, '15. It is the most difficult in the play, requiring as it does the presence of the player on the stage during most of the performance, and necessitating several quick changes. The difference in characters was very nicely brought out and the result was distinctly pleasing. Hitherto Mitchell has appeared in feminine parts almost exclusively, but tjlis venture showed a talent most unusual in a college man.
Perhaps the player who, most of all, next to Miss Williams, actually got inside the skin of his character was W. B. Spofford, '14, as John Canty. Spofford faded into the background and John Canty lived and breathed and moved on the stage. As a piece of realistic acting it was wonderful. The snarl in his voice alone would have carried conviction.
H. S. Brainerd, '15, in the part of Mad Anthony, was on the stage but little, but his one scene showed a most unusual power, and thoroughly convinced one small girl in the audience of his evil intentions.
The part of Miles Hendon was taken by J. A. Moore, '14. It was a favorite part with Mark Train and was often played by the lattllr in the private theater in his own home. Moore's build was ideal, and he really seemed to enjoy vanquishing the Canty crew at the point of his sword.
One other member of the crew stood out, H: R. Hill, '15, as Hugh Gallard. His part, it is true, was not very lengthy, but he entered so into the spirit of the play and contrived so much action, that it was a distinct pleasure' to watch him at work.
My lords of Hertford and Seymour were played by G. G. Nillson, '15, and C. W. Craik, '16, respectively. Their parts were subservient to the interest of the play, but each gave a very finished performance. Craik especially left a very favorable impression of the double affair carried on by Seymour with Catherine Parr and Elizabeth at the same time.
The minor part of the guard was played by T. W. Little, '14, of a servant, E. A. Niles, '16, a page by 0. D. Budd, '15, and a herald by Horace "Fort, '14, who also sang a solo.
The mob of Canty's men, of courtiers, and soldiers, was very effective but somewhat restless and inclinded to wander about back stage. The task of keeping this mob reasonably quiet devolved upon the hapless stage manager and added several years to the age and many wrinkles to the temper of that august personage.
In the Canty crew as soldiers and as courtiers were: Fort, '14, Bennett, '15, de Ronge', '14, Wroth, '14, Squire, '15, C. E . . Craik, '14, C. B. Spofford, '16, Scofield, '15, A. Walker, '14, Olafson, '15, Peck, '15, Hudson, '14, Sage, '15, Dart, '15, and Ingersoll, '15.
The Court ladies and beggars included the Misses Robbins, Cook, B. Lyman, Allen, Middlebrook, Parker, Cheney, and Brewster.
The Dancer was Miss Virginia Forrest who gave a very graceful performance.
Furnivall, '15, was the Pauper when the Prince and Pauper were together.
The work of the stage manager is very seldom appreciated, or even recognized, unless he falls down in his work and something goes wrong. The very smoothness and expediency of the action is a testimony that the work was being capably done.
In addition mention should be made of two men who though their names were not even on the programme yet rendered invaluable service. N. G. George, '16, assistant stage manager, and S. M. Merrill, '15, assistant property man. By their efficiency and cheerful willingness to work at any and all times they contributed in no small measure to the artistic success of the performance.
The executive staff was composed of of C. W. Craik, '16, genera! manager, T. H. Craig, '16, advertising manager; Alfred Harding, jr., '16, stage manager and property man; R. L. Maxon, '16, programme manager.
Although it is too early to be exactly sure, it is believed that at least seven or eight hundred dollars was cleared as a result of the two performances.