"She told me I was the only man who ever really understood her." And hereby hangs the trouble. Three well-known men have called one after another to get advice at the office of a firm of solicitors, and each, in confiding his trouble to Mr. Wibsey, the junior partner, has made the above remark. The "she" referred to is Miss Pansy Bligh, music-hall artiste, known on the boards as "My Evening Star." The three men are some of her fonder admirers, each of whom, through being more or less concerned in the gentle art of letter writing, has got himself into a little bit of a mess.
You see, Pansy is a most attractive young lady, and although, with much sweetness, she has just brought a breach of promise action against Viscount Poffley, it is really a collusive action, for she and tbe Viscount are still lovers, and the ten thousand pounds damages, if gained, are to go to help them to set up housekeeping. From which you will gather that Pansy is nothing if not business-like, and, more than ever so, when I tell you that she is threatening to produce in Court a number of letters from the aforesaid admirers, and that one of them is no less a person than Mr. Justice Mulley, the Judge to whom it has fallen to try the case, and who is able to adjourn it in the nick of time. Pansy's captives also inclutde his brother Sir Babington Mulley, an eminent physician; Lord Percy Kilgour, who is all the more anxious to recover his letters because he wants to marry a Miss Phillis Dagenham; and last, but not least, the actual solicitor to whom, as I have stated, all these gentlemen apply for advice. And poor Mr. Wibsey has added to his indiscretion by enclosing in his letters "Swinburnian" poems.
Events, ending in the inevitable imbroglio, are led off in beautiful order by Lord Percy who is the first to call, and who induces Mr. Wibsey to enter Pansy's flat with a key, which Percy has retained, and secure his letters. The two Mulleys follow on the same errand, and to them, as well as to Lady Diana Caldershaw, who also calls on behalf of Lord Percy, her brother, Mr. Wibsey readily gives Pansy's address.
And so it comes to pass that one after another the Solicitor, the Judge, the Doctor, and Lord Kilgour present themselves at Pansy Bligh's flat. Each, of course, is very much in the other's way, but the letters have got to be found, and so a tremendous search is undertaken. The carpet is taken up, drawers are ransacked, and every nook and cranny is scanned in vain, and Wibsey in a last frantic effort pushes his head up the chimney with only a black result. And in the midst of it all the young lady of the flat returns from her nightly engagement at "the hall." Her indignation turns to consternation when she finds the letters have really been stolen and Traughton's sandwich tin left in their place.
Now you will want to know something about that sandwich tin; and, looking back, I find I have not even introduced you to Spencer Traughton, the ex-British Consul at Honduras, who is doing his best to rescue his ward, Poffley, out of his mess. Calling earlier in the evening on this very business, Traughton accidentally leaves a box of sandwiches on the table. Now Lady Diana Caldershaw, equally benevolent in her intentions on behalf of Lord Percy, also makes an early call in quest of the letters. From a side room she watches Pansy tell her lover where they are secreted, and, a few minutes later, pops the bundle of letters into her own bag and Traughton's sandwich-tin into the secret drawer.
Suspicion falls on Spencer Traughton as the thief, and to his flat do the despairing but desperate men now turn their attention. Traughton's rooms are invaded just when he is entertaining at lunch Lady Diana, to whom he has this day chosen to propose marriage. The assembled letter hunters make a second deternined search to the astonishment of the owner of the flat.
But Lady Diana being now at hand is ready to explain the whereabouts of the letters, and although their production is further slightly delayed owing to an unintentional exchange of similar handbags between her ladyship and Miss Pansy, peace is at last declared, the denouement bringing with it the promise of at least three Imarriages, and the frustration of the schemes of the young lady who hoped to make capital out of amorous correspondence.
I find it always difficult to write a summary of the plot of a farce, and, generally speaking, no description can give any adequate idea of its effect. The thing to do is to go and see it. We know it is good to laugh, but it is assuredly better to laugh at a "good thing" which exactly describes "Public Opinion." Mr. R. C. Carton's farce is in truth a genuinely funny one, and admirably acted to boot.
Picture Mr. Henry Kemble as the Judge, Mr. Frederick Kerr as Traughton, and Mr. George Giddens as the solicitor, and you know there must he something to laugh at. Miss Compton, who as Lady Diana Caldershaw has a part after her own heart, and Miss Annie Hughes, the bewitching, sly, and demure Pansy Bligh, both keep the ball rolling with energy and humour; and Mr. Charles Allan as Sir Babington Mulley and Mr. Athol Stewart as Lord Percy Kilgour materially add to the strength of a very excellent cast.
FRED DANGERFIELD.
It was only natural that MISS COMPTON, who is the daughter of the late Henry Compton, the famous actor, should desire to follow in her father's footsteps and take to the stage. Since her debut at Bristol, as Maria in The School for Scandal, she has played in all sorts and conditions of parts and plays. Miss Compton is the wife of Mr. R. C. Carton, the author of Public Opinion, Mr. Hopkinson, and many other successful plays. She met her husband whilst touring in the provinces and appeared with him in several productions. Eventually, however, Mr. Carton gave up acting and wrote, in collaboration with Mr. Cecil Raleigh, his first play The Great Pink Pearl, which ran for six monyhs at The Prince of Wales Theatre. Since then Miss Compton has played a long succession of leading parts in her husband's series of modern comedies.
Most playgoers know that MISS ANNIE HUGHES, who went on the stage when only fifteen, and who was the original Little Lord Fauntleroy, is the wife of the well-known actor Mr. Edmund Maurice. Miss Hughes is one of the few actresses who is capable of acting without being theatrical. She gets her effects without apparently the least effort, and perhaps the best test of her powers is the fact that she never seems more natural than when she is on the stage. Not to mention her bewitching Pansy Bligh in Public Opinion, one can never forget her delightful creations in Sweet Nancy, and A Country Mouse, and The Finishing School.
In his younger days MR. FREDERICK KERR studied for the Bar, but a craving for the stage led him to give up legal matters and commence acting, in New York, at the age of 21. To mention only a few of the plays which Mr. Kerr has since appeared in is to say at once that he is an actor of very considerable experience and versatility. They include The Magistrate, The Schoolmistress, Dandy Dick, Sweet Lavender, The Amazons, The Dancing Girl, Judah, Letty, The Case of Rebellious Susan, The Tyranny of Tears, Mr. Hopkinson, and a host of others, not forgetting, of course, his fine performance in Public Opinion. Mr. Kerr was manager of the Vaudeville and Terry's Theatres in 1895-96, and of the Court Theatre in 1901; and has toured in America with Mr. John Hare, Mrs. Langtry, and Mrs. Patrick Campbell.
"The most remarkable thing about any stage career," said MR. HENRY KEMBLE in reply to a question I had put to him, "was the way I obtained my first London engagement. In the summer of 1874 it struck me that, having been a provincial actor for eight years, it was time I made an appearance in Town. I, therefore, made a bold dash to Drury Lane, then managed by the late F. B. Chatterton, and sending in mY card, begged for an interview. Mr. Chatterton sent out word that he never saw anybody except by appointtnent. I replied I would wait until the manager came out. I waited three hours, and then bribed the hall keeper with five shillings to go and tell Mr. Chatterton that the young man refused to go away without seeing him, even if he waited all day. The manager ordered me to be brought before him. I entered his room and he at once assailed me with much strong language as to my impudence. I told him I wanted an engagement and couldn't stick at trifles. He replied that his company was complete, he didn't know me, and never engaged strangers. I stuck to him and refused to leave the room, and finally he promised to think it over and said I might call again. 'No,' I replied, 'you'll leave word I'm not to be admitted.' 'Very well, then,' he said, desperately, 'I will engage you on trial. Call and see the stage manager tomorrow.' 'Yes,' I replied, 'but give me the engagement now.' And then Mr. Chatterton said, I had better not say what he said, but I left his room after an uncomfortable thirty minutes with a written engagement for the season 1874-5 in his own hand."
Early in the seventies MR. GE0RGE GIDDENS was a member of Mr. (now Sir) Charles Wyndham's Comedy Company, then touring America, and, looking back to that tour, MR. Giddens gives me the following little reminiscence:- "We were playing the Robertsonian comedies, and earning a rich reward of praise and patronage from an American public. We were followed to various cities by a tall, good natured rancher who expressed the greatest admiration for us, although on his own confession he never came to see our performances. At last the time came for him to tell us that his holiday was finished, and that he must get back to his ranch and resume his cattle punching, but before leaving us he thought he really must come and see our show. He went to a performance of Caste, and we met in the smoking-room of the hotel afterwards, and this was his verdict:- 'Wal, boys, I've bin to yer show to-night, and I'm bound to tell yer the honest Injun truth. In private life I own up ye are real good fellows, but ye can't act worth shucks. I seen the play to-night, and ye jest walked about on top 0' that stage and stood with yer backs to the fire, and talked to one another jest as nat'rel as I'm talking to yer now. That ain't actin'. Yer gels is nice gels, and perfectly elegant ladies - and Charlie Wyndham he jest plays them doods, and roos (roues) bully, but for your good old flat-footed clowns give me little Georgie Giddens. That's all hunkey as fur as it goes, but it ain't actin'. I like to see fellers on the stage git up and git - fire a gun off or somethin'; but to see ye all jest drawlin, and strolling about the platform jest as nat'rel as life, ain't aclin' - when I see play actin', I like my ha'r to stand right up on end - but you - well, gentlemen, you - well! WELL! it ain't no use talkin' - Let's go and take a drink'. We went."
Twice in one week has MR. CHARLES ALLAN taken part in State performances at Windsor, the first occasion being Monsieur Beaucaire, for Mr. Waller, and the second in A Mail's Shadow, for Mr. Tree. On another occasion he played at Balmoral before the late Queen Victoria, who presented him with a silver cigar case. Mr. Allan, who was once a member of the German-Reed Company, spent eleven years with Mr. Tree, during which engagement, which dated from the time when Mr. Tree first opened the Haymarket Theatre in 1887, he twice accompanied Mr. Tree to America. Mr. Allan opened the Imperial Theatre with Mrs. Langtry, playing Louis XVI. to her Marie Antoinette. and has played in a great many productions, including two Drury Lane dramas and the Drury Lane production of Ben Hur.
The stage career of MR. ATHOL STEWART has not yet been a long one. "Briefly," said Mr. Stewart. "I have to thank Mr. Frederick Harrison for giving me my first engagement, in 1901, in The Second in Command, on tour. In the provinces I gained further experience, embracing modern comedy, Shakespeare, Ibsen, and melodrama. I returned to town to take part in a matinee at The Avenue, and that led to further engagements in London, which included the part of the Rev. Lexy Mill in Candida at the Court Theatre. Of course you know I played Lord Gawthorpe in Mr. Hopkinson."
Although MR. HERBERT DRUCE has played in every line of business, his ambition is to "produce" plays, in which direction he has had considerable experience. He prod uced The Duffer for Mr. Weedon Grossmith, and was responsible for the three country productions of Mr. Tree's The Darling of the Gods. He was once playing a leading juvenile part in the Midlands, and in his own opinion played it extremely well when, after a performance a prominent citizen, after ordering refreshment, said: "Let meC see, Mr. Druce, you played the comedy part, didn't you?" "Oh, no!" replied Mr. Druce, with some pride, "the juvenile." "What!" shouted the P.C., "You played what?" "Indeed I did," was the answer. "Very good then," said the P.C., "you can pay for your own whiskey!" And he fled from the bar.
F. D.
The coming festive season is bound to bring in its train a certain number of social events, at which Fancy Dress is the correct wear, and those contemplating a really picturesqne and fascinating specimen of this class of costume, will certainly do well to copy the delightful "Pansy" frock which Miss Annie Hughes wears in this play. The dress is in shaded mauve, with touches of golden brown, thus carrying out the name flower of the notorious Pansy Bligh. The skirt, which reaches nearly to the ankles, is composed of a succession of shaded mauve chifron frills, with here and there a touch of golden yellow, edged with a ruching of the fluffiest pale heliotrope chiffon. These flounces are set into a yoke of purple satin, this material also forming the tight-fitting bodice, the front of which is entirely composed of a huge pansy in its natural colourings, similar pansies adorning the front of the skirt, while a purple velvet waist-band gives an effective finish. The sleeves are truly fascinating, one composed of a trellis work of two inch wide purple velvet ribbon, with a bow, and very long ends of shaded mauve satin ribbon, and the other of narrow chifron frills.
When starting off to satisfy the claims of "her Public," this "serio-comic angel" puts on a hat fashioned like a huge pansy, while her cloak is a wonderful confection, the bodice portion formed of pale mauve satin, edged with a succession of mauve chiffon frills, shading to dark purple as they approach the foot of the garment. The sleeves are also composed of a succession of shaded chiffon frills, and the whole coat is lined with black chiffon, long mauve scarf ends completing it.
Another gown quite suited for a fancy dress, is Miss Annie Hughes' second frock of vivid pink silk, made in a severely plain fashion, but tailing very full at the feet, the inner portion of the hem bearing a full silk ruche, the sleeves are quite tight-fitting and reach to the wrist, while round the shoulders comes a quaint tight-fitting little cape, edged with a ruching, this garment being crowned by a large pink "poke" bonnet wreathed with roses.
Miss Compton as Lady Diana Caldershaw passes the three acts in a succession of visits, the first of which she pays to the lawyer's office, clad in a delightful gown of palest starch blue silk voile, mounted on taffetas to match, the hem of the skirt displays a bold pattern of open work silk embroidery, outlined with blue ribbon; the bodice with its elbow sleeves is made of very fine lace, mounted on blue taffetas, the princess skirt going up into points at the back and front, and finished in each case with rosettes of the same. Long black gloves and a black sequin hat adorned with a sequin quill, completes the costume.
The second visit Miss Compton pays is to Miss Pansy Bligh's flat, when she wears a very elaborate and beautiful black lace evening gown, both skirt and bodice displaying many pastilles of black velvet; the deep flounce upon the skirt being surmounted by a succession of large true-lovers knots in black velvet. Rows of black velvet form a pointed corselet belt upon the bodice which is cut square, a long bow and ends of black velvet being arranged at the left side of the decollage. The sleeves set mitten fashion to the elbow, where a large puff of lace extends to the shoulder. A handsome stole of silver sequins is worn over the frock when Miss Compton makes her first entry, a spray of diamond leaves decorates her coiffure, and some handsome diamond ornaments are worn on the bodice.
A cream lace gown is worn by Miss Compton in the third act when she visits her old admirer, Spencer Traughton, to partake of the luncheon which is to ratify their engagement. The hem of the skirt bears a bonier of rich lace of heavier texture than that which forms the gown, small revers of brown velvet and tiny bows of the same on the sleeves give a pleasing relief to this frock, which is crowned by a brown hat of sailor shape trimmed with a very full ruche of tulle to match. Lady Diana Caldershaw is a distinctly charming person, and must be congratulated on her exceedingly pretty taste in frocks.
Miss Daisy Atherton, who plays but a small part, wears two costumes, the first of which is not of very much account. In colouring it is beige and white, a white blouse with a beige skirt, a brace-like arrangement holding the corselet skirt over the shoulders.
In the last act, however, the credit of the designers is well upheld, Miss Atherton appearing in a perfectly lovely gown of white chiffon mousseline, with here and there touches of pale blue arranged in sulch a manner that could only be accomplished by a master hand. Her hat, too, is particularly fascinating, a very huge legborn straw with no trimming upon the crown and a succession of pale blue rosettes arranged beneath the huge floppy brim; from the back of the hat two wide black velvet streamers hang nearly to the feet, each end being finished by a silver tassel.
EDITH WALDEMAR LEVERTON.
SCENES FROM THE PLAY
