PINERO has written many good things for the stage, and though they may not live much beyond the present day, they are as enjoyable as anything we have in contemporaneous dramatic literature. “Sweet Lavender,” the latest of Mr. Pinero’s works, is now in the full tide of success at the pretty Lyceum Theater. It well deserves the victory it has won. Mr. Le Moyne, who plays the part of a good-hearted old barrister, with a fondness at times for his cups, is the best thing that accomplished actor has ever attempted. It is not, however, Mr. Le Moyne’s acting or the acting of any particular member of the Lyceum Theatre Company which wins approval. It is the decidedly English atmosphere of the work--the setting, scenes, properties, business and everything connected with the play--that shows with what care “Sweet Lavender” was prepared; and with such preparation it is not a matter of surprise that the public crowd the little theater to take a look at this picture from nature.
REAL GAIETY.
AS intimated in a previous number of OUTING, the London Gaiety Company, with Nellie Farren as the bright particular star of the organization, has made a deep impression on American theater-goers. The feeling entertained by some people that Miss Farren and her ways, and the ways of the company by whom she was surrounded, were too thoroughly English to meet with recognition here, proved erroneous. The theater-goers of this city are not limited by such narrow boundaries. It was not Miss Farren’s nationality or the nationality of her company that was to undergo a test, but Nellie Farren and the London Gaiety Burlesque Company as artists. With a burlesque not adapted for an American audience--for “Monte Cristo, Jr.” is anything but bright in dialogue--they won the favors of New Yorkers. Even with the disadvantage of a poor book, they succeeded in convincing the public they could act, and dance and sing themselves into appreciation as burlesquers. Moreover the Gaiety Company did not rely wholly on the ability of Nellie Farren and Fred Leslie for all the supply of burlesque entertainment as is too often the case with such organizations. After a short trial, New Yorkers rather fancied the new comers, and toward the end began to regard them as favorites. The success of the return visit of the London Gaiety Company to the United States is pre-assured, notwithstanding the movement of Louis Aldrich, Harley Merry, and others.
RICHARD NEVILLE.
A BREATH of warm summer air seems to dispel for a moment the cold rawness of the winter day, as one turns over the pages of that most exquisitely executed volume of French drawings--“Plages de Bretagne et Jersey,” by “Mars,” (Paris: E. Plon, Nourrit et Cie.). Intensely Gallic are these drawings, and just as dainty and attractive as one would expect from the clever artist whose work they are. The bathing-dresses of Trouville are no longer strangers to these shores; but it seems as if the book fairly teems with suggestions for the amphibious maiden preparing for a summer campaign by the sea.
A REALLY remarkable novel, with a purpose, and that purpose strongly defined, is “Dr. Ben,” by Orlando Witherspoon (Boston: Ticknor & Co. 1888). The existence of the purpose, instead of decreasing the interest of the book by dwarfing the other incidents, in this case only heightens and increases its power. The plot is strengthened by its existence, and the story fairly abounds in incident, thrilling enough to satisfy the most insatiate novel-reader. It is extremely sensational, but the character-sketching, humor and pleasing style suffice to relieve the book of the brand of morbid sensationalism. The utmost sympathy is evoked by Ben’s character, his misfortunes, and his ultimate recovery, and the fascination exercised is so intense that scarcely one reader will lay the book down without finishing it, and what is more, carrying off an impression vivid enough to last for years.
NOTHING marks the increased popularity and importance of the cycle more than the rapid growth of its literature. “Rhymes of the Road and River,” by Chris. Wheeler (Philadelphia: E. Stanley Hart & Co.), is a volume to meet with a ready acceptance from every lover of the wheel and oar. The author shows his genuine ardor for these sports in every page, and imbues the products of his pen with this spirit. The comic poems strike us as particularly good, even though in some the author prove untrue to his first love, as, in “The Lay of a Recreant,”
“Two within a buggy, boys, behind a trotting mare,