Photograph by Abbe.Collection of Jefferson Winter.LENORE ULRIC ASROSE, IN “TIGER ROSE”
Photograph by Abbe.Collection of Jefferson Winter.LENORE ULRIC ASROSE, IN “TIGER ROSE”
Photograph by Abbe.Collection of Jefferson Winter.
LENORE ULRIC ASROSE, IN “TIGER ROSE”
and abandoned log cabin in the woods, she has barely time to hide her lover in a huge old grand-father’s clock, in the factor’s house. From that precarious concealmentNortonescapes, down a trapdoor in the floor, under cover of the dreadful tumult of an appalling electrical storm (most realistically and impressively managed in Belasco’s presentment) and, eventually, makes his way to the appointed meeting place. There, during the next night, he is joined byRoseand a kindly physician,Dr. Cusick, who has discovered her attachment and who, somewhat unwillingly, has consented to assist in the escape of her sweetheart. Various explanations are exchanged and it is revealed thatDr. Cusick(that being an assumed name) is actually the wronged husband ofNorton’ssister and has been for years seeking to find and kill the man slain by him. After the family misfortunes have been discussed and an understanding arrived at and after plans for the escape ofNortonout of the Dominion have been devised and arranged by the intrepidRose, the trio are about to separate when the ubiquitousDevlin, who has divined their resort to the ruined cabin, has concealed himself there and listened to their conversation, suddenly emerges from his hiding place and, “covering” the culprit with a pistol, arrests him.Rose, however, abruptlyextinguishes the only light in the cabin, at the same instant shooting the weapon out ofDevlin’shand and crying to her love to fly—which he does.Devlinmakes an attempt to follow him, striking down and stunningCusick, but, being unarmed, is stopped byRoseat the pistol point. Then, throughout the night she holds him there. With dawn, however,Norton, who has realized the predicament in which his escape will leave his sweetheart, returns, accompanied by a Jesuit priest whom he has met—and, asRosewill not submit to the removal of her lover to Edmonton, there to stand trial alone, but insists on an immediate marriage to him, the play ends with impending matrimony and the implication thatDr. Cusick, who, it appears has “done the State some service,” will succeed in his declared intention of appealing to the legal authorities for lenient treatment ofNorton,—an intention, by the way, which indicates a touching ignorance of the operation of criminal law in the region specified.
All this, if sometimes false to the probabilities of actual life, is always responsive to the purposes of acting, and, as presented by Belasco,—with scrupulous care to every aspect of the stage setting and to every detail of the stage management and with an unusually capable company,—the melodrama merits the success it has achieved. The central character is, of course,Rose Bocion,—who, with euphonious disregard of gender, is calledTiger Rose. This girl is headstrong, impulsive, and intense, she indulges with excessive freedom in violent expletives, and she fights hard for the man she loves. But there is nothing tiger-like in her conduct or her character. On the contrary,Rose, is winsome, brave, loyal, ardent, resourceful and utterly sincere, devoted and unselfish in her love. However, the name makes a striking title for the play. Miss Lenore Ulric, who acts the part, is possessed of exceptional natural advantages,—youth; a handsome face; abundant hair; expressive eyes, dark and beautiful; a slender, lithe figure; a sympathetic voice; strong, attractive personality, and an engaging manner. Her temperament is intense, her nature passionate, her style direct and simple. Her acting reveals force of character, experience, observation, thought, sensibility, ardor, definite purpose, and unusual command of the mechanics of art. It is, moreover, suffused with fervid, sometimes ungoverned feeling (which is a defect), and it is at all times sincere, individual, and interesting. She is an admirable listener, an excellent speaker,—articulating with great care,—and, at moments (as, for example, in a colloquy withFather Tibaultas to belief in Diety), the disposition she exhibits in this performance seems altogetherchildlike and lovely. Under Belasco’s sagacious direction she should go far.
CAST OF “TIGER ROSE.”
Photograph by Arnold Genthe.Collection of Jefferson Winter.DAVID BELASCO—HIS LATEST PORTRAIT, 1918
Photograph by Arnold Genthe.Collection of Jefferson Winter.DAVID BELASCO—HIS LATEST PORTRAIT, 1918
Photograph by Arnold Genthe.Collection of Jefferson Winter.
DAVID BELASCO—HIS LATEST PORTRAIT, 1918
1853.July.25.David Belasco, eldest child of HumphreyAbraham, and Reina Martin, Belasco, wasBORN, in a house in Howard Street, nearThird Street, San Francisco, California.1858. While David Belasco was a little child,—apparentlyabout 1858,—his parents removedto Victoria, Island of Vancouver, B. C., takinghim with them.In the latter part of 185(8?) he was “carriedon,” at the Theatre Royal, Victoria, asCora’s Child, in “Pizarro,”—Julia Dean(Hayne) being theCora. Later he playedthe child in “Metamora,” when Edwin Forrestfilled an engagement in Victoria.186(2?). About 1862 he appeared with Julia Dean(Hayne), in “East Lynne,” asLittle William.1864. In the latter part of 1864 he played thelittleDuke of York, in “King Richard III.,”with Charles Kean, at the Theatre Royal,Victoria.1865-1871. In 1865 (March-April?) the elder Belascoremoved with his family to San Francisco,California, and there established his permanentresidence. As a boy, in that city, Belascoattended several schools, chief among them theLincoln Grammar School. During part ofthis period the Belasco home was in LouisaStreet, then in Bryant Street, afterward itwas in Clara Street.1871.March.17. At the Metropolitan Theatre, San Francisco,Belasco appeared as anIndian Chiefin Professor Hager’s “Great Historical Allegory,‘The Great Republic,’”—which wasseveral times repeated, for the benefit of theschools whose pupils participated in theperformance: in the Second Part thereof hepersonatedWar.April.15. He appeared, in Hager’s “The GreatRepublic,” at Sacramento, California.June.2. (Friday Evening.) He took part in aseries of public “competitive declamations”(reciting “The Maniac”), by pupils of theLincoln Grammar School, at Platt’s Hall,San Francisco. On same occasion heappeared asHighflyer Nightshade, in “TheFreedom of the Press.”7. At the Metropolitan Theatre, revival ofHager’s “The Great Republic,” in which heagain appeared as anIndian Chief, and asWar.22. He appeared asFornechet,Minister of Finance,in a presentment of Sutter’s “Life’sRevenge,” by the Fire-Fly Social and DramaticClub, at Turnverein Hall, Bush Street,near Powell, San Francisco.July.10.Belasco’s First Regular Appearanceonthe professional stage,—as a super, withJoseph Murphy, in “Help,” at the MetropolitanTheatre. Subsequently he was given asmall part, a few words to speak, in thisplay. “Help” was played till July 16, Sundaynight.19. “Help” revived at Metropolitan Theatre.22. End of Murphy’s engagement in “Help.”1872.July.22. He playedBloater, in “Maum Cre” (thenfirst acted in San Francisco), with JosephMurphy, at the Metropolitan Theatre.December.16. He appeared at the Metropolitan Theatre,San Francisco, with Minnie Wells (notMary Wells), in “The Lion of Nubia” (notLioness), asLieutenant Victor: on this occasionhe was billed as Walter Kingsley.1873.February.23. He playedPeter Bowbellsin “The IllustriousStranger,” in a Benefit Performance,for Marion Mordaunt, at the MetropolitanTheatre.March.5. “Grand Reopening of the MetropolitanTheatre,” under direction of John R.Woodard: cheap prices: The ChapmanSisters, in H. J. Byron’s “Little DonGiovanni.” Belasco played theFirst Policeman.18. He playedPrince Saucilita(giving burlesqueof a local character known as“Emperor” Norton), in “The Gold Demon,”with the Chapman Sisters, at the MetropolitanTheatre.21. He playedStrale, in “Checkmate,” with theChapmans, at the Metropolitan.April.2. (One night only.) He playedReuben, in“Schermerhorn’s Boy,” andStrale, in“Checkmate,” with the Chapmans,at the Academy of Music, Oakland, California.3. At the Metropolitan, San Francisco, heappeared, with the Chapmans, as theGeniusof the Ring, in “The Wonderful Scamp; or,Aladdin No. 2,” and asPeter True, in “TheStatue Lover.”9. He played theFirst Fury, in “Pluto,” withthe Chapmans, at the Metropolitan.18. Revival of “Little Don Giovanni” at the
Photograph by Harris & Ewing.Belasco’s Collection.BELASCO LEADING THE PARADE OF “THE LAMBS” UP PENNSYLVANIA AVENUE, WASHINGTON, D. C.Inscription:“The first time I ‘paraded’ into town since my old days in the West, when I used to bang the cymbals and pound the drum!”—D. B.
Photograph by Harris & Ewing.Belasco’s Collection.BELASCO LEADING THE PARADE OF “THE LAMBS” UP PENNSYLVANIA AVENUE, WASHINGTON, D. C.Inscription:“The first time I ‘paraded’ into town since my old days in the West, when I used to bang the cymbals and pound the drum!”—D. B.
Photograph by Harris & Ewing.Belasco’s Collection.
BELASCO LEADING THE PARADE OF “THE LAMBS” UP PENNSYLVANIA AVENUE, WASHINGTON, D. C.
Inscription:
“The first time I ‘paraded’ into town since my old days in the West, when I used to bang the cymbals and pound the drum!”—D. B.