total seating capacity is over two thousand. Frank A. Robbins opened a 25. Mrs. E. L. Fernandez gave a Christmas party at Clarendon Hall, New York, to over one hundred children connected with the stage. 26. Production of the following pantomimes at London, England: "Blue Beard, the Grand Bashaw," by William Muskerry, at Sanger's; "Whittington and his Cat," by Geoffrey Thorn, at the Grand Theatre; "King Trickee," by J. Addison, at the Britannia Theatre; "Puss in Boots," by E. L. Blanchard, at Drury Lane Theatre; "Robinson Crusoe," by Geoffrey Thorn, at the Pavilion Theatre; and "Jack and the Beanstalk; or, the Seven Champions," by Henry Hersee and Horace Lennard, at Covent Garden. Revival of the old Ravel pantomime, "Mazulm, the Night Owl," at the Academy of Music, Philadelphia, Pa.; with A. H. Denham in the title rôle. Julia, the daughter of a dying mother, becomes an object of attraction to a wicked baron, who pursues her with evil intentions. The Spirit of Purity, always near her, protects her and invokes the aid of Mazulm, the Night Owl. Mazulm appears at the grave of Julia's mother in answer to the invocation. A magic branch is given to Emile, the true lover, who by its power is enabled to call upon Mazulm at any time by plucking a leaf, and thus the machinations of the wicked Baron Bariano and his servant Maclou are always defeated, and Julia in the end is rescued from her abductors; the bold, bad man is sent to Sheol with his servant, and Julia and her lover are made happy in the blissful gardens of Wonderland ever after. The piece was presented at the Academy of Music, New York, January 9th, 1888. Revival of "Julius Cæsar," at the Academy of Music, New York; with the following cast: Brutus, Edwin Booth; Cassius, Lawrence Barrett; Marc Antony, E. J. Buckley; Julius Cæsar, John A. Lane; Decius, Charles Collins; Casca, Ben. G. Rogers; Octavius Cæsar, Lawrence Hanley; Metellus Cimber, L. J. Henderson; Trebonius, Charles B. Hanford; First Citizen, Owen Fawcett; Portia, Minna K. Gale; Calphurnia, Elizabeth Robins. First representation in New York of "A Run of Luck," by Henry Pettitt and Augustus Harris, at Niblo's Garden; the principal characters being distributed as follows: Harry Copsley, Forrest Robinson; John Copsley, W. H. Crompton; Squire Selby, J. F. Dean; George Selby, Fred. G. Ross; Captain Arthur Trevor, Frank Losee; Charley Sandown, D. J. Maguinnis; Jim Ladybird, Frank E. Lamb; Daisy Copsley, Minnie Radcliffe; Mabel Selby Lillian Lee; Aunt Mary, Mrs. W. G. Jones; Mrs. Willmore, Florence Robinson; Lucy Byefield, Grace Thorne. First representation in New York of "Our Jennie," by Clay Greene, at the People's Theatre; with the following cast: Larry Fogarty, John T. Burke; James Walton, J. J. Macready; Jinks, J. W. Summers; Willie Wilkie, Collin Vary; Frank Farr, Fred. M. Mayer; Bridget Fogarty, Emily Stowe; Mrs. Farr, Addie Eaton; Our Jennie, Jennie Yeamans.- -Destruction by fire of the Coliseum Theatre, at Wakefield, Wis. 27. Ernst Possart made his American début as König Karl in “Die Bluthochzeit," by Lindner, at the Thalia Theatre, New York. John A. McCaull fractured his leg at Chicago, Ill. 28. In the Fashion," by Selina Dolaro, was presented by the regular stock company at Wallack's Theatre, New York. The piece was originally produced at an authors' matinée at the Madison Square Theatre, New York.-Kate Forsythe sailed for Europe. 29. Production of "Wyllard's Weird," comedy-drama in a prologue and three acts (founded on Miss Braddon's novel), by Dr. Harry Lobb, at the Criterion Theatre, London, Eng land. Ilma Di Murska, after several years' absence, appeared in concert at Chickering Hall, New York. Ernst Possart appeared as David Sichel in "Freund Fritz," comedy in three acts (dramatized from Erckmann-Chatrian's novel, "L'Ami Fritz"), at the Thalia Theatre, New York.- —Death of Carl Stepan, at Mannheim, Germany. 30. Ernst Possart appeared as Shylock in "The Merchant of Venice," at the Thalia Theatre, New York. 31. First representation in America of "The World Against Her," English melodrama in five acts, by Frank Harvey, at the Leland Opera House, Albany, N. Y; with the following cast: Madge Carlton, Kate Claxton; Jenney Clegg, Esther Lyon; Lucy Danvers, Leslie Tillson; Sally Millet, Alice Leigh; Liz Markland, Maud Hosford; Annie, Little Daisy; Gilbert Blair, A. H. Forest; James Carlton, Charles A. Stevenson; Robert Danvers, Ed. I. Hall; Simon Clegg, Palmer Collins; Harold Vernon, Payson Mackaye; Bob Millet, Ed. E. Egleton; Dick Markland, R. Hickman; Heslop, Theodore Williams; Thwaites, Ed. Short; Ned, Master Frank Dean. The piece was originally tried January 11th, 1887, at the Theatre Royal, Preston, England, and received its first London (England) production August 1st, 1887. Ernst Possart was re-married to Anna Deinet by Mayor Whitney, at the City Hall, Brooklyn, N. Y. The couple had been previously married in Germany, and were separated in 1883.- -Destruction by fire of the Opera House, at Tremont, Neb. NECROLOGY FOR 1887. Marius Audran. Born at Marseilles in 1817. Died January 9th. This musician, formerly a tenor singer at the Opera Comique, was the father of the now famous composer, Edmond Audran. He had a brilliant artistic career at the Salle Favart, from which he retired in 1860, returning to his native town, where he attached himself to the Conservatoire of Marseilles as a professor of singing. Esther Potter Ashley (née Esther McCormac). Born in Philadelphia. Died suddenly, on January 29th, in Cleveland, O. She made her début at Philadelphia, and in 1840 was married at Louisville, Ky., to John S. Potter, actor and manager. For about twenty years she acted with him at his various theatres. After his death she remained on the stage and was in John A. Ellsler's stock company at the Academy of Music, Cleveland, O. She afterward went on the road until her retirement from the stage. She kept a confec tionery shop at the time of her death. Marie Aimee (a nom de theatre; real name, Marie Trochon). Born in Algiers, in 1852. Died October 3d, at Paris, France, while undergoing a surgical operation. In her girlhood she began the study of music, and made her début, at the early age of 14, in Rio Janeiro. Within two years tidings of her success reached Paris, and the director of the Variétés secured her to create the part of Fliorella in "Les Brigands." Her first appearance created a favorable impression, which was strengthened when she essayed the leading tôle in "La Boulangerie on the occasion of its first representation. Later the Parisians applauded her in the majority of the characters with which Schneider had been identified. Leaving the French capital, Aimée toured, with distinguished success, among the principal European cities. In Vienna, Brussels, Berlin, and Dresden she was received with special favor. When the Franco-Prussian War broke out she came to this country with a French company. That opulent speculator, James Fisk, Jr., introduced her to New Yorkers at his Grand Opera House, on December 21st, 1870. Her success was immediate and pronounced. A stimulus was by this means given to opera bouffe which it had never previously enjoyed in America. Aimée filled several engagements and returned to France. Her comrades at the Variétés were reduced by the siege of Paris, and she sent them her check for 5000 f. to aid in relieving their distress. In the autumn of 1871 she visited the United States again. In the month of January following she appeared at Lina Edwin's Theatre, on Broadway. October 4th, she was seen at the Olympic Theatre, New York, with a new French troupe. During the three succeeding seasons she continued to be seen in the light and popular pieces of Offenbach and the other French composers with steadily increasing success. She went abroad again in May, 1875, and remained away one year. On September 25th, 1876, she reappeared at the Lyceum Theatre, in Fourteenth Street. On March 27th, 1877, she produced "La Belle Poule " in New York, and on October 1st following, at the Broadway Theatre, "La Marjolaine." At the Park Theatre, in May, 1878, she presented "Les Cloches des Corneville" for the first time in French. In the summer of 1879, the restless prima donna went to France once more, and stayed away almost three years. The profits of her American career had been large, and to gratify a whim for management, she speedily began to throw away a considerable portion of her fortune. She leased theatres in Brussels and Rouen, expensively remodelled them, and engaged for two seasons in the production of opera bouffe. Her losses reached nearly 425,000f. Then she came back to the States to recoup, but the result was not encouraging. On September 11th, 1883, she opened at the Fifth Avenue Theatre in "La Princesse des Canaries." Her tour lasted but a short time, and she sailed again for France. It was evident that the realm where she had reigned so long as queen was deserted. Offenbach was dead; the brood of French imitators were unequal to the task of supplying sparkling and brilliant opera-bouffes; the fickle public had turned to the more sober melodic numbers of Strauss and Millöcker, and operette of German origin enjoyed the supremacy. So it was that Aimée decided to appear before her old American admirers in English comedy. George H. Jessop and William Gill wrote a piece of the vaudeville order for her entitled "Mam'zelle," and in this, with a native company, she started out "on the road" in the fall of 1884. At the Fifth Avenue Theatre, on December 15th, "Mam'zelle" was given with a modicum of success. But if the metropolitans did not unite in approval, Aimée had the satisfaction of projecting her piquante broken English with prosperous results in provincial communities. The next summer she again visited her beloved France, returning in the autumn to undertake another tour. She presented a poor English version of one of Sardou's earlier comedies, at the Union Square Theatre. It was a dismal failure. Her last appearance in this country was made in "Mam'zelle." The death of her mother took her to Paris a few weeks before her own death. Her funeral was sparsely attended. Not fifty French artists attended, and the event was scarcely noted by the Parisian newspapers. Mlle. Aimée's chief successes were scored in "La Grande Duchesse," "Barbe Bleu," "Genevieve de Brabant," "La Perichole," ," "La Marjolaine," and "Les Cloches des Corneville." Her acting as the wife in Sardou's "Divorçons" was dainty and artistic. Her voice was in its day suitable for the musical froth in which it was heard, and her vocal method was good. Aimée was unrivalled among her contemporaries for the amount of frolic and chic with which she could clothe Offenbach's frisky heroines. There never was an opera-bouffer that could utter a naughty double entendre with more innocence or give point to a suggestive allusion with less coarseness than Aimée. She was generous and charitable to a fault, and possessed a large circle of friends by reason of her good-nature, kindliness, and other attractive qualities. Frederick Altmann. Died at Rostock, Germany, October 10th. The veteran actor was educated for the law, but adopted the stage. He was a character actor of great ability, and played in both high and low German. In the course of his career he acted at Hanover, Mannheim, Dessau, Meiningen, and Stuttgart. Maggie Arlington (a nom de theatre; real name, Margaret Ryerson). Born at Lawrence, Mass., in 1853. Died in New York, on October 30th, from injuries received in a terrible fall. Miss Arlington went on the stage in St. Louis, in 1872, as a member of Spalding's stock company. She married a Mr. Jouett of that city, but separated from him în order to pursue her profession. At one time she was connected with the company attached to the California Theatre. She played in New York a few seasons prior to her death as the adventuress in "My Sweetheart," but for some time she had been in retirement. Miss Arlington was a tall, fine-looking woman, with a commanding presence and amiable characteristics. Hilarion Ballande. Born at Cuzorn, in the Department of Lot-et-Garonne, France, in 1820. Died at Perigord, January 27th. He was educated as a pharmacist, but took to the stage, playing at the Odéon and at the Théâtre Français, in Paris. In 1869 he originated the custom of giving Sunday afternoon performances of classic works, an innovation which met with great success. Gustav Bohna. Born in Dramberg, in Pomerania, February 7th, 1845. Died at Cologne, August 17th. He went on the stage after leaving school, and made his début at Colberg. He afterward played comic parts for five years at the St. George Theatre, Hamburg. He visited Russia, where he caught a rheumatic affection which finally proved fatal. He also played in Berlin, Stegemann's Theatre, Warsaw, Libau, Locz, Stralsund, Königsberg, and Cologne. Alexina Fisher Baker (née Alexina Fisher). Born at Frankfort, Ky., in 1821 or 1822. Died March 27th, at Philadelphia, and was buried at Mt. Vernon Cemetery in that city. She was the daughter of Mr. and Mrs. Palmer Fisher; the latter was best known in the profession as Mrs. E. N. Thayer. They put her on the stage in the West when a baby. In New York, at the old Chatham Theatre, on September 6th, 1824, she appeared as Florizel in "The Hunter of the Alps." At the age of 14 she played as a child in Pizarro at the same theatre. From there she went to the Bowery Theatre. In June, 1831, she joined the Park Theatre to play leads. She left New York in 1840, and was absent ten years, reappearing at the old Broadway Theatre in 1850 as a comedienne. She went away again for five years, reappearing at Burton's Theatre. The date of her marriage with John Lewis Baker was May 31, 1851, and in the following year they went together to California. In 1862, during Edwin Booth's engagement at the Winter Garden Theatre, New York, she frequently acted Desdemona, Ophelia, and Emilia. Marian Brent (a nom de theatre; real name, Mary Wentworth Elroy). Born at Castile, N. Y., in 1853. Died at Chicago, May 2d. She made her début, about 1876, at the Chicago Academy of Music. She was twice married; first to the late Harry Wentworth, of McVicker's stock company, and recently to Manager Edward Elroy. Her fatal illness was contracted through overwork on the occasion of a benefit for the Chicago policemen given in 1886 by Gus Williams. E. C. Bertrand. Born in England about 1842. Died in London, July 24th. He was a manager and dramatic writer. The plays "In Black and White," " Blind Justice," and "Grandfather's Clock" were by him. Annie Boudinot (a nom de theatre; real name, Annie Sendelbeck). Died at Tannersville, N. Y., on August 7th. While acting with the Cooper English Opera Company, season of 1856-57, she became the wife of the late Frank Boudinot, who was also with that company. She was playing for three seasons before her death in James O'Neill's "Monte Cristo" Company, together with her second husband, Joseph Sendelbeck, who, under his stage name of Joseph W. Shannon, at one time was identified with Wallack's stock company. Theodore Baste. Died at Carlsbad, August 14th. A talented actor, who made Dresden the scene of his triumphs. In his early years he played at Kiel, Lübeck, Breslau, and St. Petersburg. He afterward took to management, being director of the Stadttheaters at Göttingen, Thorn, Elburg, and Rostock, and the Royal Theatre, Rudolfstadt. Paul Bocage. Born in 1822. Died at Paris, September 25th. He was a dramatic author, and collaborated with Octave Feuillet and Alexandre Dumas. He was a nephew of the celebrated Pierre Bocage, author of "La Vieltesse de Richelieu." Olive Collins. Born in Nebraska about 1871. Died at New York on January 28th. Her parents, both of whom were professionals, introduced her to the stage in the West when six years old. Prior to her death she was connected with the variety business. Cora Lena Chober (Mrs. M. E. Coudelle). Died suddenly on March 5th, at Springfield, Mass. She was a pupil of Lamperti, Milan. Possessed of fine musical talents, she devoted herself to Italian opera in Europe and Australia until about three years before her death. Charles S. Camblos. Died March 31st, at St. Joseph's Hospital, Philadelphia. He was well known in the theatrical profession as the husband of Lillian Conway, whom he married in 1875, when she was leading lady of Gemmill's stock company, at the Chestnut Street Theatre, Philadelphia. William Clark. Died June 6th. He acted second comedy parts at the old Haymarket Theatre, London, for a period of nearly forty years, including the zenith of the fame of |