| Show r JOHN L. L SULLIVAN AS THE SLAVE DRIVER Former ormer Champion Tells reUs About This Part of Simon Legree in Uncle Tom Toms Tom's s. s Cabin j p IT At first the hisses bisses made him angry for tor he had baa KES HOW HE L LIKES level before beOr and arid played the hero but now he under under- understands f always alwa's been on the a tribute to o his art and Its It's all right f t. t stands stal that they are HIS IllS It CLIMAX comes omes When he draws his whip to lash Jash poor Uncle f ff and somewhat dangerous d description of the scene vivid f Tom Toni and his the thO climaX ot of the Interview constitutes also MORALS MORAL OP OI TIlE THE PLA PLAY Did Y It bring on on oy the war What f ff whole thing wasn't much as a fight TEem Spaniards f If it It did That f to much much much- never ver Id amount A. A h o 4 4 4 4 4 44 4 4 44 4 4 44 4 i 1 t T T T T t With the the galleries crowded and nd re ready dy Jammed to the parquet to to Hiss with the with the balconies a dense dense back back rows umble lumble of ot humanity Simon Legree Legre to flog Uncle Uncle Uncle Un Un- ready strides on the on-the tb the stage cle Tom with a a. cruet cruel stage w whip hip John L L. Sullivan at your jour our service The 4 welcome forgetful of ot t the e auditors roar a It fact tact that the they are there then to hate at Legree e with a It dea deadlY Hy hate and to hiss him urn himli li without t cOPlE compunction l Ari AnS Mr Sullivan looks the part to the fth th very looks fife-looks It t to the ti eJe extent t that tha uncle Toms Cabin Uncle hf Jr the author of ot Toms Tom's Could see him him as he stands on n th the stage tage age with the the wicked blacksnake kf slave whip in his hands she would say ThIs is Is' Is th the man of ot hom I h have ve reamed dreamed The Erie The Sullivan of Today On Mr Sullivans Sullivan's rugged rugged face are the theara B Stars ara rs of ot old battles His brow yet beetles ver ver his his- intense eyes like that of of a reave c Ave ve man His Ills hands are hardened into loW with wUn many knockouts His flis' shoulders shoulder still hold the terrible force which sent so many antagonists spin spinning ning Into dreamland RNo Io matter about the art No lio o matter ab about aUt ut the subtle phrasing and the t-t t graceful posing Posing- and the motions mo nio- and th the general technique Sulli- Sulli l. l the part pait he hp plays play and that is sufficient upon a time h he knocked krock a re refractory re- re down with a blow of ot his I flit fist The audience r remembers members this and nd i when Mr Sullivan roars at Uncle Tom ii bellowing yoke of his th they y shod shod- t with Apprehension First Appearance as a Villain IJohn John L L. Sullivan ex-champion ex of ot the world never played the villain before Hitherto on the stage he has rescued maidens in distress chaffed dudes dudes' on their lack of ot muscle and knocked out villains Mains with his terrible right I IThe P t L The villain business is a departure from Mr Sullivans Sullivan's legitimate pursuits and at first he was disposed t to resent ItHe It He became accustomed after awhile toi to top toV p V r i r I 1 like this part There Ther aint a p V f weak unTo line in it Now N w in fm th the auction S J tion sale of ot do do you see see see- H v. v where the real thing comes r. r In v. v I y i v. v H t i t tt i v. v the h hisses from the gallery a and d at t pres pre's pre pres present ent as he expresses express s It The more hisses the better I am pleased who has ever heard Mr Sullivan Sulli V van vans ns n.'s s voice when he is feeling proper proper c n n. forget torget it In the blackest r midnight It It- would distinguish him from a hundred hun bun Wed dred red men It Is this deep rumbling roar which fits tIts him bun so well wen to the part ot of Simon mon Legree the slave driver His Bia Story of the Play F fen In n his room leaning back In in an easy chair Mi Mr Sullivan did ld of his lat latent t artIc ar- ar ar- ar tIc triumph triumphS S Hisses is what Im I'm looking for he hes s IiI il 1 that that's a applause for tor me At first lJ It didn't t sound right but I gradually got sot used to it it I h hive have ve always been on on level level see A And n w 1 when hen they began t to hiss me at first ft It n m made d me me sore But now now whenever I can cn bring dut ut the hisses y you yu u can bet I am all right f fI I would be a fine lobster t to pl play l y that part without a hiss Iere lere Mi Mr Sullivan drew up his chair an and pointed an like Iron finger at his his' it Int Interlocutor A Js t S si I 1 said 1 In suc such sucha a piece a as as' as this hisses 1 is good every time and andI I lUs what I Im I'm m looking for for Ip from the right side of ot his hill mouth the ex-champion ex of ot the tM world continued I J 1 like this partIJ's part parr I IJ's Ws all right and Its It's Strong strong yo you know viat I mean There aint a weak line Now at the auction sale of ot fig nig- do rs-do rs do you jou theres there s where the thereal thereal thereat real reat thing comes in r Mr Ir r. r Sullivan cleared hl his voice and prod pro- pro d to demonstrate f The auctioneer er guy is on the tM pox box ox A Alot Alot lot ot of oC stand do around do you see seend nd a nd one of ot them thorn bids bids for bra tor a r l 1 m. m et that hat go go because I dO dont don't t wa want YOu draw the color line eh eh Not on your II life Ufa Im I'm there to buy jiggers Js dont don't you see But I don dont don't t trant rant that I It lt comes down to Emmeline Well ome orne guy bids into the seven hundreds t Jd I top him with and cops out oute outI I he e girl Chucks hucks Her Under the Chin This gives me a chance tP t tp r d da thy some ome line fine work I say to the girl pirl rl You Yau are areaT aT pica looking looking girl chucking her under er I Ithe the chin this way Mr Sullivan Sullivans s chuck was like the blow of oC a trip The reporter to toOk the the k-the the count I her under under- the chin th that t vay way wayan an and she says Oh JOh dont don't hurt me hie Then I Well if It you jou ou dont don't look shala a and nd d mind roe rne when you get ho home Ill I'll hurt yer fast tast t he pugilist actors voice took on a snarling tone and he flourished an im im- at l ry whip with a ponderous right arn BiThe Th a auctioneer business gO go goes S right right on fc b but l t l I dont don't Pay any attention to toM at M t. t When hen Uncle Tom is up up to be bel old some of ot the In the back- back sing f beSin to sing This is what they I tIr I cleared his throat throat threw I back 5 c his n's Is big cropped head and bellowed JT eli I me- me one song sons of at r our old Kentucky II Of or our old Kentucky home so far away from from- The notes died away like a bl blast st t th the wild a calliope w ope pe The b booming tires tines the h a abandon andon the herculean est es- es t with falth are V peculiar Intense ullar earnestness to Mr 1 Sullivan and good and are re impossible to portray portra or duplicate And Aud They Shut Up See up 1 say d d-d d to i these M g gys s i singing I ng I Ing ng s 's Shut yer d h howling o l ep ee n and t they ey shut Shu up Tom is put o the stand stand-an oid that 0 aint strong so 60 so as as to tok k kind d. d Or f get If y bids SS and the bids bias I run rin En n un up until they ther reach 1075 Then I s sy y to the thc cuy guy that w Look yu 0 YOU I r J J I I want want him myself Then Then I bid bid 1100 1 and get Uncle Uncle Tom Here is where I do some good acting and bring down the house I mean J 1 get grit hissed red hot When Uncle Tom is knocked down to tome tome tomo me mo I catch him bj by the arm pull him oft off the block and say rough You Thu o beloI belong g to me Then the auctioneer standing on his perch says Ladles Ladies and gents ot gents gents' of course he doesn't say say ra ll s because theres there's s no 00 ladies there r j Gentlemen I have ve sold poor old a a r. r II r. r t Vj Wi Here is Yh where r I get et In my fine work I Jump up and back my whip p. p this way way instead Instead of drawing drawing back back k 5 a a. whip began to spar vl o vigorously o lY an imaginary toe foe f. f t t t f. f i i Uncle Toni TOm Tonito to the greatest scoundrel that ever went mea meaning me inc Th Thac Tha m makei me sor sore sore Here is where r ie-f ie in my fine work I Jump up and arid dra draw back my whip this way way Instead d of drawing ba back k a began to spar vigorously sly before an ari im- im Im Imaginary foe You see seeP see I l' l carry ari a r revolver v and nd before I can car g get f to the auctioneer tio e r rhe he draws a gun on me and bluffs m me offWell off offWell Well you t to he heap lr the th house se They hiss like a a p pack pack pack-i ck 9 of geese se but but that's all allright right Its It's applause for for torme me Promotion f O of vU of V Uncle cle Tom Tom Then comes a a scene cene where Tom is working for me I say 3 you Tom come h re I t told l 1 yer 1 I 1 t buy yer j just st for common work Im I'm going to p pet pera- ram ra- ra m ment wait permute permute wait till tm I get that w ln Im going to promote yer That's what viat I Sa say lr Im I'm th going oT ig to make a d driver er of ot yer Ir S Sullivan rubbed his scarred skull I reflectively having apparently lost the thre thread d of ot oihi his narrative But before this he said I 1 have a talk talk with Emmeline I say to to her that Im I'm going to buy her a a. piano I 1 d don t twant want a piano she he says says Well I Isay say Im going ke kyou you in the house She tells me that she does not watto want wat to stay in the house Th Then n her r ro roar ather at her You wa want tt to tobe be killed do y Well Ill I'll see see about that See what a a. strong situation r. r this puts me nie in V He Cuts Emmeline Then IThen I r cut cut Emmeline acroSs across the slip with my whip not not to hurt her you know V m sa say I hopes wont won't set et me at that I cant can't do It no nOway way possible ble bleI I yell at him this ibis way way was Hero Mr Sullivan turned his voice loose to th the imminent danger of ot the chandelier VV V V B Before tore Ive I've done with With yer yet yell lam lam larn a lot of things gs you never never knew knewt t k I. I U k tt k b K X P. P t P. P Hisses Is what I Pm Im m looking for tor ft y 5 that's for for me At first it 5 didn't su sound bu but 1 gradual gradual- r du u lWI l- l ft WJ WI 1 ly got used to It t tV t V P. P P. P P. P P. P P. P p. p p. p t p. p p p. p p p. p P before Then Ihen I hit him across the che cheek k kand and began to all him Over aver the stage That's my best hest part In hi the play Tim say says InI to work night an and day and work work while while ther theres there's s 's life and andr nd r breath brith In me but this yer er thing o noggin flog nog gin I can cant can't t feel it right to do and I will n nver mer ver do It if No ito no no o sa Tom My soul aint yours mas r Tou Icu haven't bought I that ye ca t buy It it It Its It's s been boug bought t tand and paid for by One Oue that thai i is jJ able to keep It able It-able able to keep It if He means God you s see e. e Mr 1 Sullivan acting the part of Qt Tom let his voice fall tall U tc to a A. thrilling whisper Ill see Ill I'll se see I yell at him Here jou r u- u take this dog and give e him such a in as he wont won't get over v i for a month Do you think the play has a good 1000 effect effe-ct wherever M er Jt It i Ji II pl played was asked V Well said sald Mr Mn S 'S me medil the play is as as strong as as- asan an and everybody e cries It h has has' hasgood s' s a good enough effect Do you think it had anything to do with bringing on the war war What if It it did Say That whole whole thing g wasn t muc much as a fight Them Spaniards nev l' l did a amount n to much New York Herald |
