OCR Text |
Show AN OCCASIONAL KICK j Often Leads to the Suceess of, a Soubrette. A FEW WORDS FROM LOUISE BEAUDET.j They can Supply That Which AuthorB ; Know Nothing About. ! 'lhe soubrette, if she is of the captl- vatiug kind, will creep into the good graces of the audience much quicker 1 lhau the stately prima donna or the pomaded tenor. Of course there is a rv:iou for this, and the reason lies iu the tools of trade of the dashing dash-ing soubrette. The tools are few. but they go far toward success and fume. First", it is necessary for tho little lady to have a lively disposition und a thorough understanding of the humorous side of things. Then she must have a good pair of Hashing eyes, pretty teeth, a Ruucy mouth, dainty ankles antl plenty of dash. With the eyes she can accomplish wonders. hen a line fails to hit tho public facy. give them a glance; different differ-ent lines suggest different kinds of glances. There are the demure glance, the saucy glance, the cjuickeniug-pulse glance anil the sighing glance, but a glance from a pretty girl is sure to he ore, no matter what its class may be. A row of pretty teeth behind rosy lips will also supply much that the author of the play has neglected to put in. How many times have we seen a climax reael ed by the sudden curl of a saucy month! Next we look to the nnkles, which often carry scenes through when all else would fail. Ankles help to fill the ' front rows in the theaters when the play is often trash and unattractive. I A little kick just at the finish of a song or at the entrance when an exit is made has often placed a soubrette on the top round of the ladder of public notoriety. I know of one urtist who bounded , into popularity on the strength of a ! wriggle. At first it did not seem to amount to much, but as the play pro-I pro-I grossed it became more noticeable, and ere the final curtain had fallen nearly everybody was talking about the i i wriggle. Size is another important factor, and . the small',.r-tho--i ih o m ore -nttractiYC 1 the soubrette. Of course there are instances in-stances where ladies above the medium height have become famous in this line if parts, but as a rule we always look ' -'or the short, fat and saucy ones to play the mirth-provoking1 roles. It is a I well-known fact that nine out of every 1 ten artists of prominence on the stage to-day are not playing the line of parts ! now that they originally aspired to portray. por-tray. Circumstances and the better judgment judg-ment of managers have often changed the entire arrangement of plans, and the intended Hamlet lias found himself a successful Toodles, while the stately I Qreen Ann or Ophelia has made her mark in comic opera or laree-comedy. i Jtut those things rarely happen to soubrettes: those ladies are born, not made, and the soubrette of the early i eradie remains even the same, until we j find her in advanced years with the i sme smile, same glances, same kick, ; (not the) same teeth, and a blonde wig, appearing in "Cousin Joe" or "Nan the Good for Nothing. ! Louise Beaudet. |