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A Lurid Melodrama.

The reception of the gallant Cody (Buffalo Bill) at the Opera House last evening amounted to an ovation. The house was full, crammed, packed even to the aisles and window ledges. Fully 1,500 people were present - hundreds more than such dramatic stars as Claxton or Denman Thompson, such singers as Carey, and such orators as Philips or Beecher have been able to attract.

That a play nothing short of a well dramatized dime novel should draw such a house naturally causes the query, "Why is this thus?" Undoubtedly the sight of a genuine hero like Cody, who "born and nursed in danger's path, has dared her worst" is an attraction to many people. The Indians were also objects of interest. But it is probable that Zola, the recent French apostle of realism, is right, and that the masses care more for sensation than for art of any kind.

While the play as a drama was beneath criticism, some of the characters were notably well sustained. Of course, Buffalo Bill was fine simply as his natural self, and drew frantic applause from the "gallery gods " by his marvelous shooting and opportune appearance as a guardian angel. The stage Jew was well acted by Willard, and the frontier Judge Shyster, a feeble parody on Bret Harte's "Col. Starbottle," played well by Beverly, drew down the house by his uctuous "I should smile." The tableaux were tolerable, the burning prairie scene was excellent, and the interior of the Cheyenne gambling saloon was probably accurate enough - though the more realistic such scenes are the more the Drama is degraded by their presentation. Miss Jones, who played Rose Melton, had a very fine voice and with training would make a successful actress. On the whole, "Buffalo Bill" made a dramatic "ten strike" in Clinton.

A Lurid Melodrama.
The reception of the gallant Cody (Buffalo Bill) at the Opera House last evening amounted ta an ovation. The house was full, cramimed, packed even to the aisles and window ledges. Fully 1,500 people were present-hundreds more than such dramatic stars as Claxton or Denman Thompson, such singers as Carey, and such orators as Philips or Beecher have been able to attract.
That a play nothing short of a well-dramatized dime novel should draw such a house naturally causes the query, "Why is this thus?" Undoubtedly the sight of a genuine hero like Cody, who "born and nursed in danger's path, has dared her worst" is an attraction to many peoole. The Indians were also objects of interest. But it is probable that Zola, the recent French apostle of realism, is tight, and that the masses care more for sensation than tor art of any kind.
While the play as a drama was be neatly criticism, some of the characters were notably well sustained. Of course, Buffalo Bill was fine simply as his natural self and drew frantic applause from the "gallery gods " by his marvelous shooting and opportune appearance as a guardian angel. The stage Jew way well-acted by Willard, and the frontier Judge Shyster, a feeble parody on Bret Harte's "Col. Starbottle," played well by Beverly, drew down the house by his unctuous "I should smile." The tableaux were tolerable, the burning prairie scene was excellent, and the interior of the Cheyenne gambling saloon was probably accurate enough-though the more realistic such scenes are the more Drams is degraded by their presentation. Miss Jenes, who played Rose Melton, had a very fine voice and with training would make a successful actress. On the whole, "Buffalo Bill" made a dramatic "ten strike" in Clinton.