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Figure MISS KATHERINE JEWELL EVERTS A SLAYTON ATTRACTION MISS KATHERINE JEWELL EVERTS has the honor of announcing the following series of Dramatic Recitals. Unassisted by scenery, costume, or other accessories, Miss Everts impersonates the characters in each of the following plays: My Lady's Ring : a comedy written especially for Miss Everts by Alice Brown . Olivia : an arrangement of The Vicar of Wakefield, made especially for Miss Everts by Alice Brown . Jocelyn Light : arranged by permission of the publishers from Mary Johnston's To Have and To Hold. The Spanish Gypsy : George Eliot Armgart : George Eliot Comedy and Tragedy : W. S. Gilbert Candida : George Bernard Shaw The Merchant of Venice The Taming of the Shrew (Miss Everts was associated with Miss Ada Rehan and Mr. Otis Skinner in their production of these plays.) As You Like It Romeo and Juliet The Return of The Druses : Robert Browning (Miss Everts created the part of Khalil in the first production of this play on any stage.) The Ring and the Book. Caponsacchi. Pompilia : Robert Browning (Given separately or as a series.) The Blot in the Scutcheon : Robert Browning Sister Beatrice : Maurice Maeterlinck (Miss Everts created the part of Beatrice in the first production of this play on any stage.) Aglabaine and Selysette : Maurice Maeterlinck The Land of Heart's Desire : W. B. Yeats The Hour Class : W. B. Yeats The Countess Kathleen : W. B. Yeats Specimen Programmes JOCELYN LEIGH By Mary Johnston CHARACTERS The Lady Jocelyn Leigh The King's Ward Sir George Yeardley Governor of Virginia Capt. Ralph Percy Gentleman Adventurer Lord Carnal The King's Favorite Jeremy Sparrow Play-Actor and Priest John Rolfe Friend of Captain Percy Diccon Servant to Captain Percy Nicolo Physician to Lord Carnal ACT I. She Takes My Name Scene I. We marry in haste. Scene II. We refuse to quarrel. ACT II. She Seeks My Protection Scene I. We meet the King's Favorite. Scene II. We drink of the same cup. ACT III. She Shares My Lot Scene I. We outwit my Lord Carnal. Scene II. We learn the King's mind. Scene III. We defy the King's writ. ACT IV. She Accepts My Love MY LADY'S RING A Comedy by Alice Brown Founded on an anonymous story from Temple Bar CHARACTERS Hélène Romanoff A Russian Princess Prince Romanoff Her Husband Elise Her Maid Annina An Italian Peasant Girl Ippolito Annina's Lover Beppo Annina's Father Vanna Annina's Mother Gazagnaire A Solicitor Tornelli An Italian Jeweler THE SPANISH GYPSY By George Eliot CHARACTERS Fedalma The Spanish Gypsy Don Silva Duke of Bedmàr Father Isidor Prior of San Domingo Zarca Chief of the Zincali Lopez Captain of the Guards Juan A Troubadour Lorenzo Host of the Tavern Hinda A Gypsy Maiden Scene I. A Tavern in Bedmàr. Scene II. The Plaça Santiago. Scene III. A Room in the Castle. Scene IV. Fedalma's Apartments. Scene V. The Gypsy Camp. Scene VI. The Spanish Fortress. PRESS NOTICES ( Harper's Bazar ) Miss Katherine Jewell Everts is a young Bostonian who has made an unusual success in parlor readings. She is already established as a popular favorite in New York and Boston, and is rapidly making a place for herself in the large cities of the West. Miss Everts differs from most parlor readers in that she is in no sense a yellow-cutionist ; instead, she is an artist of really unusual ability, of great versatility, and of rare personal charm. Her repertoire includes such contrasting features as the Spanish Gypsy, Browning programmes, Candida, and Maeterlinck's Sister Beatrice. One of her greatest successes has been achieved in My Lady's Ring, a charming little comedy written especially for her by Alice Brown. ( Brooklyn Daily Standard Union ) Katherine Everts, whose monologues have made such an impression here this winter, appeared in one of her most popular pieces, My Lady's Ring. The persons of this little comedy, which exploits very deftly the miseries of jealousy, are six: a passionate prince, who suspects his own wife; a tantalizing princess, feminine to the core, yet absolutely faithful; an irascible peasant, whose suspicious frame of mind reflects that of the prince; the peasant's innocent sweetheart, who knows only that her heart is breaking; the parents of the last, from the soil and amusing. Without text, scenery, costumes, or announced names, these several types, with their varying characteristics, pass distinctly before you as Miss Everts makes them live and breathe. So intense is her magnetism, so illuminative her expression, so pure her reading, that with no properties, save an attractive appearance and a beautiful contralto voice, she places you under a greater illusion than many a real actress on the real stage. But it is not elocution in the usual sense of the word; no one is doing precisely the thing this young woman does so fearlessly and so well—bringing the stage to the platform. And the stage not as today but as in its prime, when to sink himself in his part was the actor's first duty, and to indulge in slovenly diction an artistic crime. ( Henry Austin Clapp, in Boston Herald ) Miss Everts's prime triumph was won, however, in her presentation of the two chief women. Her skill in the handling of their text was of a very high order, and produced an effect not easy to forget. The princess's grace and charm were irresistible; her gayety and mirth, her delicate address and perfect breeding, were made delightful to the taste, while her sweet womanliness and humanness gave warmth and color even to her most playful speeches and real depth to her earnest utterances. Annina was perfectly done—a fine study from life, exquisite in repose and patience and tender pathos, and purely feminine. Miss Everts's rare beauty of face must be mentioned with a sort of reverent reserve. Her arch smiles, her looks of direct affection, her expressions of longing and grief—hundreds of them—were so lovely as to take captive the sense of every spectator. The whole entertainment ought to achieve about as high success as is possible to anything of its kind. ( Boston Transcript ) Possessed of a clear, musical voice, coupled with dramatic ability, Miss Everts gave to the reading a wealth of expression and strength of action that were wholly enjoyable. Miss Everts is fortunate in a personal beauty aptly suited to the exquisite fabric of Miss Brown's literary style, and it is evident that her cultivation and native intelligence are equal to the full appreciation of this quality in the dialogue. How much, however, of the fascination and effect of the little comedy was due to the beauty and grace of the performer may never be quite separated out to the critical satisfaction. Suffice it to say that the triumph before a very exacting and critical audience was complete, and the enthusiasm was persisted in until the call of Author! brought Miss Brown momentarily into view at the back of the stage. Miss Everts is evidently fitted with a play worthy of her rare charm and talents, and Miss Alice Brown has found an interpreter to equal her own rare quality. ( Boston Transcript ) There is nothing but praise to bestow upon the acting of Miss Everts in the dual rôle of Sister Beatrice and the Holy Virgin. It was informed with genuine feeling; it was always sympathetic and always convincing; every one of its changeful moods was intelligently conceived and forcibly exposed. Throughout the portrayal was interesting and impressive; in the closing scene it was almost painful in its intensity, and yet beautiful and comforting. ( Poet Lore ) Miss Everts, who took the part which is so essentially the very body and spirit of the play, accomplished some remarkable work at each phase of the action. As the simple-hearted girl, the intonation of her every word had in it the crystal-clear freshness and innocency of daybreak. As the Virgin, the grave requirements of the part, that is, to personate an infinite tenderness, yet keep it lucid, holy, and remote for all its pity, she suggested in many a lovely guise, but most notably by an ecstasy of facial expression during the masterly eloquent silence, while the accusing nuns are fuming around her. Her work reached its highest eminence in the third act, where there is room for a climax of tragic depth, for fierce and abject pain, and also for a hard bitterness. The audience was supremely moved, a sufficient proof of the controlled artistic energy flowing from her. ( Baltimore American ) The performance was enthusiastically received. Miss Everts's manner is highly artistic, her enunciation clear and full of expression, while the versatility of her genius was shown in the ease with which she assumed the different impersonations, becoming, in turn, impassioned, tender, amusing, or pathetic, in such rapid succession it was difficult to realize the rôles were all assumed by the same person and not portrayed by the entire cast required by the play. ( Milwaukee Evening Wisconsin ) Miss Everts, with her high-bred beauty, her artistic temperament, her delicacy of perception, her vibrant voice, and her very remarkable facility of expression, is exquisitely fitted for the presentation of interesting character study. Added to these is a personal magnetism which establishes an intimate tie between herself and her audience, whom she holds interested, sympathetic, and delighted as she passes with the swiftness of April moods from one varying phase of character to another. ( Milwaukee Sentinel ) The delightful sketch, rich in pathos and comedy, was a happy medium in which to exploit the rare delicacy of the reader's art. Endowed with beauty, grace, a voice capable of expressing every human emotion, and a magnetic personality, the reader swayed her hearers from the moment she appeared before them and kept them in alternate smiles and tears. The play requires the impersonation of seven characters, with sudden transitions from the royal dignity of the Princess Elaine to the childlike naïveté of Annina and the crotchets of the aged men and women, all of which Miss Everts accomplished with a skill that betokens her an artist of rare ability. Although she has appeared in legitimate drama with Otis Skinner and Ada Rehan, and her adoption of a stage career would undoubtedly mean a success in the broadest and fullest sense, Miss Everts has withdrawn from the footlights and confines herself entirely to platform work. ( Milwaukee Journal ) The quick changes from character to character demanded by the impersonations were done in a masterly manner, and the entire comedy handled with a delicacy and discrimination that were a delight to her audience. Coupled with a beauty of diction and a voice of splendid carrying power, Miss Everts displayed an intellectual appreciation of the author's intent, which with a graceful stage presence, a face of rare charm, and much personal magnetism combine to make her something more than a reader, and pronounce her an actress of no mean ability. Among the recognized talent of the platform today stand Leland Powers, Mrs. LeMoyne, and Mrs. Bertha Kunz Baker, and completing the quartette, Miss Everts. These have done much to dignify the platform and prove what can be done without scenery or other stage accouterment—an accomplishment which merits the praise of lovers of dramatic art. ( Jackson Patriot ) A large gathering of Jackson lovers of art and literature were given a most rare treat last evening by Miss Katherine Jewell Everts, of Boston, who gave a splendid presentation of George Bernard Shaw's drama, Candida. A drama of Shaw's, in which so much of the true meaning lies underneath the words, in suggestion, and the emotions are dealt with in so unique a way, is not the easiest thing imaginable to present in the way that Miss Everts presented it. A striking feature of her work is its beautiful finish, the careful attention to detail. Then, too, she has to aid her in her interpretations an almost inexhaustible fund of things which make reading enjoyable: a delightful charm of manner, a finely trained and beautifully modulated voice, complete sincerity, and a thorough appreciation of the value of restraint, the beauty of repose. Her delineation of character is excellent. She does not present a series of incidents or scenes, but a complete play, with each emotion, each word and action working up to the final climax, which she uses with moderation and artistic reserve. ( Jackson Citizen Press ) One of the most remarkable dramatic exhibitions ever witnessed in the city was the presentation of a three-act comedy, with nine characters, by Miss Katherine Jewell Everts, at Elks' Temple, Friday evening. The representative and appreciative audience which filled the auditorium was highly pleased with the performance, and Miss Everts received enthusiastic applause. ( Editorial from Montpelier Journal ) There can be nothing whatever that is conventional in the praise that is always warmly spoken of Miss Everts personally and of her work on the platform. The favorable criticism that should be passed on her recital was thrice earned in general and the detailed qualities of her representation of the nine characters, and in the spirit, beauty, and grace, and infinite charm of her delineations of the incidents of Miss Brown's interesting play. Miss Everts's recital is always as sweet and natural as the captivating things in nature itself. In the sterner parts of dramatic art she awakens admiration, and her capacity for banter and piquancy, its expression in eye and feature and bearing, is not outshone in effect and brilliancy by the bright lights of the stage. Unmingled satisfaction—a pleasure that defies adequate expression—is the feeling that possesses an assemblage after an evening with Miss Everts. ( Minneapolis Tribune ) Miss Everts is a reader of power. Exquisite is the word that better than any other describes her work. She has a personality in which are blended the simplicity of a child and the deep insight, the broad sympathies, and the comprehensive understanding of well-rounded womanhood. It is not too much to say that it was one of the finest recitals that has been given in the city. ( Minneapolis Times ) The delicacy of humor and daintiness of this play are entirely in harmony with Miss Everts's charming art. Throughout the reading Miss Everts suggested the fine points as only an artist can. There was always a complete subordination of self, yet spontaneity, originality, and individuality were not lacking. ( Minneapolis Journal ) Miss Everts's art is both powerful and subtle and marked by an exquisite delicacy of finish. Her voice especially is beautifully modulated and delightful in quality. Her mastery of her art enabled her to hold the interest closely through the play, with its strongly contrasted characters, each of which was skillfully differentiated. While Miss Everts's treatment was broad in its sympathies, not a fine point was missed in her delineations of well-drawn characters, and she entered fully into the spirit of the piece, dealing with its delicate humor with especial success. ( Chicago Record-Herald ) Miss Everts read with fine effect, impersonating the different characters and giving a wonderful impression of color and vivid life through each. ( Henry Austin Clapp, in Boston Advertiser ) There was no flagging of interest from the start to the finish of the romantic tale of love and adventure. Miss Everts's unintermitted vivacity and freshness, her power of entering into every situation, and her aptness in feeling character and expressing it through its various emotional manifestations were definitely demonstrated. Jocelyn Leigh's face, in moments of fear, anger, or offended pride, was fine; but its sweetness and shyness were very beautiful, perhaps no more beautiful than the singularly sunny looks, mixed of amusement, dignity, gentleness, respect, and affection, which radiated from Capt. Ralph Percy's face in his early interviews with Jocelyn Leigh. The identity of every one of the less conspicuous personages was sharply and effectively preserved. The evening proved to be an occasion of much delight. It was not marred by a moment of dullness. ( Boston Transcript ) Miss Everts displayed much cleverness in her cutting of Miss Johnston's popular story and in her arrangement of the selected parts in a succession of scenes in which the Lady Jocelyn Leigh is the central figure of this glowing romance—a figure that was very beautiful indeed as portrayed by Miss Everts. From the first moment of introduction to this masquerading maid, the interest of the audience never flagged. It was a positive pleasure to follow the brave, high-spirited girl to the home of her chivalrous husband, in the forest country. It was interesting, when at Jamestown, to watch her as she stood there, in all the dignity and pride of her beautiful womanhood, and faced—his quest for her being ended—my Lord Carnal, the favorite of the king. And not less lovely was she when, as the unspoken pledge of her devotion, she drank the red wine from the cup that was held to her lips. Likewise in the closing scenes, when, after learning the king's mind, his writ is defied, the witching sweetness and unswerving loyalty of the woman were apparent throughout. Miss Everts is to be much commended for thus subtly presenting so admirable a character, and well merited the appreciative applause extended to her by her audience. ( Montpelier Journal ) The most finished and delightful entertainment of the kind that we have had an opportunity of hearing for many a year. Miss Everts had not been five minutes on the stage before she had her audience under her sway, and she held it there until she bowed her final adieu. Youth, beauty, and an attractive presence were happily blended with an art that was delicate, finished, and true, as the story was unfolded. With no accessories of foot-lights, orchestra, scenery, or costume, this charming artist took, in swift succession, eight parts, changing in voice, features, and presence to meet their requirements. Smiles, tears, breathless attention, and applause followed her. Her work throughout was a real triumph.
|Title||Katherine Jewell Everts|
|Topical Subject (LCSH)||Impersonation|
|Personal Name Subject||Everts, Katherine Jewell|
|Digital Collection||Traveling Culture: Circuit Chautauqua in the Twentieth Century|
|Contributing Institution||University of Iowa. Libraries. Special Collections Dept.|
|Archival Collection||Redpath Chautauqua Collection|
|Rights Management||Educational use only, no other permissions given. U.S. and international copyright laws may protect this digital image. Commercial use or distribution of the image is not permitted without prior permission of the copyright holder.|
|Contact Information||Contact the Special Collections Dept. at The University of Iowa Libraries: http://www.lib.uiowa.edu/spec-coll/contact/index/|
|Number of Pages||4|
|Digitization Specifications||Scanned at 600 dpi, 32-bit color. Master image available in tiff format.|