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[EDITOR'S NOTE: This item has not been previously republished elsewhere. It is included in this collection because of its potential to be the work of Clemens and is deserving of further research and consideration.]


The Olympic

The new star, Miss Addie Florence, shed the mild effulgence of her dramatic glory on a numerous audience last night who were especially dazzled by the bright confuscations of her sword as it flew with lightning swiftness in the fencing scene in the burlesque of Mazeppa. Miss Addie Florence is an accomplished horsewoman -- (that isn't exactly it, but "donkey woman" doesn't read well!) -- and a fine swordswoman. Her reading of several passages in "Mazeppa" differs somewhat from that of those who have preceeded her in the part, but her conception of it is consistently sustained throughout. She makes a fine and original point of grasping the animal's tail in the second scene; it will be remembered that Menken used to grasp the mane. We have not sufficient space to give the reasons to prove that Miss Addie Florence's conception of this point is superior to that of Menken's, but will simply state that the "Mazeppa" of this actress is strikingly original and terrifically grand, and must be seen several times before it can be thoroughly appreciated. Scores of persons were unable to obtain seats, such was the rush to witness the debut of this actress on the San Francisco stage. The house was densely packed in every part. Miss Addie Florence is very pretty, and reads and acts admirably. We presume in "Mazeppa" an actress' form is as open to criticism as her acting, or a little more so; we may therefore observe that Miss Florence's figure is nearly perfect; the only fault we have to find is with her feet, which are rather too large. In addition to this extraordinary attraction, the usual splendid variety of songs, dances, negro acts, and choruses will be given to-night, as well as the capital burlesque of Arrah-na-Pogue, of which the public appear never to weary.


[transcribed from microfilm.]

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