Maggie Mitchell

She will play " Fanchon the Cricket " in Aan Arbor, Dec. 21. "Fadette," a story by George Sand of the love of two Breioa peasants, translated inïo Germán and from the latttr redressed in the Euglish toBgue, is the ongia of Fanchon the little Cricket, a play whieh, ihrough the genius oL Maggie Mitchell, has become lainihar to all piaygoers througbout the length and breadth oL this continent, lt ia the story of 'Cyinon and Ipiiigenia " with the roles reversed. CvmoD firt-t becomes conscijus of his rusticity while gasiog on the sleeping nymph. Fanchon awakens to a seise of her outlawry through a growing love for the young peasant whom she had at firit ridiculed ud moekert, but who as her cLanipion at the fair when she is reviled by other peasauts, becotaes a thing apart, a creature of a higher order than his companions - a thing to admire, ihen to reverenee, then to Lve. To be looked down upon by the handsome Lndty is a fate too terrible to comtemplate - to be loved by him a dresm of seemiogly impossible achievement. Under the epell of this new sentiment the " tom-boy " hastens to repair her dress, tie up her vagranc locks acd assumes the outward signs of respectability. The first attempt results in a ludicruus failure. She perseveres and before Teaving her nativa village in search cf fortune presenta herself before the astonished Landry as a ntat, trim little maiJen, modegl in demeanor and as captivatiag as a fairy just emerctd from her disguising buudle of rags. Fanchon returns hoa.e at the end of a year, and succeedj in persuading the obstinate old Jean Barbeau that she is a fit and proper match for his son, the paternal consent is given and the curtain happily descends on the play. Maggie Mitchell created the character of Fanchon, for it was scarce'y more thau an outline when it came into her hands. She introduced the picturefque May-pole dance. She gave a new and strikiog finish to the third act, where Landry leaves her sobbing on the ground, and the villagers two by two pass over the stage singing a merry refrain, which seems to mock her isolation; wh Ie pitiless and afar " the Cüld, round moon shines brighily down." She created the Shadow dance, which is now inseparable from the play - the Shadow dance so unique ia its grotesque action, its wild and alinost unnatural exuberance oi animal lite, its mockiag laughter, and in the little witch's earnest and real companionship with her black familiar. They are, Bhadow and eubstance, staunch friends and joyeus companions. No one but an original genius could ever have succe88fully grappled wiih the complex character of this strange little Breton peasant, and do one, aside from Maggie Mitchell, could have produced so true and natural a development from barbarous ignorance to gentle maidenhood, to that sweet rueticiiy which makes the old adage of "love in a cottage" a reality instead ota romance. The play of Fanchon is "not for a day, but tor all time," and, so long as Maggie Mitchell lives to act, will continue to be an acting play, a charming little drama, ianocent as childhood and captivating as the first step into the enchanted land of romance.