Marie Tempest (1866-1942)

Marie Tempest (1866-1942)

In Press and Literature THORNS IN THE FLESH - MISS MARIE TEMPEST SAYS COMIC OPERA STARS HAVE THEM (The Lima Times-Democrat 23rd Nov, 1893) HEALTH MORE THAN SUCCESS (The Times [Trenton N.J.], 1st February, 1894)

(The Lima Times-Democrat 23rd Nov, 1893)
THORNS IN THE FLESH - MISS MARIE TEMPEST SAYS COMIC OPERA STARS HAVE THEM
The Opera and the Drama Paralleled - Disturbing Elements That Creep In - The Gift of Composition - A Popular Singer's Idea of Her Art

NEW YORK, Nov. 20 — The drama and comic opera are indissolubly united. The former plays an all important part in the latter. The divine comedy of song finds a fitting setting in its sister — the drama. The star, in either case, makes or mars the production. Of the two, the opera is the more difficult in its presentation, from the fact that the parties participating must possess both vocal and dramatic power. This combination, to any appreciable degree, is rarely met with in one person. Hence the scarcity of comic opera stars, One might almost say that two courses of training are necessary to insure perfection.

To be a successful comic opera singer, one must diligently study both dramatic and vocal art. To become competent in both, their study must be taken up at a very early age, but without natural affinity for the work the most careful application is well nigh useless. A good comic opera singer is born, not made. In fact, the same rule may be applied to every art in life. To attain success, natural adaptability must predominate in the individual. Environment also has much to do in bringing to a successful issue innate talent of this order. The amount of labor involved in preparation for the comic opera stage is endless, calling for years of the closest study before even a slight success can be achieved.

The spirit of the times is inevitably turning people's minds toward whatever affords the most amusement. The day of Shakespearean plays and heavy tragedies of all kinds is passing away, and the public, the majority of whom are immersed in business from early morn till the shades of evening fall, naturally turn to some light form of entertainment — something which does not require deep thought or concentration in following out the details of the plot.

Comedy, in its way, is delightful, but with vocal and instrumental accessories it becomes "a thing of beauty and a joy forever." There is a witchery in comic opera which bare comedy could not possibly evoke. Music, always enchanting, is doubly so when the performer is a skilled opera singer. Then, too, the costumes are always selected with the idea of enhancing the beauty of the dazzling spectacle. It is to such scenes that the tired man of business turns when his day's labor is ended. He is carried entirely out of himself and away from all depressing thoughts, he hears nothing but the entrancing music; he sees naught but the gorgeous costumes which drape the figures of the lovely singers. Life for the time being takes on a rose tinted hue, and care is banished.

In tragedy all this is changed. The mind becomes concentrated, and the listener in his efforts to follow the saddening scenes presented strains every nerve, and what was intended as entertainment has at its conclusion quite an opposite effect. The decadence of tragedy may, in a great measure, be owing to the lack of tragedians. Melodrama, on the other hand, in its effects is rather pleasing, for the evening alternates between hopes and fears, and whatever impression is made is seldom lasting. Melodrama has always found favor with the American people from the fact that to a great extent it characterizes the plays of American authors.

To return to comic opera, its present grateful acceptance by the people may, to a great degree, account for their desire to escape for at least a time from the business troubles which almost overwhelm them. Thus it will he seen that this form of entertainment is an important factor in the people's welfare and happiness. Life is a kaleidoscope, and comic opera is one of its brightest prisms. To the expectant listener and sightseer its rainbow hues seem quickly to chase each other across his excited imagination. But the central figure, or star, while perhaps nightly delighting the eyes or gratifying the senses of an enraptured audience, has many outside trials to endure.

Actions are often misconstrued and words misinterpreted. Her manager must be consulted on every occasion, and unless he and the star agree it is useless putting forth any effort toward success. Understudies must be agreeable and efficient. In fact to produce an opera of any kind successfully, harmony must reign throughout. When disturbing elements creep in, the public soon learns of the fact and it does not always stand ready to support the star.

Newspaper critics are also thorns in flesh, and it would be well if all persons connected with public life could understand how much harm or good they are capable of doing. Reporters, too, play an important part in theatrical enterprises, and I would advocate their being treated with the greatest courtesy on all proper occasions. For my own part, I consider it flattering indeed to be called upon for the little bits of information I am at times able to furnish.

In a chorus girl a pretty face and shapely form are both important adjuncts, and coupled with a musical and sympathetic voice are bound to lnsure success. But even with these advantages her life is not always a pleasant one, for many of these sensitive young women are often compelled to endure great hardships. And here let me say a word in their favor, for I have never known a kinder hearted class than these selfsame chorul girls. Many of them are the mainstay of invalid fathers, mothers or sisters, and they willingly yield up their earnings for the support of their loved ones.

How true it is that all that glitters is not gold. Oftentimes the coryphee adds to her income by doing work outside of her profession. But during rehearsals and the first stages of the opera this extra labor is impossible, for the young woman's time is not her own to control. Rehearsals are frequently long and tiring, and it is useless for persons of delicate physique to take part in any performance requiring such preliminary work.

The construction of a comic opera is perhaps the most difficult thing that librettists and musicians can undertake. An absolute daintiness is indispensable, and this must be produced in conjunction. The Gilbert and Sullivan operas, so noted the world over, are almost perfect in this respect, owing to the congeniality existing between the co-authors. They seem eminently fitted to work together, and consequently an exquisite harmony permeates their productions. For comic opera the airs must be light and "catchy" - something that will linger in the public ear, and that every little street gamin will be able to whistle in his inimitable way. These melodies penetrate the most fashionable homes and they delight young and old alike.

There are but few successful composers of light opera in the world. It requires a unique gift of composition and a peculiar adaptability to the musical needs and tastes of the people. Many giants - intellectual and musical — start out with the best intentions, but at length fall by the wayside. To produce a meritorious comic opera requires indefatigable industry, tireless patience and a temper perfectly under control, for even after an opera is "staged" the composer sees parts of his cherished work literally torn to pieces by the critics.

The man who can keep his temper under such trying conditions, and at the same time adapt himself to the changing whim of the people, becomes the hero of the hour.

MARIE TEMPEST.

(The Times [Trenton N.J.], 1st February, 1894)
HEALTH MORE THAN SUCCESS
No One Has A Greater Share of Both Than Beautiful Marie Tempest

That stage fright is a malady which afflicts the most experienced and capable actors as well as beginners is the unanimous verdict of the profession.

Miss Marie Tempest, whose many successes upon the English and American stage have placed her in the front rank of operatic stars, admitted frankly, upon a recent occasion, that she is frequently attacked by stage fright. Miss Tempest combines a voice of extraordinary pitch and sweetness with the dramatic fervor of an emotional actress to a greater degree probably than any other prima donna now upon the English speaking stage, and the statement will be a surprise to thousands of her admirers whom she has impressed as the personification of supreme confidence and self-control.

"The sensation is one of utter collapse," she said, "it is truly an awful feeling and is nearer to seasickness than anything else I know of. Players with a highly nervous organization are sure to be attacked by it when approaching the climax of an important part, or when appearing for the first time in a new play. Those playing emotional roles are more susceptible to stage fright than others, because the individual capable of portraying those parts successfully is necessarily possessed of a highly nervous and impressionable temperament.

"In one respect a highly developed nervous organization is indispensable to success, as without it a proper conception and feeling of the part to be acted are impossible. You know an actress must not only understand her part, but be so absorbed in it that she forgets her own personality, and for the time being lives in her assumed character."

"Then great nervous excitability is a decided advantage to an actress ?"

"In the way I have described, yes; as a general proposition, no. The mental strain, the intense application necessary to a proper realization of the part, the apprehension that the audience may be criticising you adversely, and the constant study of new roles, underundermines the health and often cuts short the career of the conscientious and ambitious actress.

At the close of last season I was completely prostrated by nervous excitement and over-work. My nerves were so unstrung that the slightest sounds startled me, and I became sleepless, melancholy and, irritable. Sick and disheartened, I sought the home of an old and dear friend, who immediately advised me to use a brain and nerve food of which I had heard much but knew comparatively little. I would have taken anything she chose to give me, but I liked the taste of the preparation and continued, its use. I had not consumed one bottle when I found that my nervous system had resumed its normal tone. I no longer lumped at shadows, my appetite come back, each night brought sound and refreshing sleep, and I am now in perfect health and vigor, through a systematic, use of Paine's celery compound. The present season has been the most successful, and therefore the most exacting, of my career, but the invaluable remedy which restored my health has also preserved it. I have recommeded it to numbers of my friends, and in every case with most fortunate results."

The beautiful prima donna looked the picture of health as she spoke. Her large blue eyes sparkled with animation and her countenance lit up with an expressive smile that enhanced the charming vivacity of her manner as she remarked: "I have found that devotion to a chosen pursuit is not incompatible with good health. If all the men and women, the clergymen, teachers, merchants, and lawyers in this busy country, whose overtaxed brains cry out in protest against the heavy burdens laid upon them were to embrace this remedy, I am sure there would be a marked decrease in that terrible disease, nervous prostration, which seems fast becoming a national one with you Americans. Success is, indeed, a glorious thing, but believe me, health is better."