Judge — May 1, 1886 — page 10: what you’re looking at

Machine-transcribed from the original scan — historical spelling and the odd misread are preserved.

JUDGE. Edward Solomon supplements his denial of | the rumor that he intends returning to Eng- land with the statement that he has in course of preparation a new opera, bearing the aston- | ishing title of “‘ Xanita; or, The Girl with the | Glass Eyes,” which he hopes to produce shortly before a New York audience. It is hardly fair to pronounce judgment in advance of the evi- dence, yet ‘in the light of recent events” I should strongly urge upon Mr. Solomon the advisability of making the proposed European trip. New York is not capable of appreciating pure, unadulterated genius such as his, Sydney Rosenfeld’s return to active life is signalled by the statement that he also has an opera which at some early date he intends springing upon an unsuspecting public. He only lacks a theatre to bring it out. Hereto- | fore it has been the frigid atmosphere in the | money market that has retarded Sydney's op- eratic ambitions. He is credited now, how- ever, with having suflicient pecuniary backing, if the proper place for a production can be obtained. After the wonderful Kellar comes a farce with a vareigated history and a reputation that is somewhat shady. It has travelled round the circle under several aliases, and given its different sponsors no end of financial heart- ache. Its present name is decidedly sugges- tive of the little peculiarity of its prototype, and if it refrains from exploding at the wrong local- itythis time its new friends will have abund- ant reason for congratulating themselves. Theatrical artillery as well as the ordinary, every-day article is a dangerous thing to fool with. prostrated for a day after playing a week's en- gagement of ‘ Fedora; ” that the mental and nervous strain is too great to be kept up night after night. Greatly to the consternation of his friends, Dixey has given evidence of break- ing down from the same cause. He has on more than one occasion lately forgotten his lines and caused a calcium-light pallor to creep over the house by interpolating a pun born in the nineteenth century. Strauss’s ‘‘ Gypsy Baron” was sung on Mon- day night to one of the largest and most fashionable first-night audiences that ever as- present to give it a more extended review. I shall have to reserve that for another week. The most attractive operas produced by the American Opera Company thus far have been “Orpheus and Eurydice” and “The Merry Wives of Windsor,” the former, particularly, drawing large houses at each representation. “Orpheus” heretofore has been associated in the minds of a great many people with only Offenbach and burlesque. To these the de- lightful music of Gluck’s opera is a revelation. Probably the most successful, because the most popular, of the Wagner series produced atthe Metropolitan has been ‘‘ Rienzi.” Its popularity does not wholly exist in the elabor- ate stage settings or brilliant spectacles with which it is surrounded. It differs from the later operas of this composer in the fact that it contains music which tends to attract, not weary, what the ardent Wagnerite would call the uneducated ear. “The Merry Wives of Windsor” has given place at Daly's to Cibber’s comedy, ‘She Would and She Wouldn't.” It is like chang- ing one’s potations from Burgundy, rich flavored and ancient, to bright, sparkling champagne. The one produces a genial, con- tented feeling, slightly suggestive of drowsi- ness, while the other arouses us to a state of exhilaration bordering upon the hilarious. The New Windsor opened with Clara Morris, Eben Plympton, and necessarily a company of very fair excellence throughout, not forgetting Bijou Heron, who ought to be metaphorically kissed for her mother’s sake every time she appears. This week the New Windsor presents “Young Mrs. Winthrop,” one of the purest and neatest and sweetest of domestic plays, and which has all the goodness of a sermon united toall’the piquancy of delicious comedy. ‘The cast of Young Mrs. Winthrop” at the New Windsor includes Agnes Booth, Annie Rus- sell, Mrs. Whiffen and Frederic Robinson, and the revival is accordingly so faithful that one is reminded to cry out against the yearning for change which has given the piece a vaca- tion. Manager Hill's Third Avenue Theatre is fast developing into a formidable rival of its big contemporary, the Grand Opera House. Standard plays, strongly and ably acted, LOVELY WOMAN Nature gives her a wealth of . crepe it. But she must frizz and AND HER HAIR. Broken and burned as her hair is, she is forced to cut it short in front and be more economical with the back hair, Still she pretends to think this fashion more lovely. sembled at the Casino. The generous recep- tion accorded it on all sides is sufficient evi- dence of its being one of the most “fetching” operas produced at this charming theatre. Circumstances are such that I am unable at The improvement goes on, but the hair goes out. The thin bangs now are combed up to resemble a thicker growth. The back hair crimes era raere wisp. she ar- tistic, At ‘present she has no hair left, but is forced to wear her hair cropped. She wears, of course, a tailor-made gown and it is her aim to be takiyn for a boy. Compare with No. 1 and see which fashion most the true home- loving woman. She has still one step fur- ther in progress, the ‘sand- per style, which will prob- ably end the display of nat- ural hair and be followed by a Marie Stuart cap. comicbooks.com