Life — February 25, 1886 — page 10: what you’re looking at

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

AN ENTERPRISING PUBLISHER. Publisher (at seance): 1 UNDERSTAND THAT YOU POSSESS THE POWER TO COMMUNICATE WITH SPIRITS OF ANOTHER WORLD? | Medium : YES, SIR. Publisher : CAN TALK WITH ANYONE, I SUPPOSE? Medium : OU, YES, SIR; ANYONE AND EVERYONE, Publisher : WELL, | WISH YOU WOULD ASK HUGH Conway IF HIS ENGAGEMENTS WILL PERMIT HIM TO FURNISH ME WITH A SERIAL STORY AT ONCE, AND WHAT HIS BEST TERMS ARE FOR THE SAME. SEASON OF HIBERNIAN OPERA. IGNOR BIGI MICKALINI, Impressario, desires to inform the Irishstocracy that, following the present season of the German and American, there will be a series of one subscription nights of Hibernian opera, commencing March 17th. Madame SHAUGHNESSI, Soprano. Mlle. BRIDGETTA O’HooLonant, Contralto. Signor Parst GiLHooLtnI, Tenor. (“The silver (dollar) tenor”). Le GRranp HuRROO, Basso. AND A “Come-all-ye” chorus of one hundred trained voices. Mile. MARTANN McCarrTI, Prima Danseuse, From the Castle Garden Theatre, New York. AND A full corps de ballet, from Ballyhoo, Ballyshannon, Ireland, in a grand divertissement entitled : “ The Peri and the Politician.” REPERTOIRE. The Flying Englishman, L. Owen Gwinn, Carmen (3d ave.), The Bride of Larry O’Moore, Il Copper, Lucretia Begorra, etc., etc. Celtic Librettos can be purchased at the box-office. Ushers will place a can of dynamite under the chairs of all detected reading un- authorized editions. SUBSCRIPTION PRICES: Orchestra stall, including bar ‘privilege and services of usher anditicket-taker 203. th ee $EICO Heeler (late mezzanine) boxes, each ape eee 1 50 Family circle . . . . «One week's soap-fat money. Ambulances may be ordered for 11 P. M. W.P. CUR'OUS DE OL’ER YO’ GROWS. HE Casino is evidently turning over a new leaf, and the novelty, weirdly surprising as it may seem, is war, bloodless but vigorous, against tights. The topical song rendered by Mr. Francis Wilson in the “Gypsy Baron” a announces this fact with glib suavity, and throughout the 1 whole performance the most thrilling decency is to be re- 4 marked in the costumes. L Of course this state of things is very delightful, and the innovation comes at a time when something of the sort is absolutely necessary. But the lack of tights should be atoned for either by extra humor or increased talent, in order that the audience should not feel too bitter; and at the Casino both these requisites seem to be unusually wanting. Strauss, whose delicious dance music has been noticed by | nearly all the modern novelists dealing with “dreamy waltz | measures” and “rhythmic cadences,” wrote the score of the “Gypsy Baron.” I forget who penned the libretto. I will try to refrain from remembering. The basis for nearly all the humor to be discovered in the Casino production is hogs. There may be money, there may be domesticity, and, referring to Ireland, there may even be companionship in hogs. But they are not chic; they are far from suggestive of daintiness or delicacy, and, He: BLAME OLE FUT MOS! SETS ME WIL’ AT TIMES SINCE I FROZED IT Las’ WINTAH, She: DATS GOOD SIGN IT’S GWAN TER THAW. He: GWAN TER THAW? RIDICKLUS! DOES YO’ TINK IT TAKES A FUT A HULL YEAH TER THAW OUT? ’PEA’S LIKE YO’ GITTIN’ MO’ comicbooks.com