Life — April 15, 1886 — page 10: what you’re looking at

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

‘LIFE: O doubt Philadelphia is an intensely artistic and wildly dramatic city. It has always been pleasant to think that between the metropolis and Quakertown there could be a reasonable competition backed up by cosy little mutual endorsements of the dramatic productions of each centre. Philadelphia has ever been ready to endorse New York successes. In her ineffably subdued way she has said, “ That piece is good. My big sister told me so. Far be it from me to differ with my big sister.” Philadelphia has become weary of eternally doing the agreeable. She has even become aggressive. In a fit of desperation at having nothing better to send, she has for- warded by special train to the Standard Theatre “ The Little Tycoon,” one of the dreariest, most consummately prosy productions that the most hostile Quaker intellect could have devised to appeal to the soporific inclinations of the metro- politan public. Those may be long words, but I can’t help it. I feel acutely on the subject. “The Little Tycoon" is a dismal disappointment. Both the music and libretto are the work of an American, and in the desert of foreign productions there was scope for a great deal of good work. If the opera, or operetta, or whatever it may be, made such a pronounced hit in Philadelphia it must have been for purely patriotic reasons, which cosmopolitan New York cannot understand. There is very little story in the piece. In the second act, for no earthly reason, every one dresses up in Japanese cos- tumes and adopts “ Mikado” attitudes, though Mr. Willard Spenser, I believe, declares that his libretto was published be- fore Gilbert's work saygthe light of day at the Savoy Theatre. Mr. Will S. Rising introduces a “ specialty " song, and alto- gether “The Little Tycoon” savors strongly of the popular American variety entertainment, where the author, in a burst of generosity, introduces as much of the work of other people as his own sweet will prompts him to do. New York can and does import trash, Mr. Willard Spenser. You know that. Would it not be better to let other productions alone unless they be original ? There are a couple of pretty choruses in “ The Little Tycoon.” Their music may be slightly wearisome, but the “business " is good. Of course Mr. Spenser has a topical song, with the Aldermen in it, and that long-forgotten coach- man marriage, néws of which has probably just reached Philadelphia. "When an American can make a comic opera a success by dint of imagination and literary merit, without the aid of the daily newspapers, he will have achieved the first step toward the establishment of a native school. The Bijou, the Fourteenth Street, the Union Square Theatres and the Casino—where musical productions are at present being given—all rely upon an inané tissue of topics for mirth. The Temple Comic Opera Company, which Philadelphia has kindly sent us, is wonderful for the simple reason that beyond Mr. R. E. Graham and some pretty chorus girls it has not a redeeming point. Miss Carrie Dietrick, who plays the most important part, has a voice which is generally about a semi-tone flat. She is neither vivacious, cAsc nor entertaining. Miss Netta Guion, as Dolly Dimple, overacts a stupid part with horrible energy, and Miss Elma Delaro is supposed to be excruciatingly convulsing each time she asks : “ Have you seen the whale?” Where the wit or amusement comes in I am at a loss to understand. Mr. R. E. Graham, as General Knickerbocker, is as good as he can possibly be in such a play. His imitation of Dixey is not meant to be apparent, but it is there all the same. The pity is that the other members of the company do not each imitate some one—any one. This would remove some of the gloom from a funereal performance. Alan Dale. . . . OVERS of the beautiful who need one more rainbow in ~ their artistic souls will find it in “ Broken Hearts,” now running at the Madison Square Theatre. Those fami- liar only with the satirical and amusing side of Mr. Gilbert's talents will experience a surprise.’ The play is full of poetry ; graceful, tender and with an amount of pathos and romantic beauty most grateful to the parched soul of the XIX. century theatre goer. The piece is exquisitely mounted, and the acting is in per- fect harmony with the spirit of the work. A ROYAL BANQUET. FROM LIFE'S SPECIAL “DINER WITH ROYALTY.” = OU have doubtless read in ] the papers by this time that the Queen gave a little, small and early dinner to 7 the United States Minis- ter, the French Ambassador and the Lire Special Envoy and Diner - Extraordinary, at Os- borne, last week. R Mr. Phelps, M. Wadding- ‘ bere ssid ton and I being the repre- sentatives of Republican ideas at the Court of St. James, naturally enough expected more or less of a Republican Feast, but we had no idea that the Queen would put on such a Democratic Free Lunch as this Royal Banquet turned out to be. The only swell thing about it was that the Bill of Fare was labeled “ menu,” doubtless out of consideration for Wad- dington. At six we seated ourselves. I took Queen in, while Wad- dington and Mr. Phelps brought up in the rear with Mrs. Duchess of Teck and Princess Battenberg, n¢é Guelph. comicbooks.com