Life — February 8, 1894 — page 10: what you’re looking at

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

“VENUS."* F it be true that an essential of comic opera is that it shall be comic, then “ Venus,” produced at the Casino last week, is not a comic opera. If it be also true that an essen- tial of comic opera is that it shall be operatic, in the sense of being musical, then, also, “Venus " is not a comic opera. Of feminine shapeliness, of gorgeous color, there is plenty and to spare; but of mirth-inspiring lines and of music that is either tuneful or original there is a woeful lack. Chasing a woman about the stage with the rays of acalcium light does not make her a prima donna, even in comic opera. Making her thus conspicuous of course distinguishes her from the chorus girls and from the minor mem- bers of the caste. But Miss Camille § d’Arville, who is thus distinguished £ by the gas-man, is so deficient in the A. more important qualifications for the position she assumes, that these illum- inating attentions only serve to em- phasize the fact that she is out of her class. She has a fairly good voice, which she handles with some skill, she is large and symmetrical, and her face, if properly made up, would doubtless be attractive in repose. But in expres- sion and action she is as far from being an artist as Timbuctoo is from the Battery. The piece is not funny; but if it were, if the lines were the combined output of Tom Hood, W., S. Gilbert, Mark Twain and a score of other recognized humorists, they would be lugubrious and sad in the hands of the alleged comedians who try to be comic in “ Venus.” On the other hand, if Francis Wilson, De Wolf Hopper and Senator Crane were in the caste and obliged to confine themselves to the text, the performance would still be funereal and mournful. Mr. Kerker’s music is not offensive ; but that is the best that can be said for it. The hero of this production of “ Venus" is the gas-man. The discovery of lighting by electricity was a great thing for him. We have spoken of the way he chases Miss d’Arville around the stage with a misfit halo, but this is nothing to his reckless enjoyment with the colored slides. Unfortunately, he is out of sight (both ways) and we can not see his happy expression when he throws a pea-green light ona girl in purple tights, or casts Iferino atmosphere about a chorus clad in blue. We know, though, his delight is supreme when he uses a lot of slides at once and makes the stage and its people look like a set of fifteen-ball pool balls, The capabilities of electric-lighting as applied to the stage are infinite, and this artist has grasped them all. Metcalfe. METHOPOLITAN OPERA HOUSE, The Musical Comedy BARRELS OF BOODLE; or, WHAT'S THE MATTER WITH US? By the Boxholders of this Theatre. An unparalleled display of GEMS AND COMPLACENOY. Directions printed on every program enable visitors to know just which Boxholder they are looking at. This is done in NO OTHER COUNTRY! There will also be a performance on the stage. “Yes, sir, they are rough; but that very roughness, by stimulating the skin, renders them very healthful.” “Well, I'll try a suit.” comicbooks.com