Life — May 15, 1902 — page 12: what you’re looking at

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

HIN Re The First Rose of Summer. HE Thespian who has been on his travels and is back to his first enjoyment of the Rialto, and the other delights of New York dear to the heart of the wandering histrion, was very much in evidence at the introductory per- formance of “The Wild Rose” at the Knickerbocker. He was present ata first night and he was helping to establish a verdict on a new piece. His help was in ( the nature of actual and CG» perceptible applause, more vigorous and noisy than discriminating. As there were two or three topical songs in the ” this encoring was of especial value to the actors who rendered these choice selections, With au ordinary audience the songs would have died in stanzas, with no one to regret except their authors and singers, But the returned trouper's opportunities for this enjoyment are so few, and he gets so much apparent happiness from them, that perhaps the other persons in the theatre should for- him his mistaken enthusiasm and his y expression of it. ° ry “musical con O construct a piece like “ The Wild Rose" must be a delightful pastime for the libretto-smiths and music-makers engaged Con- science knows the New York audi- ences who patronize this kind of entertainment are little exacting at any time of the year, but when a “ musical comedy " is intended for the sum- mer trade its manufacturers know that any old thing will be forced down the public throat, and their responsibility is slight in- deed. The verbal and musical chestnuts in “The Wild Rose” would create a panic in the regular autumn chestnut market. Every one knows that Mr. Harry B. Smith has a wager that he will complete his fifty-thou- wth libretto before the first of July, and. perhaps he is not so much to be blamed for relying on his clipping-bureau and scrap His puns are numer- ight the hearts of the of London Punch. But Mr. Eng- lander has a reputation as a musician, and it seems strange that he should permit his books for his humor, ous and would de reade “LIFE* name to be attached to a score which is for the most part inane or very perceptibly re- vived from the past. When he takes a con- siderable part of a song popular within the last two or three years and incorporates it into what purports to be an original compo- sition, he goes just a little bit further than ight. ‘The music is written down to avery low level of catchiness, but one ortwo numbers are rather pretty. The piece is, of course, of the Casino type. From principals to the Jast girl in back row of the chorus it has the jed-lobster aroma which pervades the atmosphere in the neighborhood of the cor- ner of Broadway and Thirty-ninth Street. Denizens of the Tenderloin will find in it many allusions to topics with which they niliar. ‘They will naturally approve of it, and residents of other sections of New York and summer visitors to the city from out of town will be expected to find it equally amusing. This is a bit cruel, but in summer theatricals the Tenderloin staud- ard is supreme and the public at large has to bow to it, The mounting of the piece is in wretched taste. The second scene—the interior of a Strasbourg cafe—is rather effective, but the costumes must have been designed by some one who was color-mad. The company is mediocre. One exception is Miss Marie Cahill, who has a sweet voice and, what is more rare in one of her sex, a delightful sense of fun and the ability to share it with her audience. Miss Irene Bentley is a com- petent artist in certain lines of light opera work, butin the part here assigned to her she is distinctly overweighted. Mr. Eddie Foy is—Mr. Eddie Foy. The chorus ladies are shapely and comely, but their shapeli- ness and comeliness are familiar to those whose business or pleasure takes them to the sidewalks of upper Broadway any pleas- ant afternoon. To be stranded in New York of a sum- ning and be obliged to sit about a hotel corridor is considerable of a hard- ship. Some persons might prefer it to sit- ting through ‘* The Wild Rose.” seems are mer's = New York Herald is a more enterpris- ing newspaper than it was in the days of the senior James Gor- don Bennett. That gen- *tleman would never have conceived the idea of having cabled from Paris the fact that Mr. Charles Frobman, the eminent and scholarly theatrical manager, wears pink silk underclothing. Of course this fact is of vast importance to the entire American public, and the present Mr. Bennett is rich enough to send by cable any news he pleases. It does seem, however, that the information concerning the underclothing of Mr. Charles Frohman, the eminent and modest manager, might have been sent by mail and the difference in the cost of trans- mission donated to the Jerald Ice Fund. Metcalfe. CONFIDENTIAL GUIDE TO THE THEATRES. Academy of Muste—" Quo Vadis." ing religious melodrama, Bijou" A Modern Magdalen.” Up-toxtate verslon of the lady who sins, Weil presented. Broadway.—The last weeks of the ‘spectacle, “The Sleeping Beauty and the Beast." Worth seeing. Criterton.—Mr. Belasco’s “Da Barry. Mrs. Lealte Carter and competent company in an im: pressive performance of a strong play. Daly's.—"* King Dodo,” Notice later. Empire.—Stock company in * The Importance of Being Earnest.” Well-acted presentation of talky ptece, by the late Oscar Wilde. Herald Square.—* Dolly Varden” still con. Unues. Musical and clever Knickerbocker —“The Wild Rose." See above Manhattan —Mra. Fiske in Tess of the D'Ur- bervtlles.”" Notice later. Madison Square.—* The Diplomat,” by Willlam Collier and company. Diverting. Saroy.—Robert Edeson in Augustus Thomas‘ stage Version of “The Soldiers of Fortune.” Light, but interesting. Watlack"s,—" The Show Girl.* AX interesting evidence of the re- newal of Saratoga’s youth asa leading watering-place is the engage- ment of Victor Herbert and his orches- tra tosupply the music at the Grand Union Hotel. LiFE'S Interest- Notice later. BASEBALL TERM “prorrino A MoT FLY." comicbooks.com