Life — November 13, 1902 — page 12: what you’re looking at

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

«LIFE: HALL we ever enjoy any other form of musical drama than the conventional opera, light opera and musical comedy? We might, if we had the opportunity, but so long as authors, com- posers and managers base their hopes of future gains only on imitations of former successes, and seem to fear originality far more than they do the devil, we shall doubtless go on in the same old way. We shall have ‘handsome productions” whose title to greatness rests only on the same old thing done with more magnificence, with greater expense, and on a larger scale, but without varying in idea from the thousand similar productions that have gone before. Nowadays only the youngest and most in- experienced spectator ever enjoys a feeling of surprise or is moved by the unexpected. Regular and even occasional attendants at entertainments of this kind know in advance just about what is coming. We sense instinctively the coming of the tenor's inevitable the duet and quartette.. The periodical return of the chorus more regular than our own meal hours. The finales are as cer- tain as the rising and setting of the sun, and their approach is heralded with equally unfailing signs. Will some original author, backed by some fearless and opulent manager, kindly give us g new in this line of amusement ? ° . FORCEFUL example of this slavery to previous success is seen in ** The Silver Slipper,” at the Broadway. It certainly is a “handsome production,” in that there has been no economy of ex- re. All the old forms are there, though, and used in thesame y. Most notable of these is asextette, which is a close but in- ferior imitation of the sextette which redeemed ** Florodora” from failure. The management was evidently governed by the old, narrow-viewed notion that because the public likes one thing it must necessarily be stupid enough to like something very much like it. Even the Ten- derloin public resented this reflection on its intelligence and almost hissed the counterfeit off the stage. On the other hand, another number, which was markedly original and done with spirit, may serve to save “The Silver Slipper” in the same way that the “Pretty Maiden” sextette saved “Florodora.” To heighten the re- semblance to the former success, two of its prettiest girls—Susan Drake and Daisy — Greene—are placed in the present cast. Toa piece like this there must, of course, be supplied acomedian, and as this time Mr. Sam Bernard is the comedian to be sup- plied, and Mr. Sam Ber- nard’s specialty is German dialect, the comic part has EDNA WALLACE NOPPER. to be that of a German dialectician. Some- times Mr. Sam Bernard is very funny. Sometimes he isn't. This time he isn’t. Of the other members of the cast, it may be said that none of them are guilty. of great success. The imported lady, Mai de Villiers, impressed more by the size of her voice and figure than by the beauty of either. Mr. Mackenzie Gordon's voice is delightful, but he seems in physique and acting ability not quite adapted to the light opera stage. Edna Wallace Hopper is as petite, graceful, voiceless and generally at- tractive as ever. The music, by Leslie Stuart, is too good for musical comedy and not good enough for more serious opera. Allin all,** The Silver per"? is rather tiresome, but by artifi- cial means may be made one of the artificial successes which lead a limited life. SUSAN DRAKE. ° e . TUPID seems the proper epithet to apply to a man- agement which would imperil the success of an expensive enterprise like ‘‘ The Silver Slipper” by permitting a few friends of some of the people on the stage to demand and receive repetition after repetition of the poorest numbers in the piece. The best numbers in it are toward the end, and were not heard by a goodly portion of the first-night audience who had left the theatre tired and exasperated by the stupid encores. Metcalfe, LIFE'S CONFIDENTIAL GUIDE TO THE THEATRES, Academy of Music —“Thue Ninety and Nine." Stirring melodrama. Beasco.—* Du Barry,” with Mra, Leslie Carter as the heroine. Worth seeing. Broadway.—" The Silver Siipper.” See above. Casino.—* The Chinese Honeymoon.” and diverting masical comedy. Criterion.—Pinero’s “* Iris." Unclean bat clever drama, Daly's—"A Country Girl.” comedy weil done, Empire.—“ The Mummy and the Hamming Bird. Clever society play, with John Drew and compe- tent company. Garden,—Mra. Lemoyne tn “ Among Those Pres- ent.” Notice later. Garvick.—Mary Mannering in “The Obstinacy of Geraldine.” Notice later. Herald Square.—Martin Harvey tn “The Children of Kings,”” Notice later, Madison Square.—The Two Schoola.” Farce. Afternoons, “Everyman.” Quaint and artistic, Are. Ostorn's Play-house.—"Tommy Rot.” True to Its title. Princess.—* Toe Night of the Party." Laughable farce by English company, St. Nicholas Rink.—Bostock and his remarkable tratned animals, Satoy.—Fthel Barrymore in two contrasting parts. Both clever. Wallack’s.—Last week of “The Sword of the King,” with Henrtetta Crosman as the star. Worth seeing. Weber and Fields's.—Vanderilie and burlesque, Tne good seats may be purchased from specu- lators. Bright Dainty musical DAISY GREENE. comicbooks.com