Life — February 14, 1907 — page 17: what you’re looking at

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

€ HE LITTLE MICHUS,” presented at the Garden Theatre, had a con- siderable and long-continued success in London. The only explanation possible is that it must have had a far better presenta- tion than that given to it in New York. In fact, the Garden staging seemed a little bit scant and skimpy. Scenery and costumes looked as though they might have been se- lected with something else than that reckless disregard of expense which scems a sine gua non in contemporary musical comedy. The story is the familiar one of two babics of different station being mixed in infancy —this time in the bath-tub—and the difficul- tics due to trying to sort them out correctly later on in life. These two important char- acters were, in the present instance, in- trusted to two young women very slightly qualified for important stage work, espe cially in the important matter of singing The whole performance might be described as a musical one without singers. In such a gathering Miss Elita Proctor Otis, who makes no pretension to a singing voice, stood out prominently by her acting ability and actually made a hit in a song. Mr. Er- nest Lambart, with the same qualifications, did the same thing in a smaller way. The picce served to introduce to New York Mr. George Graves, an English eccentric come- dian, whose originality of method in his im- personation of a peppery and explosive French general with a wooden leg helped to save “The Little Michus” from actual disaster. . Much of the music, which is by André Messager, is dainty and tuneful, but the impression gained of the entertainment as given here is that it is second rate. > # T NEVER rains musical pieces but it pours, and on top of all the other similar aspirants for favor comes “The Rose of the Alhambra,” with book by Mr. Charles Emerson Cook and score by Mr. Lucius Hosmer. The latter's effort is Pp tentiousone, but it is most successful a of the lighter numbers. None of the musie shows cither pronounced originality or great virility, although making gencrous use of an unusually large and competent male chorus. Mr. Cook's plot was in some respects a departure from the conventional lines of comic opera, and in so far as it was romantic was refreshing, but when it at- tempted to be humorous failed utterly of its purpose. The usual bad enunciation of the singers made it impossible to determine whether his lyrics possessed any merit or not. “The Rose of the Alhambra" furnishes another illustration of the fact that it is not wise to produce comic opera with a co- median who is not comic and with singers who do not sing. It may be that the singers SS a ms “YOUR MAJESTY, PERMIT ME TO ANNOUNCE THE ABSCONDING CASHIER OF A SAVINGS BANK.” “NO ROOM; WE'VE GOT TO DRAW THE LINE SOMEWHERE.” in this piece can sing, but with the exception of Miss Agnes Cain Brown as Jacinta, “the rose,” it is certain they did not sing on the first night of the piece. There was a bliz- zard raging outside and their voices may have blown away. Not even a blizzard could account for the absence of humor in Mr. Eddie Heron's impersonation of Philip V of Spain. He was sadly handicapped by a lack of humorous mate: but even so his methods are those of the sawdust arena and not of the musical stage. “The Rose of the Alhambra” is gener- ously equipped in costumes, scenery and pretty girls, but as an entirety it does not _loom up big in the overcrowded field of comic opera. Metcalfe. Academy of Music—Me. David Warfield and ex cellent support in the moving comedy, “The Music Master.”* Astor—"Genesee of the Hills.” Notice later. Belasxo—“The Rose of the Rancho,” by Messrs. Belasco and Tully, Admirably staged drama of California in the days of transition from Mexican rule. Bijow—Henrietta Crosman in L1-of-a-Sudden- Peay.” Notice later. Casino—Mr. Louis Mann in “The Giel from Vienna.” Notice later. Criterion—Lulu Glaset in “The Aero Club." See ‘opposite, Empire—Ellen Terry and English company in re- pertoire. Garden—" The Little Michus."" See above. Garrick—Mr. William Collier in “Caught in the Rain.” Well acted and highly diverting farcical comedy Hackett—" The Chorus Lady,” with Rose Stabl in a true and laughable delineation of life in one depart ment of artistic endeavor. Herald Square—“The Road to Yesterday." A petty dream fancy prettily done. Hippodrome—" Neptune's Daughter" and “Pio ncer Days.” Everything from real Indians to singing mermaids, and all good. Lincoln Square—"The Belle of London Town,” with Camille D’Arville as the star. See above. Lyric—Mr. E. H. Sothern and Julia Marlowe in repertoire. See opposite. Madison Square—The Three of Us.” Interesting American play well acted by Carlotta Nillson and very competent company. Mojestic—"The Rose of the Alhambra.” See above, Manhattan—Mr. Jefferson d’Angeles ia “The Girl and the Governor.” Notice later. Princess—"The Great Divide.” Miss Margaret Anglin, Mr. Henry Miller and good cast in highly in teresting American drama. Weber's—"The Dream City” and “The Magic Knight.” Burlesque, pretty girls, funny lines and Mr. Victor Herbert's excellent music “ZOU say you can’t live without my daughter ?” “No, sir.” “Then you'd better stay engaged to her.” comicbooks:com