The sun. [volume] (New York [N.Y.]) 1833-1916, 1876-08-20

nnale presents the arrival Of the Royal Galley,
Itself a triumph Of mechanical genius, crowded
with gailv dressed attendants, a tableau Of sur
passing beauty. with the King and his slave as
the central figure. The student OF ancient and
oriental habit will And much that is curious and
real in the mounting Of this act. The set OF the
second act presents the exterior OF the palace
a very lovely series Of paintings.
The Hall Of Nimrod ia tho set of the third act.
On either. side are the vast Nineveh figures, Of
whose colossal proportions we have all read.
From the front to the rear rises pyramidal &C.
rics of steps. grouped on which. in every con-
cevAblc form and figure are the eoreeousy
costumed slaves, warriors, and attendants Of
this prince OF monarchs. He and his loving
Mprha stand atthe apex, drinking wine and in
cense. when, their ears sated with profane
tribute, with a binding fash and sudden
crash, the vivid lightning strikes and the rolling
thunder rO III about the place, throwing every
one prone upon his face banchinR every coun-
tenance, devastating the fairy scene. and turn
ing all to utter we kness In the twinkling OF an
eve.
That one effect should insure the success Of
the piece.
II that effect is Calverts, Calvert is a great
man.
the fourth and last act eliminates in pyro-
technic bit OF extravaR 1nce, easy enough to the
stage director, but civiare to the general public.
The realism Of a magnificent connagration 10
without Calvert, Byron would be inenably
stupid
Don't YOU believe It?
Go To Booths, shut your ewes, and omen your
enrs ignore Calvert, and take in Byron.
You'd he fast asleep In ten minutes;
"Black Crook" nor class them as companion
pictures II would he unfair to do so. There
were superb settings In the Crook" to be sure,
hui the staQe pictures In "S1rdana oalus" are
historic reproductions, OF subject for study and
We are not told in HOLY writ the name Of the
| master OF the Assyrian ballet.
| Ten to one Mascagne can Jump higher. re-
| volve faster, and pirouette with more grace
| than any Chaldean Medeau, or Assyrian ever
seen nv the royal eve.
| companions, but this one Ia on grin all the
tmc: ,.. .,.
"Jumpl Yes, me jumn high, way up, big"
"Do YOU practise muchT
"Mc jump, jump all day, and jump, jump all
."i4 that SO, Mr.. Vincent does the ssnor prac-
tlsc great dealf"
| see him over In corner ilmoing at n crack In
| the wall, and not satisfied III he touches It. lie
beats all the ballet masters ever saw"
Tho premier ddnscLs,, Nile Bartolcttl. IL a
| the the trick, with cunning. bewitcheries of
manner. srchnrs Of the head, and rolling OF the
ewes, The ballet corps Is large, and in the main
| pretty.
| "nn Assyrian army, all alike arrayed,' they
| charm the eve by artistic tableaux, upon whose
| ever-cnangine pose bro d foods OF parti- colored
light arc turned. making kaleidoscopir enter
talnment more brilliant than we have ever seen
| before.
the best Is not always the most popular In
this In lance an animated Italian ball OF rubber
figure, named Palladino. nightly wins the en-
core for which the premier sigbs, and acknowl-
edges thunders OF applause for which the pre-
MIR Is paid to elicit.
Palladino has faclc faculty Of back nded
turns. which give her the expressiu II and genera
appearance OF lively tarantula on bender
and runs her far into the anectionatc regard OF
the old men In the stalls and the young men Ia
the gallery.
| know Il. because the old men say Bravo T.
| and the young ones " Hi hil'
Limited space precludes further description.
| At vast expense, with great care. guided b,
| the experienced hand Of the scholarly Calvert
| the libcrdlity of the managers has succeeded In
| placing on the broad stage OF the finest theatre
| IN the land a spectacle OF surprising beauty
worthy the patronage OF the puOlic and th,
| recognition OF the critic.
| The acting Is bad.
| All else is good. MONSIEUR Y.