New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1882-07-02
TIE LONDON STAGE.
MANTEAUx NoIRs AND MISS ST. JOHN.

aud that the last of these entertainments would
speedily disappear from the stage. AT this moment
nevertheless, five of them have possession OF five
different theatres or these theatres three have
been built on purpose for this sort of production
The latest is the Avenue Theatre and the very
latest opera Of the comic in existence was
brought out here asst week with such success that
il has become the most popular piece OF the hour
"Manteaux rs" is adaptation by Dir.
Paulton who not trouble himself 20 acknowl-
edge his borrowings from Scribe's Giralda" with
new music by ii. Bucalossi. The story may be
found in Scribe by anybody who cares for II. Mr..
Paulton whose dramatic education has been carried
on OF the ALEXANDRA. where he is leading low come
dian. has pulled the original plot about without
improving it He has, moreover. embelshed tho
dialogue with many jokes OF his own as to make
the piece for many purposes a Scribe had
n light hand, Mr.. Paalton has a heavy ono. Scribe
wrote excellent French and Nh Paulton's English
is not always purely classical in form. But the
Engilshman has, at any rate. modernized scribe's
work, and taken the measure of London audience
so correctly that his rather stale and obvious pleas
antries greeted with ready laughter They
make no demand the intellectual faculties;
which is perhaps "a merit. The music, say the
critics. is rather thin not very original, and even
deficient in CO." All which may be true, but tho
piece as whole is full of life. animation. amuse-
people whose vote is most important in such
matters those who 20 to the theatre and pay for
going.
Some of this success to be set down to the brill
liant mounting OF the piece which is pretty TO look
at all through Much more of 1t is due 10 the clev-
erness of the two chief performers, NJ Narius and
Miss Florence St. John. NJ. Marius, Frenchman as
he is, has long been a favorite with English
audiences, before whom he stands a living contra
dlction of the English notion that Frenchman Is
devoid of humor. lie is actor. moreover, who
knows the distinction between comedy and farce
and does not forget il; fall of resource and with .
sounder knowledge of his profession than many an
English actor who parades bis incapacites in what
arc called the higher walks of the drama. Mr..
Leslie. Mr.. Bracy. Mr. Grover are very good men
for their work, and the opera is only weak in the
lesser female characters.
On the other hand in the chief female character
it is exceedingly strong. The Gtrold of " Manteaux
Nors is Miss Florence st. John. above named. It
is perhaps three since Miss Florence st. John
became a favorite in London. AS often happens,
she had to wait for recognition. She had sung and
sung well for some time before it occurred to any
body to lind it out. Her decisive appearance in the
character of a petted prima donna dates from tho
production of Madame Favart" at the Strand
Theatre. The opera hit the taste OF the town,
heralded it by the fame of great success in
Paris but the singing and acting Of Miss st. John
captivated all at once that wide world of music
lovers ho are willing that music should not be too
severe, and who do not object to its being sung by
young woman with pretty face aud charming
manner. 1t was discovered that Miss ST. John had
an excellent voice and knew how TO sing The
musical connoissenr considered her method TO be Of
high technical merit. aud since that day both voice
and method have improved.
Perhaps it is no matter for WONDER that London
was long in finding out what treasure 1t had in
Miss st. John. The English are slow to accept
novelties and this young lady is not only novel but
Absolutely original She is like nobody else in
looks she has borrowed from nobody else in style.
To discuss her looks and her style of acting sepa-
| raely would be pains thrown away, and for ono
obvious reason. Miss Florence St. John is person.
aty She is, to French phrase. all of piece.
aud nobody could well say where the woman leaves
clf and the artist begins. You seldom a gesture
| or glance of which you would not say, How
| natural it isl; which proves how hard she has
studied. This fluent Of manner only be tho
| result of time and toll this simplicity Gomez Of
trying hundred times and finding the true means
| the hundred and first this freshness is the fine
flavor oil long familiarity with the footlghts; thus
perfume Of primroses was distilled the he thouse.
Aud yet culture, no experience no art ever pro-
duced anything piquant this pretty creaeure
saunterng down the stage to the footlights, with
| hcr flexible grace OF step and saucy occurrences Of
| bearing Coquette to the tips of her fingers, you
would say, but you presently remark that her
cOquelry reserved for her comrades the stage;
if it exists it exists for stage purposes aud stage
business. The gilded youth IN the stalls not
warded for their rapturous admiration with the
smallest glance of recogn ton, and when the object
of their doatry picks up heir bouquets she appears
to be under the impression that they have de-
| 81
edgments 30 far over the heads of the bewildered
donors.
That absorption in the actual business of the play
is one secret OF Miss st. Johns hold upon her
audience. The actress who is forever taking tho
house into her confidence is like the novcl-writer
who stops at every page to address an explanation
to the reader. Each OF them spoils the illusion,
and an illusion more OF less complete Is what tho
true artist creates aud keeps mp. And Miss St
John an artist in a very different FROM that
too conventional sense in which the word has to 10
used with reference to most English actresses.
Where or how she trained. or whether she was
trained at all excepr upon the stage itself cannot
say She shows at times, every English actress
shows, the want of that scientific instruction in
principles and methods which every French actor
is expected TO have. as matter OF course. But IL
Miss 81. John has not had all the early training OF
Continental schools she has the temperament
without which training goes for little. Consciously
uncousciously she composes her characters forms
a conception and works 1t out. and when GUoia or
Oivette appears the stage she is living creature
who does from beginning to end what woman OK
flesh and blood and OF intellect. and not doll
would 10; OF not what a schoolgirl would do DO
cause she had been told TO do II. Nor have you
pet haps often seen schoolgirl Miss st. John
does a pair OF sparkling brown eyes over one OF
which the lid droops slightly more than the Other;
or express her thought with gesture so large ard
free; or practise q walk 50 like gypsys which yet