National Republican., 1883-11-27
ADJUSTMENTS.

Madison Square combinations. Iho contral
actors in the drama were old Mr.. Rogers,
personatod by Mr.. Benjamin Maginloy Es-
meralda, by Miss Louise Dillon Dave Hardy,
by Mr.. Joseph Wheelocs Nora Desmond, by
Mrs Charles NJ. Walcott, and old Mrs. Rogers,
| by Mrs. Kato Denim Wilson. Tho action of
the piece was without jar or friction, while
its mounting commanded admiration. Mr..
Maginley as old man Rogers gave fine i'm
personation of the old mountaineer farmer
who has the misfortune to be mar
ried to woman of high spirit. Mr..
Maginley has carefully studied his part and
his rendition Is capitally natural. Mr.
Joseph Wheeloci as Dave Hardy attracted
the sympathy of tho audience at once by his
thorough Identification of the part of the
tender, respectful, desparing lover. Miss
Louise Dillon as Esmarada dignihed q
character which in itself is negative, and
brought out all the strong points with which
the author intended to endow tho creation.
Mrs. Walcott as Nora Desmond, the painters
sister, was easy, natural, and vivacious, full
of womanly enthusiasm, and presented q
charming feminine picture. Mrs. Kate Denim
Wilson as Mrs. Rogers made a capital
representation of that vain, silly obstinate
creature. The Mrs. Rogers of tho
story and the play is, however, an innatoly
vulgar woman, and Mrs Wilson fails in
bringing out this vulgarity. Estabrook, tho
artist, was truthfully conceived and spiritedly
rendered by Mr.. Charles M. Walcott. Tho
other members of the company were equally
good in their parts. The setting of the play
and the acting of the company arc certainly
a asuccess. The electric transformation" Of the
scene from the mountains of North Carolina
to tho artists studio in Paris was marvellous
feat, the curtain coming down on the first
act and being rung up in less than forty
seconds on the second act without the
slightest crealS in the machinery. AS o
mechanical feat this was unsurpassable.
NATIONAL THEATER.
John T. Raymond received a good reception
at the National theater, and, although he had
been seen "In Paradise" last season, his
acting was as fresh, as breezy, and rs enter
tanning as ever. The beauty about Raymond's
acting is its thorough naturalness, and it is
natural because he acts out his own feelings.
He never seems to be playing part-it is
John Raymond's own nature showing in
every movement, in every expression and
gesture. Whether he plays Mulberry Sellers,
Ferdinand Fresh, or Major Bob Better, there
is tho same genuine humor which never fails
to keep the audience in convulsions of laugh
ter. Perhaps in this play of :" In Paradise"
he deserves higher praise than usual, for he
preserves the Virginia dialect, "sah," COM
pletely during the entire performance.
The company supporting Mr.. Raymond is a
good one and the parts were we'll distributed
n Ill. L..
self an excellent actress and Miss Lizzie
Creese making an effective Proscilla Flagg
OF the gentlemen, John Marble made de-
cded hit as Bart Binks, while G.. L. De We're
rs Francis Raordon, Harry Pierson as De
Witt Duxum, w. A. Weaver as Steve Dallas,
and VIM. Cullingham as Old Joe were thor
oughly acceptable.
"In Paradise will be repeated tonight
and tomorrow night and on Thanksgiving
afternoon.
. THE THOMAS CONCERT.
Mr.. Theodore Thomas announced in his
u programme last night that the concert would
begin precisely at 8 o'clock consequently, the
audience was on time, and when the frs
, notes of tho Bach fugue were played tha
order and silence prevailed among the over
flowing audience that the rendition of such
concert deserved. Mr.. Thomas continues to
show the same exquisite Judgment in his selec.
tions and in the organization of his orchestra
that has raised him to the front rank of
musical directors. He has smaller proper
J tion than is common of instruments of wine
and percussion, and he uses them but spar.
ingly. His first violins and his 'cellos are re
markable for their strength and unison, and
by bold exercise of his own taste he inter
prets everything, even the best known music
in an original manner. The first number
was from Sebastian Bach, and was o
, the massive simplicity that make
Bach, even in this day of ornat
music, admired and respected. 1t ha
not, however, the warmth and color @
the other numbers, especially the second, tn
beautiful "Leonore," of Beethoven. Fror
: the andante with which it begins to tn
: allegretto with which it ends it is one of tn
, most perfect musical compositions in tn
world 1t is full of grand orchestral effect
- and of harmonies not inferior to tho immorta
ninth symphony. 1t was rendered with
# completeness and sympathetic intelligenC
o that left nothing to wish for, and was raptui
ously applauded Next came Robert Schr
manu's fourth symphony. The orchestr
e under Mr.. Thomas's leadership, showed il
ability to render the romantic and capriciou
10 music of Schumann as we'll as the sever
z classicism Of Beethoven. Then came Nj
v, Thomas's concession to popular taste-not I'll
l. we'll known waltz from Strauss, which Ii
q audiences have come to look for, but "Scotc
- rhapsody" modelled upon tho first rhapsod
- Hongroise of Liszt. 1t was too classic to
popular and too popular to bo classic. III
: introduction Of the simple majesty of "Sco
wha hae" into Wagnerian intrcacies was
. doubtful success, but the third movement r.
t deemed all previous incongruities, 1t WI
d Burns's charming song, 81 coft stane O. hi
d lock WOO" and it may shock tho devotees
the music of the future to know that th
merry measure rendered with such daint
grace by the apostle of high art was nothir
~ less than an old Scotch air called "Salt Fis
" and Dumplings." But the quaint air, thd
,f embodied both music and dancing, WI
y played with o sweetness and nerve tht
IF made it one of tho most charming
the evening. Only once, howeve
did the audience got an encore out of NJ
,c Thomas. 1t was after a serenade by Vail
,o mann, when, in reply to enthusiastic a
4; pause he gave Schumann's "Traumerei
Mr.. Thomas may claim to have INTRODUCES
v this favorite work to American audience
o. Certain it is, no conductor has ever y