Sacramento daily record-union. [volume] (Sacramento [Calif.]) 1875-1891, 1890-09-14
AMERICAN COMIC OPERA.
WHY IT IS BOUND TO BECOME SUCCESS
Full VERY SOON.
Native Artists Educated for it Demand a
Supply Writers and Composers AM
bitious and Industrious.

speculation whether we are going to have
a genuine American comic opera or not.
And it has also become matter of still
graver speculation whether the doubt as
to thepossibility of American comicopera's
growth in this country arises from the
skepticism of the public as to the talents
and capacity of native composers, or to
the narrow-mindedness of native mana
gers, who will not admit that there is
even the germ of such thing as Amer
ican comic opera.
1t is unquestionably true that, strive as
the writer's and composers may, the mana
gers look coldly on their efforts. Why,
the mere mention to almost any of the
gentlemen who produce comic operas that
such and such an American has composed
a comic opera brings gray gleam of sar-
casm to the managers eye, and a cynical
curl of mockery to his lip.
The fact of the matter is no manager
has ever had much faith in the native
composer, and only one or two in the
native librettist. But | have written at
some length on this subject before, says
Robert Morris, one of the best writer's on
theatrical matters of the day. Since then,
however, much has transpired to mark the
growth OF the librettist in this country,
and still more to indicate the improve
ment in the composer.
Much of this has been apparent in the
,-o,.l- ofc c,,cb mon ac Piobo ri Gtabl
composer of s'The Sea King and in the
lyrics contributed by Mr.. Woolson-Morse
to the "N[erry Monarch" F." which has made
so great nit at the Broadway Theater,
with Francis Wilson in the title role.
But of all those who have entered the
field of comic-opera construction none
gives so much promise as Miss Laura Sedg-
wick Collins, who has composed the lyrics
and chorals of an American comic opera
which will be heard this coming season,
and which l have already had the privi-
lege of listening to in private.
The numbers have two things~hich will
insure their immediate popularity with
the masses = simplicity and melodic
rhythm. Moreover, they suggest dancing,
and can be carried away in the memories
of the least educated without difficulty.
The book, too, is one of rare excellence, as
operatic books go, and the themes are
really American in character, and in no
sense reminiscent of foreign schools or
works.
Somebody will say that as all the best
teachers and fountains Of music from
whom and from which Americans derive
their knowledge of melody, measure and
RHYTHM are foreign, there can be no such
thing as an american character" to music.
This is absurd Musicians in Europe,
particularly in England and Germany, do
not hesitate to classify certain tunes as
American in character when they want to
sneer at them. Well, claim the right to
do the same when | wish to classify them
for arts sake.
That we have persons struggling hard In
the field of composition to make an Amer
ican comic opera fact is well known, and
although the measure Of their success may
be small up to this moment, nobody can
deny that we have American comic opera
artists who will compare favorably with
those Of Europe.
There has never been a time within the
east five years when the singers in comic
opera from the other side of the Atlantic,
particularly from England, could prove as
potent in comic opera as some of those |
can mention-native and reared on the
American stage.
| believe that American comedians take
to the opera boufe and comic opera natu-
rally, / had almost said as naturally as the
French. Indeed, few, very few, Of those
who are now before the public in this city
and elsewhere could be surpassed to our
satisfaction by the performers of other
countries.
Take Francis Wilson, for instance-he
is host in himself. His ability to amuse
transcends that of any foreigner we have
had here in bouffe or comic opera since
Gabel first appeared at the Fourteenth
street Theater then known as the French
Theater, in "Genevieye de Brabant," as
the comical gendarme.
Funny as Gabel was and enduring as
has been his fame with the people, it must
be stated with truth that he was not so
funny or 50 artistic as Francis Wilson.
Moreover, Gabel was a narrow-gauge
comedian, whose reputation depended
chiefly on his treatment of one part, that
above mentioned, whereas Francis Wilson
has acquired his present popularity and
his distinction by his remarkable success
in several parts, in such operas as ''Prince
Methusalem," "Amorita," "Erminie," the
"Oolah,n and now in the "Merry Mon
arch"
Prior to his appearance on the operate
stage, Mr.. Wilson had been known as a
comedian in current drama and bur-
lesouer of rare merit. His career previous
to his engagement in the Casino had been
notable for the many successes earned
legitimately and in companies at legiti-
mate houses all over the United States.
Even the very best of the British i'm
portations, not excepting Fred. Leslie and
the author of "Paola," were not Mr. Will
sons equals in versatility, breadth of ca
pacity and experience. Perhaps it were
better to say nothing about the other
artists experience, which must have been
large and varied am safe in saying that
they were not half so funny nor half so
creative as Francis Wilson, whose modesty
and readiness to yield the center of the
stage to any of his confreres in scene is
well known by them
No, they have no such opera-bouffe or
comic-opera principal abroad in England,
at all events, as Francis Wilson.
Indeed, it cannot be denied either, that
Gilbert and Sullivan recognized the fact
themselves once when they said that they
thought him lone Of the most effective
funny men they had ever seen." | heard
Sir Arthur Sullivan say this when he was
here last time.
Everybody knows Sir Arthur Sullivan's
opinion-that the prime donne of comic
opera were to be found in this country
more readily than in England. Three of
them were employed at the Savoy.
But to return to comedians of comic
opera in America, let me ask the reader to
look at the other members OF the cast of
"The Merry Monarch" at the Broadway
Theater, and note how Mr.. Wilson has
surrounded himself with more than merely
competent people.
And this is part of the secret of his sue
cess in all he attempts. "The Oolah" last
year was very slender frame of an opera
bouffe. 1t could not with truth have been
called comic opera; yet it was more than
a success d'estime. 1t made money be-
cause it had strong cast of clever coined
ians. 'The Gondoliers," which was pro-
duced in the very zenith of the season, was
failure even at Palmer's Theater, be-
cQusa N had q oact rhscb wac ueot end