Pittsburg dispatch. [volume] (Pittsburg [Pa.]) 1880-1923, 1890-11-23
Annie YiIley,

80.
HARRY WILLIAMS ACADEMY Sheridan Flynn.
DAVIS FIFTH AVE. MUSEUM. 80. .Curiosities Etc.
The above are the theatrical attractions
for this week.
There is no city in the country that has a
beartier appreciation of comic opera than
Pittsburg, and "Castles in the Air" has had
more than the average patronage at the
Bijou during the past week. This result is
not due to the opera, which lacks most OF
the essential qualities of good work. 1t is
generally admitted that the piece is a
hundred times better than it was
when first presented in New York last
summer, and 1t is almost beyond human
Imagination TO realize how intolerably bad
it must have been originally. But the
weakness of Castles in the Air" has been
6welt upon sufficiently in these columns.
Anv one can see what heroic treatment has
been needed to give the piece life. The
hypnotic business, which is the best thing
in the first act, in fact the redeeming incl
dent, was added some time alter the operas
production; the whistling march and cho-
rus at the end of the second act is another
Interpolation; so is the song of THE Little
Pigs" in the third act. In short, it is hard to
see what remains of the original score or
lULettO tuAL II VI any Ndlues
For the success of the opera, therefore, De
Wolf Hopper and his very clever coadJutors
are responsible, and to them must the princi-
pal credit be accorded. hopper has always
been a favorite in this city, but he has certainly
won hosts of new admirers in this engagement.
He never had to work harder, for there is liter
ally nothing in the part of Fiydcoudre but
what he himself has manufactured, and the
Hopper style of comedy involves a terrific
amount of exertion, physical as well as vocal.
Measuring his art by the effect upon his audi
ence. 1t is clear that it is potential. The prn-
clpal end of a comedians efforts being to make
people laugh, II is also certain that Hopper
could hardly achieve more than he does. Yet
the fact remains that Hopper can do
great deal better work in an
artistic sense than anything he does as Fila
cOUdr if the gentle, persuasive humor of THE
Little Pigs" be excepted. 1t is to be hoped, for
Mr. Hopper's sake. as well as the public's, that
next season be will obtain a comic opera in
which he will be able to display his comic
genius to better advantage and with less gym
nastic and lung-strainlng exercise But any
how his place in the popular favor is assured,
and he has his reward for eight years of the
hardest work.
But all the credit for making a dreary play en-
tertaining does not belong to the chief come
dian. No soubrette in recent years has cap
tured PIttsburgers more completely than Della
Fox, and the vivacity, sparkle and originality
Of her acting is a refreshing change from the
wooden solemnity of most comic opera artists
of the day. With youth and such a good start
in her profession 1t Is plain to see that Della
Foxs name will be printed in very much larger
type on the bills before she reaches her destina-
tion.
OF course Mr.. Seabrooke's powers as a COM
edian have been recognized for some time, but
he, like Hopper and Della Fox, deserves full
credit for making much of a thin part. In the
~ Is known n ha
PhiStines as "a still" he succeeds in represent
ing a hopeless condition of intoxication with
great truth and withou: offensiveness, feat to
be proud Of in mild way.
Two or three correspondents have asked if
"The Little Pigs" can be bought and they may
be assured that an order given at any music
store will procure the pretty little ballad. The
words are by J. Cheever Goodwin, the author of
some of the best comic opera librettos written
by an American, and especially noted of late
for his good work in THE Merry Monarch"
the comic opera in which Francis Wilson is
starring with such tremendous success this
season. Nh. herker, the composer of the origi-
nal music IN Castles in the All" D" wrote the ac-
compartment for the tale of the little pigs, but
the charm lies more in the words than the
air.
Mr.. Woolson Morse the composer of THE
Merry Monarch" and much other good music
about new opera for De Wolf Hopper. The
contract has not been signed, but it is probable
that Mr.. Hopper will have a new piece from
the hands of Messrs Morse and Goodwin next
season. Some of the numbers designed for the
new work were played by the composer before |
q limited audience on Friday night at the Ho-
tel Duquesne, and they elected great praise.
Mr.. Morse IS very agreeable man as well as |
talented musician, and during his visit here,
which is his first TO PittsburS he has made |
many friends
Talking Of Frances Wilson's experience as |
star, Mr.. Morse confirmed what The DIS
PATCH said some months ago about what has
been termed WILSON'S luck"
NO man IN any profession" Mr.. Morse said |
works harder than Francis Wilson, or studies |
more inueIligeutly. He has lots of knowledge
that actors seldom think it worth while to ac-
Quire. which he turns to good account There |
is no end 10 the care with which he rehearses, |
and the results show that his attention to de- |
tail is not wasted. There was no need to alter |
the Merry Monarch" after the first |
night. 1t was perfect performance |
because it had been polished and polished at |
continually for six weeks previous /
10 the opening night. 1t is nonsense to ascribe |
Wilson's success TO luck or anything but his |
talents and hard work. Wilson's abilities are |
not confined by the stage, but are shown in his |
choice Of associates in business and in all SORTS
of ways"
=
1t is being made palmer every year that the |
legitimate drama. and especially Shakes |
pearean tragedy, if it is to be profitable to the
producers must be mounted handsomely and |
and played by able actors. The pub |
lie demands that all the good scenery shall not |
be given to spectacle. melodrama, modern COM !
edy and comic opera, and il will not accept to |
any great extent a Shakespearean production |
ms uhi 1aa IN fba irna
the audience the pictorial circumstances of the
play, and rests its histrionic claims upon the |
good WORK Of one or two out of score of actors
In the cast.
The ability of Mrs. Bowers and Mr. Warde
are not to be questioned, and that they at
.racted great many people to the Grand
Opera House last week proves that there is still
/ deep-seated love for the legitimate drama
among theater gOers. But TO pretend that
.hese performances of Shakespeare's PLAYS
we're generally satisfactory would be absurd
The presentation of historical play
L. IKE henIy s;lI,I VII. "ltnout appropriate
# rich and accurate costumes only accentu-
tied the Deficiencies of the surroundings-is
lot artistic. and the theater-gOing public has
)een educated to expect something better. The
unprofitableness of Shakespear-
En productions is due largely to the meanness
4 the scenery, the uneven quality of the actors,
ing for the drama. On the other hand the
uccess artistic and pecuniary, of Marie VAIN
wright with Twelfth Night" a success
which am glad to notice has
Town steadily since she began the
experiment. two years ago, may be fairly at
ributed to the artistic completeness of the per-
OrmanCe and its garniture. There was not q
ad actor in Miss Wainwright's company; the
oenery was a succession Of beautiful land
capes and richly furnished rooms Of the olden
Inc, and the suggestions OF antiquity in hun
red trifes of mIse-eD-scene and stage business
eproduced distant day and foreign land.
ir. Warde has many loyal friends and admir-