The morning call., 1892-08-28
LILLIAN and "La Cigale."


Four years ago, during a visit to the Con-
tinent, Lillian Russell saw the comic opera,
la Cigale" The GrasshoppeD at the Gay
ETY. Theater in Paris. She was charmed
with the bright music (by AudraD. the COM
poser Of LA MascotIe'). and was no less
delighted with the spTightliness Of the story
and the opportunities for rich dressing. 1t
became her ambition from that moment to
be the star of the opera in America and 10
win as great success as did Jeanne Grenier
in Paris. LA Cigale" ran for four years
IN Paris. Then it was produced in London,
where 1t repeated the triumphS Of the
French capital. Miss Russell was under
engagement in New York. which prevented
her from entering at once on an enterprise
in which she felt implicit confidence. She
was no sooner free from her contract than
she laid her plans before Manager T. Henry
French, and ne at once adopted them
French sent several of the more important
members of the cast to London, that they
might see the production of La Cigale"
there. He gave Miss Russell carte blanche,
and the result was sumptu0ns presenta-
tion OF the opera ia New York, where IL
ran for l15 nights at the Garden TheateT.
We can better appreciate the cause OF this
long ran when Miss Russell puts ia an ap-
pearance at the Baldwin next week.
THE MOTIVE.
The heroine OF this opera has a story which
resembles Lillian KusselPS life. She is sup
posed to be peasant girl living near Bruges.
and is gifted with a beautiful voice. Marion is
her Dame, but on account OF her Joyous dsposI-
tOn her companions nleknamed her 'The Grass
hopper One day party OF noble people visits
MartoD's home. duchess who has imprud-
emily iDdulged in filtration with the CheYaier
Franz tries TO avert suspicion from herself by
commanding Franz TO maze love 20 the first girl
he meets. Marion is the first girl to appear and
Franz devOtes himself to her and quickly falls in
love in earnest. Ia the second act year is sup
posed TO elaDse; Marion has IN that time become
pFima donna, and now makes public appear
ance ln the marketplaee OF BTuges. She Is fol-
lowed by a humble country lover who has been
rejected. but WHO constitutes himself her guar
dian. Here the plot becomes complicated, the
CheValier Franz being suspected OF an Intrigue
With the duchess. Marion denounces both In q
powerful dramatic scene, which reveals dramatic
qualities not shown before. in this act the
heroine wears several costumes, which should be
described IN the color Of the painter rather than
In words. In one OF the scenes toO Marion has
a vision of her humble home and OF returning
after he summer OF her trIumpbs like the re-
pentaDt grasshoppeT In La FOntaine's fable.
MARION IN REAL LIFE.
The heroine in the fable is not stranger ia
her career than is the real history Of Lillian
RusselPs life. In the opera Marion goes TO
Paris TO study and returns fuli-iiedged
prima donna. Ten years ago Miss Russell
left Chicago an unknown girl TO seek her
fortune on the stage. From Rice's Evan
geliDe" chorus and Tony Pastors Theater
to her present proud position Is a long
stride. The impression that Lillian Russell
owes professional prominence to her beauty
is in the main an erroneous one. Beautiful
she is beyond doubt, but this Is supple
mented by the less fieetiDg gift Of art which
is her real claim on the public interest. and
which has placed her at the head of COM
pany like that which interprets La Ci-
gale" Miss Russell's life has not been one Of
unVarying pleasure. She works and works
hard to attain desired object Being de-
termihed to perfect herself In the chief
character OF Audran's opera, she sought the
tuition OF Mrs. Seott-Sidd0ns and daily for
SIX months devoted herself to the study of
acting The result OF this application will
no doubt crafty her admirers in this city.
when they find new graces addsd to those
she already possessed.