Evening star. [volume] (Washington, D.C.) 1854-1972, 1897-10-12
ADJUSTMENTS.
LAFAYETTE SQUARE OPERA HOUSE.


Each of the three principal performers
who appear at the Lafayette Square Opera
House this week has time and again proved
potent as an attraction to the fun-loving
American public. With theNefforts of Della
Fox, JEFF De Angels and Lillian Russell
united in single production, there was
nothing to expect save that 1t would sweep
its way to favor like hilarious cyclone,
leaving the barriers which the literary or
musical idealist might seek to interpose
melancholy mass of wreckage in its wake.
Adapted from the French" sounds the key
note Of the composition. Despite the SIM
plicity of the title. 1t has a plot like a
puzzle, but one which, as it is unfolded
step by step, gives scope for Miss Russelrs
vocal powers, Miss Fox's dainty swaeger
and Jeff De Angels fun-making resources.
Mr.. De Angels Is throughout the piece the
figure of prominence in the cast. The
writer who described dancing as the
poetry of motion" would, had Mr.. De An
gels been his topic, have described it as
the humOr of motion. He is funny in his
entirety, but funniest from the knees down.
AS production the entertainment is ire
prOachable.
The big orchestra and the stage full of
Wei.tralned chorus people do work that is
a denSht to the ear, and which leaves MOTH
ing to be desired in the Interpretation of
MI Edwards music. 1t is a splendid and
typical specimen of, the class of perform
ance In which lavishness of expenditure
sklliful stage management and physical
bu1foonery are candidly offered as chief
reilances and in whose humorous flights
extreme refinement is by no means sine
qua non. Dfscernment is shown in previd-
ing Miss Russell and Miss Fox with ma
terlal adapted to their powers as vocalist
ana comedienne. respectively, and the
troops of beautifully attired subordinates
Kept shifting mass of harmonious color
before the eyes. while they sang with an
enthusiasm which secured the proclaim
that there was that joy in the box office
which is so essential in giving stability to
mcrriment upon the stage. One of the
most appreciated members of the cast was
Mr.. William Pruette, than whom there are
few better baritones upon this countrys
operate stage. The audience which greet
ed the first appearance of this multi-stellar
organization was at the rise of the curtain
numerical tribute of confidence and
throughout a hilarious acknowledgment of
value received.
NEW NATIONAL THEATER.-It is the
custom of theater-goers to expect some
thing old. when they set forth to attend a
minstrel performsnce-the repetition of a
success of former years, perhaps or at
least some witticisms that are more or less
passe The standing room only audience
That welcomed Primrose and Vests aggre-
CATION of talent on the occasion of its an
nual fall visit to this city last evening at
the New National Theater was therefore
disappointed to an unusually agreeable de-
gree to find that everything that TRANSFERRED
on the stage from a moment or two prior
to the rise of the curtain until a few mo-
ments following its concluding descent vas
spick and span and brand new. Costumes,
scenery, songs, jokes, music and other fea-
lures were culled from the 81 fall crop.
While not quite as spectacular as some pre-
Vious productions of Primrose and Vests,
last evenings performance, thoroughly
enjoyable, continuous mirth-provoiing
whole, far eclipsed anything put the
stage in recent years by this well-known
firm of entertainers. and that is saying a
very great deal, indeed. The performers,
under the reorganization, are ALL with three
exceptions. white, the spectacle of a col
ored man initiating the imitation by white
man of coored man thus being elimi-
mated. All who participate in the first part
do so with black face, this being a depar-
ture in modern minstresy in the direction
so to speak, of the oldtime present at ton
The curtain rising brings to view a,tropical
setting handsome from a scenic stand
point. The stage is deserted. A moment
later, the orchestra, playing, appears at
the rear and top of the stage and descends
stairway TO its chairs. The other MEM
bers of the company follow. All are at
tired In black satin. with knickerbocllers.
The last to come into view are the extreme
end men, Primrose and George Wilson, in
white satin. with long trousers. B. S.
Carnes was an ideal interlocutor. After an
Introductory overture and artistic evolu-
tons with a drum majors baton by Will
liam Fitzpatrick, new ballads We're sung by
Charles Weber. Manuel Roman and Ray
presented by Ernest Tenney George Will
son and George Primrose, the latter in his
Niger. Niger Never Die Hot Time
in the Old Town. and The Picklninny
Cake Walkers" receiving an ovation. In
the latter song he was artistically assist ed
by two small colored boys. representing a
prize-winning cake walking couple. The
second part included Mlt G. Barlow in old
time negro approximations, introducing his
famous odd Black joe" the Ben Mowatt
trio of marvelously skilled club swingers,
one member being a young boy: George
Wilson, in monologue that outclassed
even the George Wilson of the past, and
was irresistibly funny; the Quaker City
Quartet, with Messrs. Pieri, Ernest and
Carnes as musical blacksmiths and Ed
ward Hanson as a singing tramp; the Wat
erbury Brothers. who are, by the way,
Washington boys, and Ernest Tenney in a
very up-to-date musical comedy, during
which Tenney proves himself a black face
comedian of the postgraduate school. and
the marvellous Seymours three in number
described in the program as the greatest
athletes, gymnasts and acrobats America
has ever produced who present a novelty
In the way of parlor stage setting for
their exercises. standing room only
should be the rule at the New National
Theater during the remainder of the week,
including the matinees Wednesday and Sat
urday-
CASTLE SQUARE OPERA COMPANY
A double bill. with "Cavalleria Rusticana"
anu Taylor 1Or It's features,
given the patrons of the Columbia Theater
by the Castle Square Opera Company last
night, and while the two works are widely
different in every possible way. the COM
pany brought each one out with the finish
that has made it so popular with theater-
goers In Washington. In 'Billee TAYLOR
there were three new candidates for public
FAVOR in the persons of Miss Elizabeth lie
Sassier. the new prima donna of the COM
pany Mr.. E. N. Knight. baritone. and
Miss Emma King, soprano. and all three of
them were received with all the marks of
popularity on sight. Joseph SheeEan, who
was billed for the part of Biliee TAYLOR,
contracted 4 slight cold last week. and by
Sunday his throat was in such condition
that physician had to be summoned; 1t
was thought however. that he would be
able to al least walk through his part but
when the time came his voice failed him
even for talking, and it became necessary
to substitute Maurice Abbey, one of the
chorus. Mr.. Abbey, of course, did not
know either lines or music, and this acted
in some measure to take away from the eff
feet of the work of the new soprano. Miss
LIE Sassier was given the part of PHOEBE.
She has a high soprano of pleasing quality
and tone and highly cultivated, and al
though she was very nervous, and the abb
sence of Mr.. Sheehan served only to in
crease that feeling, she made splendid
impression. The cOmDany needs n soDrano