The record-union., 1897-05-18
ADJUSTMENTS.

| n LA ~ Oh mllAv i NJ
At the METROPOLITAN Theater this ev
ening the distinguished American actor
Otis Skinner in the comedy His Grace
de Grammont" The play is four-act
comedy from the pen of Clyde Fitch.
The Count de Grammont has been ban
ished from France for alternating the
! love of a favorite from Louis XIV,
and as the central figure in the play
goes through an experience very sim
liar at the Court of Charles II. of Eng
land where he has taken refuge. The
lady is Mistress Hamilton, in love-" in
the words Of the play bill, with no
one" Charles attempts TO persuade
her to become a maid of honor and his
favorite but she has old-fashioned
scruples, and when De Grammont, with
whom most ladies of the court are in
violent love, appears, she loves him too,
and the action of the play thereafter
includes sundry misunderstanding and
recriminatiOns, concluding with the
Kings pardoninS De Grammont for his
/ fiery and treasonOus speeches. The
story as told is, from an historical
standpoint, correct; the entertainment
being a vivid picture of the phases OF
court life. The dialogue is in Mr..
Fitchs merriest and wittiest mood, and
| here and there, as in De Grammonts
outburst Of jealous rage to the King, il
rises TO the eloquent. Otis Skinner,
! who has in his nature, a large measure
/ Of merrinaent, is cast to nearly perfec-
/ ton in this play, which gives him con-
slant opportunity, in the earlier scenes,
to utter witty points and sarcastic sal
lies with the mock solemnity of court
usage and which later shows him
| where he shines more brightly, as a
! lover, surpassed in the defiant fire of
his jealousy, only by the fire Of his love.
| His Grace de Grammont" is said to be
very beautifully put upon the stage All
Of the costumes which are worn in the
production are copies from the paint
ings made by Sir Peter Lely, which are
now upon the walls Of Hampton Court
palace. The first act of the play shows
the palace at Whitehall, the second and
third, the gardens of Hamilton House
and the third, the Kings private aud
fence chamber at Whitehall.
| Manager Todd introduced the WILDER
| Comic Opera Company last night at
the Clunie Opera house to q fine audi
ence While the company is new and
was strange to Sacramento audiences,
and therefore somewhat naturally en-
barrassed and uncertain Of it's recep-
ton, it is to be said that it made a dis
tinctly excellent impression and achiev-
ed a decided success. 1t will, with some
slight changes, prove the best at
traction Mr.. Todd has secured for the
opera-house in long time. 1t is a
large and we'll balanced troupe, lack
ing mainly only in strength of the male
| chorus. The female chorus is very
good, strong and self-possessed. 1t is
not a chorus of beauties, but of people
who can sing and act and do their
work conscientiOusly and with earnest
desire to please. Nevertheless it
should be a bit freer in action, and will
be doubtless now that first night is
off. 1t received two hearty encores last
night. something unusual for a chorus
on first night. The company is richly
| costumed, and in the Oriental robes of
Said Pasha", made a brilliant appear
| ance. The opera is a tuneful one, full
Of pretty airs. and in action rapid, mer-
ry and witty. Mr.. Rockwell, Said
| Pasha, is an efficient baritone and a
clever actor Of fine stage presence. Mr..
Deane, as Hassan, is a baritone, who
was visibly embarrassed. He has a
good voice when self-possession enables
him to give it rein. MIR. Ellis, as Me
rano, is the tenor a singer of
strength, sweetness of tone and intel
lgence in his work. He made most
| excellent impression, and, in fact,
scored a distinct success. Mr.. Kyle
and Mr. LleWellyn are the low comedi-
ans Of the company, and leave nothing
to be regretted in their work They are
capital fun makers, and Mr.. Kyle is a
! singer of experience and good judg-
ment. The basso is Mr.. Nicholas the
| Rajah. He has a. rugged voice, which
he manages well. If it lacks in mel
loWness it needs nothing in the matter
Of volume and vigor. The gentleman
| is a good dramatic as we'll as lyric
worker. He is not a high class basso
but we should rate him as versatile
and very adaptable. Petite Rose South
| ern, as Serena, had the leading So
pranO role. Her voice retains its arch
| ness and sweetness: not strong, but
full of dramatic expression. She has a
handsome stage presence, and is a cap
ital actress for comic opera roles. She
always was a favorite here, and evil
| IDENTIFY has lost no friends. If she is not
a great singer, she is so clever arch
and winning that she makes q warm
place in the judgment of her auditors
for herself. Miss Maude Rockwell, as
| Alti, is o soprano with & sweet, eX-
preSSiye and pleading voice, which she
manages well She is OF very attract
i've stage presence and a most grace
full figure The singer OF the gTouD
however, the best and cleverest of all,
| is Miss Dora Busch, contralto, as Ba-
lah. She sings with nicely and depth
OF feeling, q vigor and sincerity alto
| gether satisfying Her tones are So
nor0us, rounded and very expressive.
She is a ca9able actress also, and in
| comedy is more than clever She had
| by far the most trying role of the
opera, and maintained it upon high
level. The gems Of the evening were
| Mr.. Ellis tenor solo I'm an Old Man
| Of Mexico" the female chorus Sweet
hearts; the duet between Mr.. Kyle
and Miss Southern in the first act; the
love song duo between Mr.. Ellis and
Miss Rockwell; Miss Rockwells inter-
| polation, TT Was q Dream: Mr.
Deane and Miss Southern's kiss
duet in the second act, caDitally bur-
| lesqued later by Messrs. Kyle and
Llewellyn; the quintet by the leaders
in the last act. The orchestration was
very good, only a trifle loud at times
for effective work by the singers 1t is
capably presided over by Musical Di-
rector Frank Hepburn. If the male
chorus will sacrifice truth and follow
the conventional a little more, by