The times. [volume] (Washington [D.C.]) 1897-1901, 1898-03-22
AT THE HHEATERS.
Lnfayet,e-.rLe Bride-Elect."

Although the selection has been played
promiscuously for several weeks, il is
not probable that a larger number of
people have yet timed their step to the
magic cadence of Sousa's ''Unchain the
Dogs of War" than marched down the
aisles of the Lafayette Square opera
House last night on the occasion of the
first presentation in this city of the opera
to which it belongs. The Bride Elect.
\ crowd had gathered in the lobby fully
an hour before time for the curtain to
raise and, when the orchestra finally be
gan the overture. every seat in the house
had its occupant, if every occupant did
not have a seat
The Brde-E!ect' was in some respects
not up to anticipations, but in others 50
far ahead of the standard that one does
not hesitate to place it among the best
| products of the last five years. This is
largely due to the staging given the piece
! by MessTs. Klaw, ErangGr, and Stevens.
1 There are three settings, and each is a
/ marvel of the scene painters art. Cos
! tunes and properties are equally hand
some. while the ChoruseS are so large
| as 10 crowd the big stage at the Lafay
/ cite TO an extent not even surpassed in
/ the auditorium But it is to Ben Teal,
| who directed the production that the
! greater part Of the credit belongs The
| choristers are drilled to a point of per-
/ lection rarely, if ever seen before The
drills and marches are executed prompt
ly, in unison, and with regard TO the pic
ture presented that is as remarkable as
| it is admirable.
In the score of The Bride-E Elect.
| Sousa has done a high quality of work
! of which not even his best friends ever
| thought him capable. The music is as
| tempting to the feet as in any of his pre-
| ViOus writing, but it appeals to heart
! and head in a far greater degree. There
| IS strong foundation for his melodies
/ that makes them almost classic. while
| a certain quality of smoothness and yet
unanimity in the orchestration reminds
| one not a little of the German master.
! Richard Wagner. Certain it is that no
American composer has ever done work
| of the order contained in this latest ex-
ample of SouSa's genius. Probably the
! prettiest number in the opera is Snow
Baby a lullaby. sung by Christie Mac
/ Donald. This is written to a sort of wild
! Morse theme. set with harp obligato in
one of the most pleasing melodies of the
| season. Nella Bergen's Card Song is
another gem, well rendered by that lady,
and two tenor solos are extremely effect
i've. The one topical tune of the piece is
also catchy. while the march at the be-
ginning OF the first act. and the first three
| choral numbers of the second, are notable
| for their spirit and the shading in their
climaXes, particularly those portions car
ried by brass instruments.
That much-advertised march. "Unchain
the Dogs of War" is introduced in
thoroughly effective manner and carried
out with a finish of ensemble that char
| acterizes the entire production. 1t has
| 4 graceful movement, and repeats itself
| in the minds Of its hearers much as the
! Photographic cylinders are described to
! have done in the stomach of the topical
goat. The selection has considerable
! fire, too, but lacks the solidity of Eel
Captain" and the emotional and sensual
| qualities of the composers other
marches. Then there is no central figure
| TO lend it force, and while last night
it created the greatest enthusiasm, one
| Is forced to the sentiment that this is
due more to the director than the author
In the libretto Sousa has done little
| more than prove his versatility. The book
is sufficient for its purpose and a good We
| hicle for the music, but ii will never
stand alone as a remarkable produc-
ton. 1t is probably up to the average
| but certainly not above. The lyrics, even
| though metrical. lack wit and adapta-
| bility; the lines are from sources I'M
known, but certainly older than their
supposed author, and the story is pain
fully conventional The Goat and the
monograph is remarkably clever bit
and Snow Baby" approaches the poet
zeal in its highest sense, but these are
the only exceptional things in the Ii
bretto. What humor there is bears the
unmistakable imprint Of being built,
rather than written.
With the cast presenting the opera not
the slightest fault can be found Albert
Hart is a comedian of infinite resource
and just enough mannerism to make
him memorable. In style, his humor is
a sort Of draw between De Wolf Hopper
and Dan DAILY. but it is certainly not
lacking in the virtues of either. Christie
Macdonald, who plays the opposite role
originally arranged for Edna Wallace
Hopper does that lady great credit in
her assumption of the part. She has
q sweet voice, rare charm and wonder
| ful grace. Nella Bergen is q striking
woman. with a beautiful soprano voice.
whose Brigand Queen la PastoreIla, is
really a capable bit of acting Melville
Stewart, seen here frequently with the
Castle Square Opera Company is, as
ever, thoroughly efficient. while his fine
voice is a feature Of the presentation.
| Lillian Carllsmith sings badly and acts
worse, while Frank Pollock. Charles II.
Drew and Harry Luckstone are come
dams Of rather negative ability, more
to be thanked for what they do not
| than what they do accomplish.
The theater was beautifully decorated
last night, and the audience one Of
the most fashionable as well as one OF
the largest of the year.