The Saint Paul globe. (St. Paul, Minn.) 1896-1905, 1898-02-07

Two Little Vagrants'' made hosts Of
friends at the Grand opera house last night
The rest Of the dramatis personae, with two
exceptions. did not fare 50 we'll. The ex-
captions were LIE Renard, the tutor Of
thieves, sort Of composite of Bill Sykes
and Fagin, and Zephyrine, his wife, who
answers to Dickens Nancy Sykes
The rest Of the cast is hopslessly bad.
Fortunately, the characters, other than
those mentioned, do not intrude very often
after the prologue. All is forgiven in the
light Of Mildred Hollands picturesque en-
bodiment Of Fan Fan, the first and robust
little vagrant, and Edith Fassett's excellent
representation Of the second and pulmonary
little yagrant. Claude. For Claude is a wit
as we'll as a consumptive.
That prologue seems to be a necessary
evil. Without it the people would not under
stand the melodrama. With it, the parentage
of the robust little vagrant is exp!ained-but
explained at an awful sacrifice. From such
players as monopolize the prologue and oc-
casionally spoil the play itself, heaven de-
liver US, If the managers won't.
In such company Miss Mildred Holland
who Played Fan Fan, shone like Jewel in
an Ethiop's ear" Miss Holland looked like
boy, talked like q boy, and behaved like a
boy. The word "boy" is one Of those indie
frable words that everybody understands.
Miss Hollands characterization is essential
ly an artistic achievement. She speaks and
moves with spontaneity that indicates the
close sympathy of the artist with the sub
ject. Her voice rings in tones Of sincerity.
Her expressive face reflects every passing
emotion. Her portrayal is vital.
The character of Claude the sickly COM
panion of Fan Fan, is necessarily less strik-
ing considered apart from Fan Fan, but It
serves to present a strong contrast. Miss
Fassett's impersonation of the role is excel
lent
Blanche Moulton is to be commended for
her portrayal of Zephyrine the wife of lie
Renard," and Edwin B. Tilton impaired some
individuality TO LIE Renard.
The melodramatic effects were accom-
plished without hitch, and they are an i'm
portant factor in the success of a melo-
drama And certainly Two Little Migrants"
is nothing else. 1t is a good melodrama
after the first act, or prologue, which presents
incidents supposed to have happened seven
years before the second act.
The scene representing the locks on the
Seine is an ingenious piece of stage mechan-
ism.
Weber's admirable opera, der Freischutz,"
replete as it is with fanciful themes and
beautiful harmonies, was presented at Mozart
hall last night under the auspices OF the st.
Paul Mozart club. Every single seat in the
hall was occupied, and standing room could
not be found after $50 p. m.
The DanZ orchestra, numbering twsnty-fv e
pieces, assisted most materially in giving
the opera, as all who attended the perform
ance can testify. Mr. Manner sat in The
directors chair and conducted the opera
There was a disappointment in store for ALL
Mrs. Amanda Heitzmann, the dramatic So
prano, who, it was announced, would sing
the role of Agatha, unable to appear
The role was assumed upon two hours no.
tice by Mrs. Zumbach, who acquitted herself
very credtably.
Henri De Lorme appeared as Max, the sec
ond huntsman. Mr.. De Lorme possesses a
good stage presence, and a tenor voice some
what worn in the middle and lower registers,
but still brilliant in the top register. His
graceful bearing is that of one accustomed
to the stage.
The piece de resistance Of the opera was the
solo OF Anne CMrs. Emil Traeger in the third
act, with viola obligato played by Frank DAM
Jr. Mrs. Traeger has a delightfully."- sweet and
fresh soprano
Mr. Larsen, in the role Of Kuno, the burgo-
master. sang most satisfactorily.
The chorus well drilled