The times., 1898-06-14
AT THE THEATERS.
NationnI-DoubIe Bill.

AationnI-Double BILL
Those who braved the heat and a fair
prospect of rain to attend the opening
of the National Opera Comique Company
last night at Manager Rapley's uptown
house were rewarded above their most
sanguine expectations. for not only was
the performance given really worthy, but
the theater itself presented an aspect Of
cool comfort that was like balm to the
wilted soul. The place was decorated
through and through with palms and other
tropic plants. while an occasional electric
fan gave welcome promise OF relief during
the evening. And. what was probably OF
more interest 10 the management. the
audience present was by no means either
small or lily disposed.
To begin with, in speaking OF the en-
tertainment. the organization is not an
Opera Comique" at all. Its first bill
had as its strongest offering nothing less
than Mascagni's sublime "Cavalleria
Rusticana." while the minor presentation
selected is Gilbert and Sullivan's evil
IDENTIFY immortal work. ''Pinafore."
The success OF last night becomes re-
markable when it is considered that the
combination began here almost totally
without reputation. With one or two ex-
ceptions no member OF the advertised cast
had ever been heard Of before and the
general opinion seemed to be that the en-
tire affair would prove to be of exceeding
ly dubious merit It was. therefore,
something Of surprise that the company
proved. on the whole. cavabie. both in
I Individual talent and in the many effects
that go 10 make up successful produc-
ton. Scenery and costumes are ample and
adequate If not elaborate. and the stage
management has been done by capable
hands. The orchestra used. too, renders
efficient service, and the chorus though
by no means comely, is well trained and
of great ability. Its singing. indeed. was
one of the features of the evening and
| was thoroughly enjoyed.
While "Cavalleria Rusticana'' seems an
| ambitious production for any stock CON-
| pany II was given last night with rare
and unexpected excellence. The five prin-
cipalS required in the cast all sang with
vigor and earneStness. Without excep-
| ton each is possessed Of a naturally fine
| voice. generally of considerable power and
training. Under such circumstances it is
| perhaps mere regrettable than condemna-
| tory that there is in the entire organiZa-
| ton not a single individual who has the
| faintest conception how to act. This is.
| of course. true of many opera companies
but never before has il been so in a more
| noticeable or painful degree. "Cavalleria
| Rusticana'' especially requires great fire
| and power in its Interpretation, and both
| qualities were absolutely lacking in the
| combination presenting il.
Charlotte Gilman sang the role of San
| tuzza with great force and ability Her
| voice is remarkably sweet in its lower
| register and not at all disagreeable in
1 it's higher notes. The duet with Algernon
| AspIand. as Turidder. could not have
| been better rendered, though the acting
/ given the powerful accompanying scene
| made IL desirable that one should listen
4 with his eyes closed. Mr.. AspIand in par
| ticular played the role Of the passionate
| Italian with the pout of a spoiled child
| rather than the force of an angry man
| and was only saved from receiving
| laughter by the beauty of his voice Lee
| Hobbs Martin made a rather pleasing
Lucia and gave the opening solo with
| good effect. while the Olfio of Adolph
| Mayer was not only well presented vo-
| cally but dramatically. Celie Ellis was a
| weak and thoroughly Intellectual Lola.
The work of the chorus in this portion
| of the performance was remarkably fine.
| While an attempt to double it's numbers
| by a system like circus parade or an
| SHuleSS CNdlu WAS the sing
ing overcame such petty matters. Sell
dom has the anthem before the church
| been better rendered here and a triple
! encore resulted.
"Pinafore," which preceded "Cavalleria
| RuSticana," is the same old favorite that
| 1t has always been. The catchy and yet
| dignified music blends. as ever, with the
ponderous but jingling rhymes and makes
more than ordinarily interesting the pref
ty tale of the lass who loved a sailor
instead of the admiral who had polished
the handle on the big front door, The
| same faults and virtues noted in the
! heavier opera were seen in this though
hardly as noticeable because of the lesser
requirements of the piece. In its interpre-
tation William Blaisdell improved all OF
the limited opportunities for comedy
vouchsafed the Right Hon. Sir Joseph
Adolph Mayer was a thoroughly pleasing
and able captain: Algernon Aspland gave
additional tunefulness to the part OF
Ralph Rackstraw: Arthur Tempest made
a hit with his delightful rendering of the
music given Bill Bobstay; Josie Hart
| proved a winsome Hebe; Carlotta Gil.
| man was equally pleasing IL not so easy
| in her portrayal of the role of Josephine
| and Ce1ie Ellis made rather good Little
| Buttercup. F. NJ. Marston's version Of
| Dick Deadeye was so poor as to 5t
| ridiculous and so Intellectual as TO bt
| dearth of amusement in that regard. Th.
| sisters and the cousins and the aunts'
| were all capable and served to enliyen on'
| of the most harmonious productions TIL,
| nieea has oyer received in this CITY