The evening times., 1899-03-11

That the management OF the Broadway
Theatre Opera Company is keenly alive 10
the Importance Of giving an exact repro
duction of the original performances is
evidenced by the stress laid in its an
nouncement upon the names of the indi-
vidual members of the organization. These
give positive assurance of a more than
meritorious entertainment. Most Of them
have already been sealed with the stamp
OF local approval.
1t would be premature to even hint at
the merits or defects of the new Smith De
Koven work itself. In advance 1t may be
said that in the new piece these tried col
laborateurs have radically departed from
/ the lines upon which they formerly labor
ed. The romantic element always entered
largely into their previous operas. In The
Three Dragons" there is no attempt to
interest audiences in a serious story. To
be sure, there is love tale but it is dealt
with in a spirit of light comedy. In fact,
in his libTetto, Mr.. Smith has stTiven TO
emphasize the humoT solely, while Mr. De
Koven has colored his music in the same
vein 1t is understood that the primary
intention was TO dramatize Charles
O'Malley,' but finding in Levers novel
sUpera bundance of material Mr.. Smith in
vented his own story, retaining only the
locale and the suggestion of two charac-
tiers, Charles and his famous servant,
Mickey Free.
Not a line nor a situation has been taken
from the book. II is true that the title
bears a similarity 10 that of The Three
Musketeers, but the trio of officers who
give the offering its name are OF no kin
to the famous triumvirate of Dumas
masterpiece. Mr.. Smiths heroes are
three lieutenants of different regiments
serving in the Peninsula War during the
campaign in which the Duke of yelling
ton won his title. One dragoon is of the
Irish Brigade: one is a lieutenant of the
Scots Greys, and one is an aide de-camp
of Wellington. The plot concerns a race
for an heiress and a legacy, in which tie
soldiers are contestants. There are three
scenes in the opera; that of the first act
represents posada near Lisbon, the sec
ond is in the kings palace, where a mas
querade ball takes place; and in the last
smugglers retreat in the mountains is
shown.
Mr. De Koven's music has been con-
ceived and composed in a light vein; it is
said to abound in catchy, fanciful melodies
and stirring marches. The masquerade
ball mentioned affords consistent oppor-
tunity of exhibiting gorgeous costumes.
In fact, the production from spectacu-
lar standpoint is proclaimed to be one
of the most complete and striking ever
shown. The interest felt in the new
Smith -Dekoven work is evidenced by
great demand for seats. The first night
will bring cut brilliant assemblage and
this is particularly noteworthy in view of
the presence at another theatre of one OF
the seasons greatest New York successes.
Lovers of romantic drama will no doubt
be glad of the coming of Rupert of Hent-
zau,' Anthony Hopes newest romance,
which James X. Hackett and his company
are to produce for the first time in Wash
ington next week at the National This
will be Mr.. Hackett's second visit here
this season. He was seen at this same
theatre in THE Tree of knowledge" last
autumn. Rupert of Hentzau is, as near
ly every one knows, companion play to
Mr.. Hopes Prisoner of Zenda,'' and con-
Germs stirring adventures which happen
! in the lives of the ''Zenda' folk three
years after the ending of that story The
star, of course, has the important dual
role of Rassendyll, the Englshman, and the
enfeebled ruler of Ruritania. 1t was in
this character in the Prisoner OF Zenda"
that the young actor scored his first hit.
The part calls for many rapid changes of
costume; indeed it is declared to be one of
the hardest pieces of work ever allotted