The Indianapolis journal. [volume] (Indianapolis [Ind.]) 1867-1904, 1900-03-03
ADJUSTMENTS.
Alice Nielsen In ssThe Singing Girl" at
EngIish's Last Night.


Prettier, plumper, more bewitching than
ever, Alice Nielsen appeared at English's
Opera House. last night. in her new comic
OPERA "'The Singing GIRL and by thou
sand winning tricks of face, voice and
gesture literally stole away the senses or
the most magnificent audience that ever
greeted her or any other comic opera star
I'm Indianapolis. At times the enthusiasm,
particularly on the upper floors, strongly
suggested that which Is said 70 prevail in
the playhouses of Paris sometimes. 1t
would have occasioned little surprise had
a shower OF bouquets or even money come
tumbling down about the wooden sabots
which adorned the little prima donna's
dainty feet through most of the opera.
However, the audience confined itself to
clapping hands until they were sore and
fairly shrieking themselves hoarse In
demonstrations of widest approval. Such
reception might easily have turned the
head of a star who had been before the
public many seasons. but the little singing
girl acknowledged it merely by added gra-
ciousness of manner and renewed efforts
to please.
comparison between the new opera and
'"The Fortune Teller is out of the ques-
ton, since the two belong to separate and
distinct classes 1.-The Singing Girl is
genuine, unmistakable comic opera, while
"The Fortune Teller suggests rather the
lyric or grand opera In the former the
comedy element is paramount, and the evil
dent relish displayed by last nights audi
ence proves the wisdom of this. In Europe
such a production as THE Singing Girl
is denomfnated opera comique, but in this
country the distinction contained In that
designation Is too often forgotten or trited
with. The authors, Messrs. Smith. STANCE
and Herbert, are to be congratulated for
having given 10 this country true ex-
ample of comic opera In its most pleasing
form. An acute critic might pick flaws in
the orchestration and score of The Sing
ing Girl'-though that is doubtful-but he
would be rash indeed who would presume
to take such liberties with the libretto.
There are a number of reasons for the
marvellous success OF Alice Nielsen
comic opera prirna donna, but several
stand out with striking distinctness. One
OF the most conspicuous and attractive
features OF THE Singing Girl is the trio
OF idyllically beautiful stage pictures pre-
sented in the settings of the three acts,
the first showing the public square rising
from the Danube in Linz, Austria, the Sec
.ond disclosing the bridal apartments in the
palace OF the Duke of Linz and the last
revealing the Schloss and convent over
looking the city: were all heartily APP
plauded for their picturesqueness- An
other undoubted charm of the production
was the large and handsomely attired
chorus, the members of which possess
faces and voices far above the average
of such organizations. There was a good
sized male chorus, costumed to represent
Austrian officers OF police, that added
greatly to the triumph OF the evening. At
the head of the latter body was group
of unusually fine looking men who sug-
gested the famous body guard Of physical
giants cellected by Frederick the Great.
The absence of Richie Ling. the famous
tenor, was not noticed. which simply fur
nishes additional proof OF the excellence
OF the performance. Mr. Ling is sick. and
able manner by his understudy, the omis-
sion Of whose name from the programme
would seem an objectionable oversight,
since there was certainly ample time to
anticipate his principals failure to be in
the cast.
The comedy element of 1.-THE Singing
Girl is supplied by three as worthy ex-
amples OF the genus comedian could be
drawn together in one production. John
Slavin. as stephen. brother to Greta, the
singing girl; Joseph Cawthorn. as Auf-
passen, minister Of police, and Joseph w.
Herbert, as Prince Pumpernickle, the man
whom age could not wither, singly, in duos
and In combination. scored triumphs sec
ord only TO those won by Miss Nielsen
herself. Slavin proved himself possessed of
extraordinary versatility as a funmaker.
His best work was done. perhaps, when
change costumes with his sister. While in
the girls disguise. he and Cawthorn and
Herbert perpetrated a curious hodgepodge
OF song, dance and grotesque aero
audience Its effect was surpassed
only by that produced when the
same trio sang the topical song hit of the
opera. do You Follow Me?" Cawthorn
impersonated one of those Germans whose
rolling of their ''r's" and other struggles
with an unaccustomed dialect never fail
&c afford boundless amusement. Mr. Her
bert supplied the old man. without which
talked in canine barks. and. as Aufpassen
said. laughed like billy goat"
Some OF Miss Nielsen's vocal hits were
''To Be Little Singing Girl" Beware,
Lest You Fall I'm His Awful Snare" her
Goodnight song and the Tyrolean war
BILE. accompanied by the wooden shoe
dance.
Eugene Cowles's first appearance was
greeted with Outburst OF admiring ap-
plause. showing that his last years work
was remembered. With his famous ro-
mantle song Love the Great Magician
he secured one Of the many ovations that
made the evening memorable
IL seems strange that the wonderful con-
tralto of Miss Lucille Saunders should
have been limited 10 single solo and par
ticfpation in a few choruses. Her rendi-
ton or Gould but Know You'd be Beside
Me, Dear, was an event that will not soon
be forgotten by those who heard IT, Miss
Saunders displayed some gowns OF unusual
beauty.
In point OF attendance, interest. enjoy
ment and enthusiasm last night marked
the greatest theatrical event OF an excep-
tfonally brilliant season. The audience full
~ equaled In numbers and distinction the
noteworthy gathering OF last year I'm honor
OF Richard Mansfieid. Not only was every
seat In the house occupied. but extra chairs
were placed in the aisles and the stand
Ing contingent in the rear made egress