Evening star., 1901-12-31
ADJUSTMENTS.

peal or applause marked the descent OF the
curtain on the first act of the new piece in
which Nixon &c Zimmerman presented
Francis Wilson and company at the New
National Theater last night. The applause
was intermingied with that peculiar mar
ticulate bawl in which the demand for
speech is made. 1t was not mere request
or an idle compliment Washington audi
ences have learned to regard Wilson's
speeches as among the best things he does.
and although he exhibited a reticence in
the matter which seemed as genuine as it
was unfamiliar, the audience would not be
denied until he had come forward and told
it how much he thanked it.
The audience on its side was duly grateful
to Mr.. Wilson and to the players associated
with him. MIR. Wilson'S part Is entirely
different from anything that he has previ-
ously done, and the audience registered its
approval in a manner whose emphasis left
no room for doubt as to his success or that
of the production. The company Is re-
markable one, and several individual hits
were scored. The music is uncommonly
meritorious.
One of the first things that strike the
attention when Sammy Gigg comes on the
stage is the pair of false ears with which
the comedian has decorated himself. They
are Haunting and grotesque. They seem
trifiing at first, but they come to exercise
weird fascination, and if the public fails to
recognize ability a character actor In
will largely rest upon those clam-shell-like
ears which, however much they may add to
the fun of the role, make it a physical i'm
possibility. Mr.. Wilson has his legs with
him as well as his ears No one can fall
upstairs as he does 1t is in keeping with
the lavish scheme of the production that
this part of the entertainment should be
offered on more liberal scale than ever be-
fore attempted. Instead of falling up one
set of steps, as heretofore he falls up two
sets of steps in rapid succession. This is a
record which no other comic opera come
dian has succeeded in making, and the
management assures the public that no
considerations of danger will deter Mr.. VIII
son from positively repeating the feat at
each and every performance. The part of
Sammy Gigg'' is not what would be called,
in the parlance of the green ROOM a par
ticularly fat one. 1t depends on Wilson's
own efforts rather than upon the lines,
which, taken on the average, are very fee
BILE. There are, by actual count, two jokes
about the woman who forgets to say thank
you in the street car and one mother-in-
law joke. The dialogue is as commonplace
as it is possible for dialogues to be in this
field of composition. and the lyrics, in some
instances extremely clever, are in others
redeemed only by the dash and sprightli-
ness with which the singers get them over
with.
The show takes on a prestissimo pace at
the outset. Nothing is dwelt long enough
to let it become tiresome, however, def
cient in native merit it may be. The meIo-
have solid basis OF orchestral excellence
which makes them satisfying to the musi-
cianly as well as the popular ear. 1t SEEM
ed bold thing to attempt "Toreador''
song after the immortal song on the same
subject in Carmen" but this number is
the substantial feature Of the present pro-
dCctton the one on which Its claims to mu-
sical Importance win mainly rest VIM.
Broderick sang it in a manner which called
forth encore after encore.
Of the individual hits, one of the most
notable was that Of Joseph Coyne as a mild
hammered young swell Mr.. Coyne has the
gift Of genuine, natural humor. Christie
Macdonald was dainty masquerader in
boys toggery and sang her songs charm
ingly. William Blaisdell worked indefati-
gably for applause and received 1t In lib
eral measure. Adele Ritchie revealed some
creations in millinery calculated to dazzle,
while Maud Raymond was a peppery bit of
shrew. Jennie Hawley played senorita
with proper Spanish intensity, and Queenie
Vassar was blythely soubrettish.
1.-The Toreador" is right in line with the
modern demand for quick action and plenty
of pretty costumes; and in addition to this,
1t has the benefit of a company which
comes pretty near being an all-star cast.
And for all that Mr.. Wilson is 1T" Some
comedians seem born with the center of the
stage natural heritage. and he is evil
IDENTIFY one of those lucky people. &
COLUMBIA THEATER-Comic operas,
with tuneful airs and bright librettos. well
sung and by good-iooking people, are
rare that when the public is given an op-
portunty to hear such performance the
people turn out in shoals. Foxy Quiller''
Is making his third visit to the city, yet his
reception is just as enthusiastic as it was
the first time. The people were standing
several rows deep at the Columbia Theater
last night when the curtain rose. They had
come to welcome an old friend, and a right
hearty welcome they gave him. Every solo
was encored, and many of the excellently
sung concerted numbers had to be repeated.
Mr.. Sykes aptly remarked in his whimsical
address at the end OF the second act:
Something tells me am among friends"
The music of Foxy Quiller'' is not Of the
kind that is whistled on the streets. but 1t
is of a high order. One almost regrets it's
use in connection with frivollties. 1t seems
too fine for it's ACKNOWLEDGEMENTS suited
to romance than Jest. Abel Gudgeons song
of the building of the ship in the first act
Is as meritorious as anything heard in light
opera in years. However, one is hypercrit-
icai to find fault with what is presented on
the score that 1t is too good. Last nights
audience did not raise any such objection,
but applauded heartily and generously. The
performance was excellent throughout.
Some changes have been made in the cast
since the previous appearances Of the opera
here. Arthur T. Earnest of this city sings
the role Of Ned Royster, and is as dashing
and bold as one would imagine the captain
Of vessel trading In the Spanish Main
would be. Miss Eleanor Kent, who ap-
peared here some time ago with the Stra-
kosch company, appeared as La Colombia,
and her fine voice won instant approval
and an enthusiastic recall. Mr.. Smith has
drawn novel character in Foxy Quiller,
and Mr.. Sykes portrays it with JUNCTION,
never permitting an appearance Of Weari-
ness to betray the irksomeness Of pro-
tracted association with it. He seems to
enjoy the humor of the jolly old humbug
just as much as his hearers Little Adolph
link also takes keen pleasure in his per-
formance, and, diminutive as he is, he fills
the stage when he appears. Light as a
sunbeam, graceful as deer, he is the per-
sonification of Puck in cap and bells. Foxy
Quiller' would not be the same to us were
little Adolph missing
Too much praise cannot be awarded the
precision OF the chorus. The ladies are
comely, and assume an air Of cheerfulness,
if they do not feel It, that makes 1t a pleas
ure to watch them. But that seems to be
characteristic Of the entire performance,
which consequently goes forward with a
zest that would make success of a much
inferier production.
LAFAYETTE SQUARE OPERA HOUSE.
To judge by the individual warm demon
strations accorded the members of the Bel
lows Stock Company at the Lafayette
Square Opera House last night upon their
respective appearances upon the stage
that organization has thoroughly ingra-
tiated itself in the affections of