The Washington times., 1902-01-07
The NationaI-'!Maid Marian u Ncyy
Comic Opera by Harry II. Smith
and RcGinnId de INOvcn.

and RcSinnl de kOvcn.
Shcrih OF Nottingham 49,. Henry Clay Barnabet
\ I,l,t!e ,oin. ..................W. II. Macdonald
| Eohn Hood od...................Fr Frank Rushworfl
| triar Tuck .-...... George B. Frothnghan
| - ~: Adele Raftef
| nnu! oi "isnourhe H. Fitzgerald
| nine burden. Josephine Bartlett
| ,'t,i', :. Helen Gordon
| - iiii- Belle Harper
| N''u Marian. Grace Van StuddforI
y sequel, either to a story or comic
| opera, is thing to be approached with
/ iear and trembling; it is quite certain
TO invite comparisons with She work that
mas gone before, and these COMPARISONS
are not always favorable. Maid Marian -
the new comic opera by Harry 3. Smith
ana Reginald lie Koven, is a sequel to
the same writers'' earlier success. Robin
Hocd.' and its presentation is entrusted
| to the Bostonians, who are responsible
| TO great extent for the vogue attained
Dy the Sheriff Nottingham and his lyrical
associates of Sherwood Forest.
The audience that viewed Maid Mar
ian" at the National Theatre last night
made the inevitable comparison between
the two operas, and while there are many
things lacking in the new piece that will
keep it from attaining the popularity of
Robin Hood" yet the gathering decided
it liked Mr.. de Koven's new music very
much, and On number OF, occasions
showed this appreciation in the shape of
persistent calls for repetitions of some
Of the solos and choruses.
Every familiar parsonage of robin
Hood except Robin himself is brought
before the footlights very early in Maid
Marian" Brave VIII Scarlet, gallant Lit
lie John, romantic Alan-a-Dale, the
scheming, wicked Sheriff of NottinghamA
all these favoriteS were in evidence to-
gether with the reckless band OF archers
Of Robin, still clad in their forest garb.
The atmosphere of Sherwood Forest was
missing, however, although in its stead
was provided the picturesque camp of
the Crusaders in the Holy Land. whittier
Maid Marian had gone in search of Rob
in, much after the fashion that she de-
parted in the previous opera from Hunt
ington Castle to follow the outlawed earl.
There is not the same interest in the
story OF this new work that there was in
the two pieces is not to be compared, and
there is striving for spectacular--one is
almost tempteu te say melodramatic-ef-
fects that does not add anything to the
worth of the piece.
The composer has carried off the honors
in Maid Marian" While it would be
strange if there Jwas not every once in
a while q reminiscence of Robin Hood"
iT,f h. tn- +1a ata- y
Koyen has furnished some splendid num-
bers. Even the initial chorus of the
hunters, with the solo THE Dew Lies On
the Heather, was given a rousing encore
and caught the immediate interest of the
asscmblagc. Mf. de Koven's Crusaders
Chorus, after the first act, is one of the
best things of its kind he has ever done.
1t has stirring. vigorous air. that makes
it easily one OF the hits OF the score
Adele Rafter has in Tell Me Again,
Sweetheart, one of the real gems OF the
opera. and sings it capitally. Even Jes-
sic Bartlett Davis. at her best could not
have done more with bio song than did
this little Bostonian contralto with her
winsomeness, and youth. and talent, and
ambition. Grace Van Studdiford's Snake
Charmers Song with chorus assistance
and her Falcon Song were well rem
dere1: the duct, True Love Is Not for a |
Frank RushwoTth, in the second act; AL |
Ian HinclSley's bass solo, The Cellarers |
Toast" and the "Madrigal," sung in the |
first act by Miss Van Studdiford, Miss |
Rafter. Mr.. Macdonald, Mr.. Hinckley, |
and Mr.. Fennesey were the notable sue |
ceSses OF the score.
The Sheriff of Nottingham, as portrayed |
by Henry Clay Barnabee. is not the bu- |
gentleman that he was in Robin |
ITnn tr rsa far Of a.H Mr. Ifuts
bees sheriff is a dismal sort of figure, |
more in line of n caricature than any |
thing else. Any deficiencies that may be |
apparent in his work may be explained |
on the ground that you'd scarce expect |
one of my age to gambol gaily on the |
stage The comedian is not yet counted |
out, but he is in a distinctly different |
class than in The days of the Robin
Hood success. And yet he succeeded in
creating iTmodcrate laughter at times |
last night by methods that would not be
tolerated in any other comedian.
MIR. Macdonald sings about as well as |
ever. and his Little John is one of the
best contributions to the performance
He is supplied with a first-class song. |
The Forest"r's Song which he renders
admirably. George rockingham contin-
ues to play Friar Tuck, and creates a |
good deal of laughter by resorting to
horseplay when he masquerades as a
Vcled houri OF IN Eastern harem 1t is
cheap ciOwning, however. and serves 10
show TO what ends the BOstonians must
80 10 get laughs in their new opera.
Grace Van Studdiford makes very sat
isfactory Maid Marian, and sings the
songs allotted TO her cyccllently. Adele
Rafter's work as Alan -a-Dale is by all
odds the best she has done during her
two years experience with the Boston
ilug Her Xpirp & rama ri !
and besides acquitting herself
well in the vocal department of the per-
formancc. her dramatic efforts are good
and she lnAhc6 4 very pretty picture of |
the romantic Alan. Belle Harper a radi-
ant beauty, makes Lady Vivian a very at
tractiye person, and Frank Rushworth, in
the role of Robin Hood scores IA large
sized success. RuehHOrihs voice is de-
cidedly better than when lac was last |
heard locally, with the Alice Nielsen or
and he is about the best tenor |
the Bdrnabee Macdonald company has
had in number of seasons Allan
reminds one of Eugene CowIes a |
little, even if he is denied the remark
able voice and personality OF the former |
basso of the Bostonians; still Mr. Hinck-
ley performs his rather exacting vocal
duties uncomnionly well. The chorus is
large and sings in true Bostonian style
splendidly. the production is somewhat
elaborate and tte costuming, particularly
hat OF the crusaders, is striking
Mr. dc koyen occupied the conductors
hair and cnergetically directed the work
II the orchestra. At the conclusion OF
lie second act there were cries for
peoch from the composer, and he re-
ponded, modestly thanking the gathering
or its kind reception of his work, and
heir appreciation OF the efforts of sew