The Minneapolis journal. [volume] (Minneapolis, Minn.) 1888-1939, 1902-01-28
ADJUSTMENTS

=
Frank L. Perley's '*chaperons'' is a good
illustration of how little the poet. the talk
writer and the plot-maker sometimes have to
do with success In modern musical extrava-
ganza. The maker of jingles has perhaps a
larger share in the project, but, after all, II
such productions as 'sThe Chaperons" are
fair criterions. everything depends upon the
producer. If he lis man of liberal ideas and
good judgment. he will engage the best enter
tanners in the business and expend much time
and money in working out a brilliant setting.
Upon the stage manager, furnished by the
plot-maker with the bare skeleton upon which
the production Is to be built up, now falls the
brunt Of the work. His clever people supply
much Of their own business and devise
their own stunts" But even when the pro-
duction is put together and presented to the
public, 1t is by no means finished thing
Only experience will show what "goes'' and
what falls fiat. The unfortunate numbers
that do not catch the fancy Of the public are
cut out without ruth and new ones substitut-
ed There are advantages both to manager
and audience in this freedom from thrall to
plot. And yet both would welcome heartily
good plot-one that hangs together and sus-
tains interest-and the more absurd and illog-
ical it is the better: But unfortunately
there is "a sad dearth Of ingenious plot makers,
and enterprising producers like Mr.. Perley
and atone for the shortcomings of the story
by the variety and versatility of their players
and the brlliancy of their settings.
. COnceding that Frederick Ranken has fur
nisned but poor and tenuous book for 'eThe
Chaperons' and that Isidore Witmark's score
is not overladen with vocal gems, it remains
to be said that the entertainment furnished
by Mr.. Perley's company is Of a. superior
quality. Abandoning his former plan of clus-
tering satellites about one central star of ra-
diant beauty--for such luminaries. like Alice
Nielsen, are likely to prove ungrateful to the
manager who first gave them opportunity to
shine-Mr. Perley now comes with an all-star
company of such diverse talents that none Of
them is overworked or becomes tiresome
Harry Conor heads the list in role wherein
that SNUG JUNCTION which brought him fame
in "a Trip to Chinatown finds full play It
Is broad satire on those reformers who en-
Joy their vice while studying and suppressing
it.. Mr.. Conor sings a topical song we'll, is
quick at repartee and is occasionally funny
but only occasionally. George K. Henery,
who plays the valet. is SO remarkably tall
that some fun is extracted from the contrast
he presents to Edd Redway, the diminutive
German comedian. Redway is a comical little
fellow and SUCCESS as laugh-getter. Wal
ter Jones, who plays New York Irish CON
tractor studying rapid transit in Paris, was
rather a disappointment last night-partly on
account Of a cold which made speech difficult
and partly because his character Is along the
old familiar lines. Joseph C. Miron. as the
impecunious impresario, is one of the best of
the comedians, having developed vein of
humor that he would never have been sus-
pected of possessing in his old operate days.
His big, rumbling basso is used with great
effect whether speaking or singing, and the
"Comic Opera Bandits number, in which he
was supported by the fine male chorus, was
one of the best things in the production. Har-
old Blake, as the American student, exhibits
a fine tenor voice. very high and pure. With
the help of the male chorus he succeeds In
making Were All Good Fellows easily the
hit of the evening. It Is a good bit of music
we'll sung
The ladies Of the company are its strongest
features. Marie Cahill plays the denlure di-
rector of the chaperons in the most quiet and
natural manner Imaginable, and yet makes
every point tell. Her voice, never raised in
speaking above Well-bred tones. Is just as
effective in song, as shown by the success Of
her millinery Mary. But the life of the
performance is the agile, the athletic, the in
imitable Eva TanQuay the absurd girl de-
tective. She carries the whole thing off with
understandable abandon and caps the climax
with fetching coon song, my Sambo,'' OF
which, with the bewitching dance with which
she accompanies it, the audience never seems
to get enough. Nellie Follis as the innocent
young ward iS as pretty as picture and as
| ingenious as schoolgirl. She sings her one
song, 1.-THE Little Girl Who Couldn't Say
No. charmingly. Mae stebbins wonderful
tnstep dancer. appears but once and wins
great applause by her lissome grace.
The feminine chorus is large and good ia
look upon. 1t can also sing-which Is more
than can be, said Of many ohoruses. It is clad
in many changes of stunning raiment and
sh ares in the action with we'll simulated sDfr-
1t. In short 1.-THE Chaperons," though evan
escent and unsubstantial, Is most enjoyable
throughout. w. B. Chamberlain.
CAT the Old Cross Roads0 at the
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