The Saint Paul globe., 1902-12-29
ST.
TIL E A T RE S

Without pretending to be anything
more than musical comedy" "The
Prince of Pilsen," which began a
weeks engagement at the Metropolitan
last night, comes a great deal nearer
being comic opera-and a good one
at that-than any of its predecessors
this season. 1t is a serious question if
it is not the very best production in the
musical comedy line, Of the past two
or three seasons. That 1T Is superior
to host of the musical comedies that
have visited st. Paul during the past
year, it is idle to deny.
In the first place, it is rep1ete with
pretty melodies. The music is charg-
ed with life. It effervesces. 1t spar
kles. 1t has character, not profound or
intricate, it Is true, but pleasing, and
if you please, catchy" The mere fact
that the people hum and whistle the
closing melody as they leave the thea
ter is indisputable evidence of It's
popular and lasting quality. 1t is this
very quality, which, for lack of more
expressive term, is termed catchy"
that is so essential to the popularity of
comic opera, or any kindred enter
tainment.
That "The Prince of Pilsen" pos
sesses the valuable virtue of longevity
is demonstrated in a most convincing
fashion by the frequency Of the en-
cores. 1t isn't case of one swallow
making summer, for more than one,
more than two, more than three, num-
bers evoke repeated encores. This is
the test of long life in an entertain
ment of this character, for the spirit
that demands and redemands repetition
of song and chorus is the spirit that
will not let "a good thing" die.
And really, "The Prince of Pilsen"
is good thing" an exceptionally
good thing. Not only does the score
abound in vivacious and spirited vocal
music, enhanced by ornate orchestra
ton, but the medium through which
it passes over the footlights has been
admirably selected. The principals are
entirely adequate and the chorus most
satisfying to the ear as well as the
eye.
The ensemble singing bears evidence
of intelligent, musical training-for
there is music in this creation-the
chorus men are as genteel in appear
ance as the male members of the Flo
rodora" sextette-and more athletic
while the gir1s-well, they are girls of
all sizes and compilations and types OF
beauty, clad in variegated costumes
that Danish monotony. Tights are
scarce, but not altogether absent, for
all tastes must be considered. Trail
ing skirts, cut in the latest cEnging
fashion from hip to knee and f1aring
at the base, predominant. The COS
tunes, while invariably pretty, are no
more alike than those of the faShlona-
BILE women on the street or in the ball
room, and the result is picture entire
ly natural, and-on the musical COM
edy stage-unique.
Gustave Luders, the composer, whose
;, identified with sNVThp
Burgomaster" and king Dodo," has
surpassed those achievements in ''The
Prince Of Pilsen." That is to say, the
aggregate of melodious compositions
is greater in this last effort. There is
more life and spirit in the music. The
success of the duet between the lovers
in the last. act, which theme is repeated
by the entire company at the close, IS
due more to the tempo than the mel
ody. So with nearly all the arlas. Sim
pie as they are, and reminiscent, too,
of ."The Burgomaster," as well of pas
sages from other composers, they fit
the situations happily, their tempos are
inspiriting and rolIicking, and, all in
all, they seem to be in complete har-
mony with the spirit of the audience.
The presentation of 'The Prince OF
Pilsen" is in every way worthy. Ii
really contains no role requiring
pTlIlld uOIlIc, ~ Oil VI AAOASAA
tram's soprano is not needed, but MISS
Bertram seemed to enjoy her dramatic
opportunities even If her lyric chances
were limited. She acted with much
animation, and was always a picture
of womanly grace. Her song, "The
American Girl" with it's accompanying
diversion illustrating the various
types, was the "hit of the show"
Anna LIGHTER, in the role of the
Vassar girl, displayed a clear, sweet,
flexible soprano, and sang with an ease
that fairly rested the ear.
Lillian Colenan's rich mezzo So
prano was most effective In the duet
with the prince, which becomes the
theme of the final chorus, that the peo-
pie whistle as they leave the theater.
John w. Ransome, in the role OF
Hans Wagner, Cincinnati brewer
travelling abroad, provokes the laughs.
AS a funny man, his face is his for
tune. His occasional inquiry, WAS
YOU ever in CINCINNATI" becomes very
laughable after few repetitions. Ar
thur Donaldson is a manly prince,
whose baritone voice pleases.
The choral gem of the performance
is the double male quartette. oh,
Heidelberg" FRED u. Hunt.
When st. Paul theater goers last
saw Yale & Ellis pantomimic enter
tafnment, "The Evil Eye" liberal in
dorsement was given it. Last night
Grand Datrons exhibited considerable