The Saint Paul globe. (St. Paul, Minn.) 1896-1905, 1903-09-25
it St. Paul Theaters
"The Sleepy King" at the Metropolitan.

ne sleepy Ming at the Metropolitan.
The latest contribution to the
stages supply Of musical comedies
was brought forth last night at the
Metropolitan under the title 1.-The
Sleepy King The book is credited on
the bill of the play to George V. Ho-
bart. and the music to G. e. Conterno.
There is something to commend in
the music. The libretto is woefully
thin.
But fortunately for the future of
"The Sleepy King" musical comedy
does not depend for it's ultimate sue
cess upon the words of the lyrics nor
upon the dialogue. They can be i'm
proved, amended, omitted, inserted. in
short the copy can be edited in a brief
period, and the libretto quickly trans
formed from fiat and Witless affair
to a succession of bright and breezy
col1oquies.
If the prime essential of musical
comedy be spectacular scenery, at
tractive costumes and plenty of light,
life and color, supplied by graceful and
handsomely attired girls, then ''The
Sleepy King meets the main requisite
of success. The production as a spec
tacle reflects credit upon the enterprise
Of MeSsrs. L. n. Scott and Dick Ferris,
who certainly mounted the attraction
lavishly.
In respect to the staging the first act
there are only tWo-excels. The
costumes are sufficiently varied, rang
ing from the handsome skirts of the
four daughters of the German from
P1ttsburg to the dainty petticoats of
the petite shepherdesses, the cIinging
robes of the ladies in waiting, and the
dlaphanous attire of the dancing girls.
The lights are managed with telling
effect, especially in ushering the chorus
upon the stage, and as the chorus is
afforded numerous opportunities the
eye is constantly pleased, which. is an
important factor in the contemplation
of an entertainment.
Like the majority of musical COM
edies, of the extravaganza order, the
plot, if it can be described by so seri-
Gus word, is exceedingly light and
trivial. Indeed, it is almost too I'M
substantial to be detected by the naked
eye and ear. But even this deficiency
could be overlooked, were the dialogue
supplied with repartee of a wittier
character. The dearth of clever lines
is conspicuous. Perhaps the funniest
speech in the piece is that spoken by
little Ed Redway, the German dialect
comedian, who, in introducing his four
daughters to the king, says:
These are my four daughters by a
friend of mine who was formerly my
WIFE"
1t must be confessed that Redway
furnishes nearly all the fun. His roll
ing RS" invariably excite laughter,
while his shrill voice and the comical
antics of his little body provoke the
merriment of the most dignified spec
tators.
Walter Jones needs more varied OPP
portunities than the title role allows
him. The part should be amplified, and
doubtless will be, both by the librettist
and himself. The speeches allotted to
the sleepy monarch are somewhat. con-
ventional and commonplace.
Another role, if handled by genuine
funny man, would add much TO the
amusement, and that is the character
of Williwink, the kings prime minis
ter. George Henrey, who impersonated
him, was entirely out of place, and
seemingly unadapted to it's require
ments, his performance being totally
devoid of spontaneity of action and
JUNCTION of speech.
/ The female contingent, all in all, gave
more satisfaction. In the first place,
the chorus girls are pretty, sprightly
and graceful, and the principal women
are likewise attractive and in some in
stances clever.
Petite Nellie O'Neill, whose strenu-
GUS muscular and athletic activity re-
minded one of the irrepressibIe Eva
Tanguay, scored an undeniable hit. Her
specially in the second act with the
female chorus, was easily the best of
the entire performance.
+, Miss Toby Craig, another petite crea-
ture, had too little to do in the role
of Dresda, the shepherdess.
Rosemary Glosz, the prima donna,
has pleasing voice of mezzo soprano