New-York tribune., 1903-02-09
LONDON DRAMA.
Musical Welodraua and Good Deal
More-4S TO Shakespeare.
London. Januarv II

son. being accomplished musician with a
well trained melodious voice. as well as a versa
tile actress possessing emotional power and per-
sonal charm. has naturally associated herself
with this attempt to combine tuneful music with
romantic drama. and the Shaftesbury Theatre.
with it's large auditorium. is well adapted to thu
requirements Of concentrated illumination artis-
tic arrangement of draperies. spirited choruses
an picturesque q noes and sustained orchestra
ton. For Sword or Song is nosnnaly "a
music play" written by Mr.. Robert George
Iegge. staged by Mr.. Louis Calvert and provided
by Mr. Raymond R0ze with a musical score.
The plot with its melancholy count Iamenting
the loss of a daughter who has been brought up
by gypsies and has fallen in love with another
wanderer OF noble birth, contains unmstakabs
"reminiscences Of THE Bohemian GirI'; but the
nusc is less me1odious than Balfe's and sub
stitutes for sustained opera Hungarian marches
and dance measures. merry gypsy choruses re-
fective srias and impassioned songs from three
or four of the principal players, weird passages
for elves and discontented spirits. and descrip-
tive interludes and incidental orchestral mum
bers. Since the music. with 3ts vague rem
iniscences of Liszt's fantasies and Wagners
''Lohengrin." is not ar Incidental accessory for
filing pauses in the action. but integral ele-
ment OF the play. close approach is made To
opera. There are. however. no effective comedy
passages, and a romantic story is told without
suggestion Of farce or burIesque; and distinct
theme, which readily admits OF musical inter
probation. is illustrated not only by the byplay
and action OF the characters. but also by sym
bolic representations of good and evil spirits
touches OF pantomine and glinpses Of fairyIand
The theme Of this poetical musical drama IA
the conflict between sword and song in which
all that induces strife. whether in nature or in
the human heart, "subservss the eternal har-
monies" This is one Of the mystic sayings ot
the prologue which follows the orchestral prel-
ude and a tableau of white robed spirits be-
slowing artistic gifts upon the child Vladimir,
whose stern. proud spirited father. Count Tiva-
dar. has faith in his relentless Magyar sword.
The meaning of prologue and symbolism is
gradually revealed in the course OF three acts.
and the spectators are not left in doubt at the
final fall of the curtain that chivaIry. love and
honor are not necessarily associated with
strenuous warfare, but compatible with
gentle manners. artistic refinement and the soft
graces of life. The symbolism is less effec-
tive than the romantic story Itself in interpret
ing the theme. In addition to the opening tab
leau. there visions Of good and evil spirits
midway in the play, the genius OF Music, with
her attendant graces, appearing in shining ap-
parel. with long trumpets, and singing with
ecstatic faces under concentrated light, and the
discontented devils groveIling in bearslxins and
revelling in a sickIy greenish yellow glare. Ths
fairy music and hymns and chorUses for spirits,
goof and malevolent. are more helpful in vary
ing the orchestral numbers than in Illustrating
the general theme. Mr.. Gordon Craigs draper
ies and coIored fires offer. however, glowing
spectacular effects, and the three set scenes, the
hall of an Hungarian castle. high plateau ir the
mountains and a forest glade on the edge OF the
sea, are admirable stage pictures.
The story Of this romantic play is clearly told
The youthful vladimir CNlfss Neilson) during his
fathers absence has invited a troop of gypses
to the castle to entertain some Of his humble
dependents; and his eyes fascinated by the
nssome figure of cara CMiss Gertrude Bibby),
who dances while one OF her companions sings
a barytone air. cara is, Of course, the Airline
OF the Hungarian drama She was stolen oy
the gypsies from her father. Count Andres (oGr.
James Fernandez). an enemy Of yladimir's Mag
var father and is beloved by the leader OF the
band Mirska (Mr. Louis Calvert. Vladimir
turns toward her when he sings. Love Is the
soul OF Life, and Music the roul OF Love; and
Mirska frowns as he instinctfvely perceives the
coming rival The frolic is brought to an end
when Count Tivadar (Nir. Fred Terry) appears
at the head of the staircase and orders the gyp-
sizes to be whipped out of the CASTLE and he re-
proaches curses and banishes his only son when
Vladimir refuses to take up the sword and u
renounce his love OF music. In the second act
Vladimir Is admitted to full membership in the
band of gypses at their home in the noun
tains, and his loyalty is subjected by Mirska to
an extreme test-that OF being the execuroner OF
his own father, who has been taken prisoner
and condemned to death. Vladimir feigns ac-
ceptance of the mission Of vengeance. but with
the help OF cara secures his fathers release dur
ing a riotous scene Of reveIry. and escapes with
his confederate while the gypsies are drinking
and dancing Count Tfvadar in the third acc
meets his enemy, Count Andres, in the forest
is mortalIy wounded in a dagger duel and dies
in the arms of his son. his last request being
for the song, Love is the soul of Life
The audience on the first night was well
pleased with this entertainment. The acting
justified public favor. for the play had been
carefully rehearsed, the gypsies were free and
natural in movement. Miss Nelson sang with
exquisite taste and delicacy, and Mr. Fred Terry
was unusually vigorous and effective as the
picturesque champion of the sword. There were
many tunefuI numbers in the score, and the
music was not without charm and fascination
the Tzfgane choruses and frenzied dance meas
ura at the close of the second act being full oe
vfvacfty Seldom has play in London
met with so enthusiastic a reception; yet well
seasoned critics are not prepared TO conceds
that Ii is anything more than interesting eN-
pertinent. There were. perhaps. too many eggs
in a single basket. Romantic drama. opera,
pantonirne masque. allegory. symbolism, su-
pernaturaI effects and poetic text made an IT.
conar1ous combination of elements for a staSs
performance 1t lacked simplicity and unity
and had apparently been stage managed by TOD
many hands. Many passages OF the text nor
over. were turgid and the music. while meI'-
dious. lacked dignity and brillianey For 9"oT'