The St. Louis Republic. [volume] (St. Louis, Mo.) 1888-1919, 1904-02-07

HXIH HELD CLLMPN

"Mam'selle Napoleon" Anna Heid's new
vehicle. has not yet reached the stage in
the Paris of its author. Jean Richepin. nor
is it likely to be given there until Mile.
Held herself returns professionally to
France. whence she came in the late sum
mer of 1896. Just when that will be can
manager, has plans that will keep her. in
the United States for the next five or six
years.
musical plays. She is ambitious to branch
out in a repertoir of the general style
mat Gabrielle Reiane used wi.en she was
IN this country in 1895: 1t was AZ attempt
to realize these ambitions this season that
%poieon.'
production of his play of D Barry" two
years ago. was followed Immediately by
Al Richepin's declaration that Belasco
had boldly stolen his matter from a Mss.
called La Du Barry" which he had com
missioned the French A~cademecian to
write for Mrs. Leslie Carter.
AT that time. Mr.. Ziegfeld entered into
a correspondence with N. Richepan. with
4 view to obtaining La Du Barry for
Mile. Held's use.
In the spring of 1902 she went TO Paris
to take up the matter with the playwright
In person. and arrangements We're all but
made when the London newspapers an
nounced the opening of Mrs. Lapetry's
new Imperial Theater with a play called
lean author. Mars" exclaimed Ricne-
pan. why, mademoiseile, why not She
instead of Du Barry? AS Mile. Mars you
can make love to Napoleon in 4 vaudeville
which l shall write"
Richepin's enthusiasm was so fervid that
the interview ended with him in possession
OF a commission to put the famous beauty
OF the Empire into a "vauGevilie'' that
should show the Corsican in love.
Lulu Chaser has some definite and rather
sensible views as to the relative merits of
comic opera and musical comedy.
That there has been a decrease in the
popularity of comic opera in the last few
Years. and a corresponding increase in
the vogue OF so-called musical comedy is
the other day Musical comedy is, in
reality, nothing more nor less than must
cal farce. and has no right to the more
pretentiouS title az comedy.
1T is. after all. but the result of an
evolution from the old style of entertain
mcnt that had full sway a decade ago,
able exponent of which was the late
Charles II. Hoyt.
Musical comedy. as it is to-day, is
mostly borrowed from our English
cous'ns-in fact. nine-teiIths of those now
being played are from the pens of British
authors, and 10 find out where the alleged
comedy comes in is sometimes a difficult
task.
In most cases they nave been written
by 4 number of authors and composers,
and their names on a house programme
form an imposing array. After all, these
compositions are little more than bur
lesQue and in France they are called
vaudevilles, a term that is misused mere
they are amazingly wen done, and there
is little wonder that the public has found
them so attractive.
Comic opera. on the other hand. to be
the simon-pure article. must be written
with a definite object in view. IT must
provide a story that is purposeful and
coherent. he lyrics must be to the point:
comedy and. above all. the composer
must absorb the atmosphere. and his mu-
sic must correspond, in color and express
sion and help along rather than interrupt
the plot. j
ar other words. comic opera. to be
such. must be consistent. In addition to
be 'musicianly' and not a mere collection
of juggling tunes as in musical comedy.
I believe that we are ON the eve of a re-
vfval of interest in comic opera" :,
h. H. Scthcrn comes to the Olympic
next week in The Proud Prince" The
role Sothern assumes is that of the
naughty King Robert. immortalized in
the poem of I.ongfellow in his Tales of a
Wayside Inn
Aiis IL Stth us lIe
cruel. proud King, attired in magnifcence.
Then. in accordance with the legend, he is
transformed into the tattered cour jester.
The play is in four acts.
In Mr.. Sothern's company are Cecilia
LOTUS, Mary Hall. Rowland Buckstone.
William Harris and John Findlay.
4
The scene of "Mam'selIe Napoleon" Isl
laid in France during the most brilliant
period Of the Napoleonic regime. the char
acter assumed by Miss Held being that
OF the Emperor's ~favorite actress. Mile.
Mars. The piece is i'm three acts and five
tableaux. and has no fewer than forty
four speaking or singing parts.
The first act shows the greenroom of the
Coincide Franchise in 1903. which serves
at the same time as A dressing-room for
Mile. Mars, who dresses and undresses her
self behind a screen.
The second act takes place on the lake
at Compiegne. Napoleon's summer resi-
dence. The stage represents IN island in
ths. middle Of the lake by moonlight, andi