Evening star. [volume] (Washington, D.C.) 1854-1972, 1904-01-23

The very close association between COM
poser and lfbrettist is not perceived until
the members of a successful combination of
comic opera producers have severed and
gone their ways. 1t it said that Mr.. w. s.
Gilbert was regarded as man of difficult
and irritable temper. 1t is noteworthy that
his name always led in the credit line,
which indicated the authorship of the piece.
And yet in the days when Gilbert and Sull1-
van operas were the reigning features IN
musical attractions Gilbert was regarded as
little more than a superficial word triekster,
while Sullivan was esteemed as the import
ant factor in their work. But when Sullivan
sought another librettist the result was
nothing less dire than 1.-THE Chieftain,
Francis Wilson's only conspicuous failure
Similarly, when Harry B. Smith and Regi-
maid DeKoven wrote "RObin Hood the IL
brettist was publicly regarded as more or
less perfunctory detail, and Mr. De koven
has been featured as the conspicuous ana
responsible name in the subsequent produc-
tions with which he has been associated
But the librettos with which Mr.. Smith pro-
vided him, open to criticism though they
WERE have been infinitely superior to the
story of 1.-The Red Feather" now playing at
the Columbia Theater. that the contrast Is
almost painful. 1t is not unreasonable to
suspect that If Mr. Smith had possessed
some of the assertive quality which charac-
terized Gilbert the productions of Smith q
DeKoven" might have held something OF
the same position in the amusement world
as those attained by the two celebrated
Englishmen, whose work still stands as
model of comic opera production. The story
of RED Feather is not inherently comic,
49, r11nn
description. and it is wonder that the
versifier managed to find so much inspira-
ton for creditable work. The manner in
which comedy is introduced is disheartening
in its lack of tact The impression would
not be much more unfor >unate If some mod
ern producer decided to embellish the play
of Hamlet" with the Introduction of a few
ragtime specialties and sidewalk conversa-
ton. The fine work which Mr.. DeKoven
has performed in providing score for the
RED Feather is almost nullified by the
lack of basic literary support. That mont
tor of youth and companion of maturer
years the Encyclopedia Britannica gives
a definition of comic opera which should
serve as hint to producers. 1t says of
this style of composition: ut depends as
much on its literary sprightliness as on its
musical tunefulness for success.
The enthusiasm manifested on Monday
night was enormous. At the outset 1t was
evident that the piece was among friends.
On Thursday afternoon. when the Washing
ton Symphony Orchestra played with the
company Mr.. DeKoven conducting, there
was crowded house and every evidence of
appreciation.
"The Marriage of Kitty" at the National
Theater. was a remarkable example of the
results that can be obtained by the skillfu1
handling of a small amount of material.
An eccentric will provides the suggestion
for plot and seven people suffice for the
Interpretation of what. after rather con-
versa tional first act develops into charm
ing comedy. The lackadaisical Englishman
is coming to be prominent figure on the
modern stage. In ''Three Little Maids Mr..
| Huntley presented him in his more directly
comic aspect In 1.-The Marriage of Kitty"
he is portrayed a rather more suave
and normal parsonage. The result is less
| humorous but on the whole, more lifelike.
The Lafayette Theater introduced new
character in Buster Brown Interpreted
by the comic midget Gabriel. who has left
the forces of Nat Wills and gone forth as
star on his. own account Gabriel is one of
the cleverest of all the clever little people.
Like most mdgets, he resents being treated
as an infant and has been known to square
off and issue a challenge to fisticuffs when
he was picked up and carried from one
point to another. regardless of the fact that
he is a young man almost old enough to
vote 1t is said, however. that he finds
the temptation to dress in knickerbockers
and travel on the railways at half fare
very difficult to resist. The character was
originated by r. F. Outcault, who intro
duced that pictorial monstrosity, 1.-THE yell
low Kid to fame. Buster Brown must
be welcomed far more wholesome and
agreeable type Of humanity than his pre-
decessor. George AN. the animal imper
senator has a responsible share in what
proved to be a very amusing evenings en-
tertainment.
Chase's Theater brought. the moving pic
| ture feature of it's program back to some
| thing of it's old-time merit by fine series
| depicting a train robbery. The pictures
| have not of late been interesting ar
| tistic as In seasons past. but this series
| demonstrated that they can be made a
| highly agreeable factor in a vaudeville bill.
| The chief interest attached to Frederick
Bond who is almost Washingtonian, and
who won his customary share of applause
| by his impersonation of MY Awful Dad
| PLAY AND punt seems human
nature to make pun. At least Maxine FL
| Holt thinks so. Her new play, Her Own