The Minneapolis journal. [volume] (Minneapolis, Minn.) 1888-1939, 1904-02-16
AT THE THEATERS
MetropoIitan-"Red Feather"

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While RED Feather is in no sense
q great comic opera of the kind that We're
produced a score or more of years ago.
it reaches a higher standard than the
trashy musical comedy of the day. In
the first place, there is a story of roman
tic interest as foundation upon which
to build. This story is Of 1.-THE Prisoner
Of zenda' type, and deals with a con-
spiracy involving the throne Of Roman
cia." The identity of a dashing high
wayman, who always wears a red feather,
is the secret, early disclosed to the audi
ence, about which centers whatever of
suspensive interest the story holds, and
its final disclosure makes a pretty and
effective climax. Comedy of fair quality
is extracted from Vaccinations Of the
subconspirators. The book is by Charles
Klein, and it has been clad by Reginald
De Koven in that brilliant and snowy
music, without much real substance. to
which this composer has turned since he
found it impossible to repeat his first sue
cess in the robin Hood style. Some Of
the musical settings for the lyrics of
Charles Emerson Cook. however, betray
his old mastery of melody.
In the attractive person and brilliant
singing of Grace Van Studdiford, RED
Feather possesses another reason for
success. It is really refreshing to hear a
comic opera with a star in the cast who
can sing. Mrs. Van Studdiford has voice
which is clear, flexible and strong. While
her singing lacks, perhaps the finer ef-
fects of light and shade, it illustrates the
score admirably and is a delight to the
ear Moreover she is a gallant conspir
ator, a cOquettish countess and a dashing
highwayman.! 1t is true that she changes
her costume upon very slight provocation,
and even contrives to appear In three diff
ferent ones in the course of a ball given
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by the ladies', at least, who give little
gasps of admiration every time she ap-
pears in a new creation"
George J. Tallman sings the tenor role
with effective dignity. His voice is strong
and Of pleasant timbre, albeit not always
exactly true. Alfred B. MacGahen makes
a fine figure as the crown prince and uses
his rich barytone voice effectively, be-
sides being an impressive actor. Elsie
de We're plays the little milliner with
sprightly gaiety, dancing with airy grace
and singing in a light but pleasing voice
Cora Tracy plays a Spanish girl with real
| fire and wins the second honors for he1
musical and well-controlled mezzo voice
The comedy department Is rather over
DONE At it's head is James E. Sullivan
who, despite his Celtic patronymic. does
a German baron waiter in a style rernin-
iscent of Hans Wagner Of Pilsen fame
Mr.. Sullivan is undeniably funny, even
exuberantly so. But he needs editing
He is obsessed with the idea, long since
discarded by the best comedians, that the
use of the word damn on the stage
is essentially and irresistibly funny, In
stead of being merely vulgar. And he
INDUCES in sundry vagaries that come
perilously near to being tiresome. Louis
Casavant and w. c. Mccarthy, who abel
him in the funmaking, are mildly laugh
provoking, and Mr.. Casavant, too, has q
| rather good bass voice.
The company is gorgeously costume ed
and yet in the best of taste. Seldom, in.
deed, is a production seen with a more
attractive investture-as the advance
agents say-than Red Feather F
Ziegfeld, Jr., who is the producer, know:
how to do these things unstintingly ant
well. w. B. Chamberlain.