The Saint Paul globe. (St. Paul, Minn.) 1896-1905, 1905-03-20
At St. Paul Theaters

Once in while theater programme
tells the truth in labelling a musical
comedy. 1t designates the isle of
Spice as "piquant musical mixture"
1t was here last season for the first
time. 1t returned to the Metropolitan
last night in disguise. 1t was not even
plagiarism of last years show, so
vastly superior was it scenicaliy, vo-
cally and 'chorusly."
In short, it is another show this
time. Composers and authors have
amended their earlier efforts and blend
ed words and music so ineXtrieably-
ana agreeably as to disarm criticism
OF either for fear of unjustly assailing
the other The female chorus domi-
mates this entertainment, and as it is
exceptionally comedy and graceful,
kaleidoscopically attired and artistic
ally varied in stature and form, it full
hlled the mission of musical comedy
which exists for the ensemble rather
than the solo singer or solo comedian.
There is just enough of plot, and that
humorous, to enlist an amused inter-
est. What might w. S. Gilbert have
done with scheme requiring a woman
TO be shut up in a tomb of silence
for seven years before acquiring eligi-
bility to marry the king?" The fear
ful torture would have made many
monarch dread her release. The oppor-
tunity for satirical dialogue that such
theme eXerts is not embraced in this
creation, but other conversation whose
wit is more obvious is frequent.
Two librettists and two composers
have ~collaborated in this achievement
The book ard lyrics are by Allen Lowe
and George E. Stoddard, and Paul
SCHNEIDER and Ben Jerome composed
the music. All four blend harmon
iouSly.
Fortunately the characters are in in
telligent and appreciative hands. Toby
Lyons plays the king of the mythical
dominion with freedom from grimace
ard horseplay most welcome, yet with
an appreciation of the humor of his
various situations quite amusing Will
lam j. McGraw and Charles w. Van
Dyne, in the roles Of two deserving
sailors from Uncle Sans navy, con-
tribute much legitimate merriment in
legitimate way.
Vocally Mabel Day as Teresa, the
kings ward, displayed a high and
melodiouS soprano. Alden MacClaskie,
the court treasurer. exhibited a genu-
Inc baritone Of exceptional quality in
the song, Take Me Far Away From
Old Broadway" and Jethro Warno,
who was spick and span lieutenant
OF the United States navy, possesses
a lyric tenor that was heard to good
Minor roles were commercially in
terpreted by Mamie Kingsbury as the
queen, kamorta, whose lease has al
most expired; Lillian Taylor as Es-
bena, the ex-empress, and Helen Du-
val as Trinket, ION a long lease as
queen
1.-THE Goo-Goo Man," sung by the
king and ten petite girls of goo-goo
propensities, was the distinct hit of the
show, though two other numbers
pressed it close in the matter of en-
cores-"Peggy Brady" with Mamie
h1ngsbury and chorus, and the quar-
tette, How Can You Tell Till You
Try" sung with dancing accompani-
ment by Misses Kingsbury and Edyth
Forrest and Messrs. McGraw. and Van
Dyne.
Helen Du Tore, a shapely creature
in black tights sang a ditty entitled,
Coax Me-" with inviting relish. 1t
seemed superfluous.
The choral feature of the produc-
ton is the pony ballet of ten petite
girls. who personify a perfect frenzy
of motion. Never still for an instant,
they make the stage throb with life in
the Goo-Goo song. F. G. H.