The Washington herald. [volume] (Washington, D.C.) 1906-1939, 1906-12-25
'.Fhe Rose of the AIhambra' ut the
Ue.Iasce

''Fhe Rose Of the AIhambra' ut the
BeIasco.
Charles Emerson Cook and Lucius Hos
mer. spendtnrifts OF incident and melody
have laYished enough Of these ordinarily
precious commodities on 'The Rose OF
the Mhambra" to supply all reasonable
needs OF three comic operas of standard
density. The piece was presented at
the Belasco last night before a large
Christmas Eve audience. and went very
well considering that il was practically
The premiere of the work. There were
bitches behind the scenes and hesitation
on the part of principals and chorus be-
fore. but no doubt these defects will dis
appear with the second performance
and the action go forward with smooth
ness and greater spirit. But radical
pruning viii have 20 be done to cure
the essential defects of the work due
70 the authors prodigality in incident
and melody. There is a prpetty enough
story half-concealed and half-revealed in
the tangled mass Of often unrelated hap
penings and not infrequently malapropos
melodies
This story can only be clarified and
fitted to arouse and sustain interest by
sweeping use Of the blue pencil. As the
title indicates the action takes place In
Spain. the time that Of the maniac King
Philip Y, whose wild vagaries furnish
the groundwork for the comedy. while a
maiden brought up by an ascetic aunt in
a haunted tower Of the AIhambri sup
plies the basis for the romance. But in
both comedy and romance a tiresome
confusion eusues because Of the surfeit
Of incident and the dragging in Of musi-
cal numbers that have little connection
with the thread Of the story. The long
drawn-out second scene Of the second act
is distinctly am3teurish, while the first
scene of that act. fine and effective con
sidered by itself, is quite out Of key with
everything that pTecedes and comes after.
II has no place In q performance where
the comedy, or burlesque rather, is so
broad and harsh as that perpetrated by
Mr. Heron as the king, Mr. Casavant as
the friar. and some Of their supporters.
In the third act Mr.. Casavant has a
topical song Of familiar burlesque Span
lsh type that VIII make hit when il has
been thoroughly rehe8rsed.
Miss Agnes Cain Browns clear. sweet.
and alluring voice was heard 10 great ad-
vantage in several pretty solos. She is
easily the most accomplished artist in
the cast, and she worked earnestly last
night to give interest and spirit to the
performance. But she is greatly handi-
capped by the crudity and Inconsistency
Of her role. and the swapping of interest
by the excess of incident. distinctly un-
necessary TO the development Of the
story, Mr.. Heron worked hard enough
to make the part Of the foolish king
amusing TO the audience. but there is
little righteousness 10 his humor MI
Norman, who appeared as Dorado. the
bandit could not do himself justice
vocaUy, because Of a severe cold Mr.
Vernon. as Ruyz, the page. and the hero
OF the work. was nervous and IN at ease.
and his pleasant voice was largely wasted
in CONSEQUENCE. There are many attrac-
tive choruses-t0o many. IN fact-and
several Of them were sung with spirit
and accuracy. The quartet in the second
scene of the second act. Castles in
spain" viii be an ndoubted 60 when
the participants learn To sing il as well
as they do the business" The setting
Of the work is all that could be desired.
The court of the fountain scene and the