Los Angeles herald., 1907-03-19
FREE LANCE
HITS THE MARK
DELIGHTFUL MUSICAL COMEDY
AT THE MASON
sousa March, Clever Comedians,
Pretty Girls and Good Singers a
Combination Hard to Beat.
"Theodora" at Auditorium

Those ogres of the theatrical busi-
ness. Klaw e Erlanger, every once in
while make a mistake; they send to
Los Angeles a company remarkably
clever.
Perhaps this is done just to show
Los Angeles what the syndicate could
do If it would; perhaps it is merely a
peace Offering for the general run of
rotten shows that are too often in
flcted by these arch enemies of the
drama upon a long suffering public.
Be that as it may, this week the syn
dicate has actually seen fit to bestow
upon patrons of the Mason a delightful
tidbit-and perhaps it i'll behooveth
anyone even to ask why, but to be
wise, take the gifts that the gods be-
stow and be thankful.
"The Free Lance" with its Sousa
music, is termed a real comic opera.
1t is considerably near the style of
opera which used to go by that title;
even though it be not fully UP to that
standard, 1t is a long ways ahead of
the slush and balderdash that mas
querade as musical comedy by these
degenerate days. 1t has a plot, a bit
motheaten perhaps, but still possessing
q NOllllllully VI puI pOSS anu eL hShiiiLS-
ness of action of which musical shows
are not often guilty. The theme Is
rather hackneyed, and our old friends,
the king of the mythical realm, the
duke of another, the pretty girl who
masques as a boy, and the ex-bandit
who personates an honest man--all
these are readily recognized.
But just as one welcomes even an
old favorite if presented in fresh and
a tt,ao fixrf oh "
characters do not pail, but carry the
older generations lovingly backward,
while the youngsters find in them the
same joy that their ancestors greeted
In their predecessors. Thus Harry B.
Smith has turned his brain back some
few decades, and has evolved from the
musty past really happy combination
one of those Rip Van Wrinkle affairs
which never grows old, but is merely
rejuvenescent from era to era.
The company which interprets this
affair is deserving of highest praise.
Joe Cawthorn is about the only comic
opera comedian who is at all funny or
original any more; most of the rest are
known by heart. Joe keeps up with the
times, and though he cannot sing-if
he could he wouldn't be a comedian-he
is so jovial and comical that he is a
gem. His methods are refined, genuine
and clever; he has ability to make a
laugh by a wink, and an uproar from
a gesture, and this is real cleverness.
Two pretty prime donne take the
leading feminine roles Nella Bergen,
the wife of the elongated DeWolf Hop
per, being a lovely princess, while
jeanette Lowrie, as the goose girl, has
created a role destined to be identified
with her for many years. so excellent
is it. Both are handsome in face and
figure, which they literally display, and
each can sing. Miss Bergen cannot act
much, but Miss Lowrie can-splendidly.
The two make delightful pair.
Two other arch fun makers less
known to fame, are Albert Hart and
George Schiller, who play the busted"
king and duke, respectively Both are
able coadjutors of Cawthorn, and
though lacking his finesse and dainti-
ness are good comedians. George Tall
man does we'll as the prince.
The chorus is large but rather an
tique; it also sings well. The music
of the opera in itself it a distinct ad-
vance on the part of the bandmaster
composer; he shows little of the raw
ness noticeable in his earlier efforts, and
his blending of tonal effects is at times
almost Wagnerian on a miniature
scale. One or two motifs were abso-
lutely so. The inevitable march this
time, "On to Victory" will likely be
much whistled. All in all, the show is
a delight and we'll worth whichever a
second or third while,