The Washington times. [volume] (Washington [D.C.]) 1902-1939, 1908-11-24
Snappy Musical Show at
National Wins
Audience.

| Prolific IN costuming and stage set.
| tings. the "Queen Of the Moulin Rouge"
IS al the New National Theater for the
/ second week Of its existence. having
] opened In Philadelphia last Wednesday
| Ihat Washington was curious was well
| evidenced last night by a house that
was filed to Overlooking. The energetic
| advance agent had promised that thea
| tergoers would be treated 10 a few
| glimpses o. real Partisan life by night
and assured them that it would be Of
| the gayest kind. Hence the curiosity.
THE Queen of the Moulin Rouge"
I is daring in several of its special fea-
lures, but no more so than was the
! "Follies OF 1907" These features might
be said 10 border on the risque. but
they are so artistically do9e that this
fact is lost sight Of, and the number
OK encOres mat followed ea,4l number
was prima facie evidence mat they
were pleasing to the representative
audience that was present.
This latest musical comedy Offering Of
Thomas W Ryley is the combined ef-
fort Of Paul NJ. Potter, who wrote the
book; John T. HAN. who is responsible
for the music; and Vincent Bryan, who
the end Of the hrst act. there is little
about The Queen Of the Moulin Rouge"
20 dinerentiate It from the ordinary
musical comedy. To De sure. there are
several pleasing songs, such as Paint
ing Paris and shy Little Violet Blue"
but these can be found Ia almost any
musical production.
II is the finale Of the first act that
makes the audience sit up and take
hat = 81 n
the ordinary. II is the appearance of
the floats one OF the features OF the
Partisan Moulin Rouge that has made
il WOrld-famOus. In Paris each float
is occupied by handsome young Wo-
man CARRIED only In the costume that
nature gave her. In the reproduction
al the New National il is reproduced
as near as is consistent with the de-
mands Of deCenCy.
Then comes the second act with its
three or four big, daring features, and
the audience sits up and almost gasps.
The finale OF the first act has created
an air Of expectancy that hoVers over
the assemblage until the drop Of the
final curtain The first thriller Is the
singing Of Take That on, Too by
the inspector and SIX girls. II is
disrobiug act but so well done and so
regulated by the turning on ana on
Of lights that it cannot Offes,t any one,
Following comes the Apo che dance,
which was seen here with the Mimic
" ORD. II Is done Dy Joseph &. SlulLi
and Louise Alexander, and is a splendid
reproduction Of the now famous dance
After this comes the kicking Polka,
by Mile. Auber and NJ. de Neuile, which
fairly takes the breath away.
OF course there are plenty OF rough
edges 10 The Queen Of the Moulin
Rouge that must be worn OF before
fl VIII become what h. should be-a bag
money maker for Mr.. Eyley and AFFORD
unlimited amusement TO that vast pop
ulaCe of theateFg0sFs who like % be
shocked just a little bit in an innocent
way. This musical connection has al
ready been improved upon in the hall
week Of its existence and VIII probably
have more trimming all tins week II
seems safe 10 predict that l- viii take
its place in the theatrical world on a
par with The FOllies or 1907 and that
IL Is due fer long New york run.
Mr.. Ryley in producing this eNtrava
gauza-fOr that is nearest description of I
it-has made an excellent selection in
the matter Of cast. Flora Parker makes
an excellent Princess AIarOtz, and Car
ter lie Haven could hardly be improved I
upon as SaCha. the king. William I
Courtleigh and Edward A. Favor are
lUfe acceptable in their roles The /
chorus is a good-looking one and each |
member Of IL is quite apparently sup
piled with an excellent singing voice |
summed up in a single sentence, THE /
Queer OF the Moulin Rouge Is well I
worth seeing because II shows YOU the 4
q udeT side of Paris as IL really is,