Evening star. [volume] (Washington, D.C.) 1854-1972, 1909-12-21
A N U S E N E rs.
New National.

A series of stage creations have been
suggested by THE Merry Widow" of
which THE Love Cure Is the latest to
be placed on view in Washington without
effacing the claims of original Inspiration
on the part Of composers or librettists.
THE Merry Widow has cast pervasive
influence over the lyric stage. The Wen
nese waltz operetta set a fashion In me-
| lodic and pictorial effects as surely as 1t
did In hats. This fashion is not slavish-
ly followed, but its influence is plainly
manifest even In work which, like the
one now occupying the stage of the New
National Theater. is entirely Americanized
SO far as plot and characters are con-
| cerned. The idea of the player who by
an uncouth display in private life under
takes to dispel the illusions of an across
he-footlights adorer is gem Of thought
that has had many theatrical settings.
In this case it is the actress who is
called upon to sacrifice her affections for
youth who has worshiped from afar
and stood, bouquet in hand, at the stage
entrance. In spite of familiarity with
the general outlines of the story in Eng
lish. there is through this piece that
spirit of romance of the sort which best
expresses itself in dreamy rhythms.
Mr.: Oliver Herford. who made the adap-
tation for the purposes of this produc-
ton. has delicate satirical fancy cal
culated to develop its humor on subtle
rather than broad lines.
The music by Edmund Eyster is full
of pleasant effects, which are brought out
to advantage by a large orchestra, I'M
der the direction of Augustus Barrett.
The charm of the performance Is In Its
graceful consistency. There is no romp-
ing. hurly burly. although there is dane
Ing a-plenty. The characters are played
with a view to legitimate Interpretation
provoking possibilities. There are numer-
Gus piquant episodes in song and situa-
ton, but they are invariably introduced
in logical and coherent manner that af-
fords grateful relief from the hodge podge
system. which prevails to SO great an ex-
tent in musical productions. For instance,
Charles Ross, handsome and debonnaire.
introduces some limitations, but they are
dexterously interviewer into a supper
scene so as to make them naturally a
part of the action. The rehearsal of the
chorus ladies, called just at the moment
when they are exchanging stage wardrobe
for street clothes. creates scene that is
irresisttbly absurd. The number is well
deserving of the enthusiastic appreciation
it receives.
The company presenting The Love
Cure is remarkable one. Elgie Brown,
as the actress whose destinations prevail
in spite of her efforts to obliterate them
is charming of voice and gracefully VI
vacious Of manner. Craig Campbell, who
enacts the role of her undiscouraged suit
or, is a singer whose voice combines
sympathetic sweetness with musicianly
control in a manner seldom found In
productions Of the lighter class. Fred
Frear plays a character role with dis
Greet and effective repression scarcely
to be expected from player SO fire.
quently identified with broadly humorous
creations, and Alice HOsmer makes
thorough and amusing study of the ma
ture lady whose increasing years and
weight do not subdue her f1irtive enthu-
siasm. Florence Reid renews the favor
able impression she has made. by her
simple, unaffected, yet altogether charm
ing presentation of the ingenue type.
The production is magnificently staged
and a large audience last night found
the entertainment greatly to its liking.