New-York tribune., 1909-11-14

herself to Chiquito. This lyric tale is
dealt with by the composer very much
on the methods Of Puccini and the mod
ern Italian school. Mime. Carre was sue
cessfuI in the part of Pantchika. In
spite of several fine passages il is doubt
ful whether "ChiquitO" will become
really popular with the Partisan musical
public.
The action of lie Circuit" the frisky.
naughty, boisterOus farce in three acts
by NM. Georges Feydeau and Francis de
CrOisset, brought out at the Varieties,
passes amidst motor cars, chaUffeurs, au-
tomobile constructors and their fair and
frail lady playmates. The piece starts
off at the fourth speed. 1t is brimful of
action and movement Etienne, the
crack chauffeur. marries Gabrielle. the
daughter of the owner of "A motor car
garage. Etienne is chosen by lie Bris-
sac. the Opulent constructor, To drive his
car in the Brittany Circuit. But Phedre.
the meretriciOus companion of lie Bris-
sac becomes infatuated with the hand
some Etienne. and in a very risky scene
captivates his affections. lie BrisSaC. by
an ingenious combination of mirrors.
witnesses the faithless effusiOn of his
fair Phedre and the fervent Etienne but
finally pardons both because Etienne, in
the grand circuit, drives the lie Brissac
car 10 victory. Mile. Lantelme made
hit as the faithless. frivolous Phedre.
Mile. Disterle played to perfection the
sentimental Gabrielle. Max Dearly
rOmped about with characteristic comic
antics. Brasseur was irOnic and mirth-
ful. Altogether this evanescent burst of
frolicsome motor car life promises to
tickle the fancy of the boulevard public.
LA Petite CapOrale." the grand spec
tacular play in three acts with plenty of
plastic display. resplendent ballet dane
ing. deftly embroidered upon rather in
coherent episodes of the wars of Bona
parte-the action passes in Paris during
the consulate-is a first rate Partisan
play for Christmastide- The authors,
NM Victor Darlay and Henry de GOrsse
have brought out lively incidents and ad-
ventures. not altogether based upon the
Trustworthy researches of NapoleOnic
students like NJ Frederic MassOn or NJ.
Henry Houssaye. but their wild flights
of fancy seem 10 be justified by success.
Mile. Teresa Cerutti a young Italian
girl gave recently premiere of some
remarkable "danses mim6es" of her
own invention before a number of "som-
mites" of Partisan society, including
Count Gallina. the Italian Ambassador
in Paris; Mime Barrere. the wife of the
French Ambassador at the Quirinal.
NJ Lugn6 Poe and others. Mile Ce-
Tutti received her choregraphic educa-
tion at La Scala. cf Milan. and should
therefore be stepped i'm Italian tradi-
tiCn. From all this. however. she has
entirely broken away. eschewing la
pointe" or tiptoe movement. that is
the centre of so many Of the compli-
Gated classic ballet steps. and drawing
her inspiration from early Italian gest-
ure and pose. In spring song. to the
music of Mendelssohn. she gave a series
Of quick. light movements. suggestive
OF Botticellrs female figures. TO which
her mobile Italian face. with its beauti-
fully cut classic features. lent the sig
niliCance Of a poem. This was easy
enough TO fOllow-the strewn roses. the
delicious spring atmosphere i'm the rip
pling of the music carrying the specta-
tors along with the changing movements
Of the dancer. More subtle was a long
dance of the Egyptian pricstess with
the Mirror of Hathor. by which. in u
series of curious gestures and poses. the
dancer portrayed the power OF mys-
ucism and "A magic mirror 20 concen-
trate and then diffuse abroad the fluid
essence of beauty and life.
This new school OF dancing makes, in
fact. great demand not only on the
aesthetic sense of the spectator but on
his imaginative reconstrucuve power.
when every movement Is symbolic of
some hidden mystery OF life. a perform
ance becomes almost as great a strain
as lecture on Nietzsche's philosophy.
L. l. ID.