Evening star. [volume] (Washington, D.C.) 1854-1972, 1910-11-27

- oMEwHERE in the English prov
inces, on a splendid estate pur-
chased from the proceeds of his
brain, Sir William Gilbert watches
the days. pass without thought of
exacting prima donnas or recaicitrant
stage managers. For tradition has II that
Gilbert was autocratic as to what perform
ers did with his lines and had 1t been
possible would have insisted on their
eronouncing even the capital letters and
Hunctuaticn marks in his manuscript.
He was. the autocrat Of the scene and
severe critic of himself II the purveyors Of
anecdote speak truly. II was said that
one of the two topical songs MY Object
All Sublime" and i've Got Little List"
narrowly escaped the blue pencil at the
authors own hands. through fear OF a
superabundance of that kind OF material.
The elimination of either would have
been a distinct loss to the fun-loving
world and positively an indictable Of
tense if there were any law against cru
city to comedians.
The.opera is not one to allure the singer
who keeps the spotlight in mind and pur-
sues her art on Moon and T. basis.
Even FRITZ Scheff, with her exquisite vo-
calization and stunning personality, can
find little in il to Justify the title bestowed
on her by some misguided rhapsodist, ''the
little devil of comic opera. 1t presents
opport unities for all and maintains SYM
metry of form and consistency of action
that permit no undue individual promi-
hence So 1t has been handed down, while
other works persisted by the wayside, at
once a poem humorous narrative and
travesty on social and political institu-
lions that entities its author to rank with
Swift or Radicals.
How much the critical attitude of the
author toward institutions in the Brit
ish social scheme hindered the advance
ment OF his personal fortunes cannot be
known. Certain 1t Is that his elevation to
Chat distinction now shared by so many
English theatrical people, the right to pre-
Ok his name with sir was not accom-
plished for some time after his talented
collaboration Sullivan had attained it.
1.-THE Mikado'' was written and composed
in the very heyday of their mutual CO.
operation and reflects each at his best.
Time has not rusted the trench
ant wit of the dialogue. 1t is a testi-
raonial to the persistence of things which
Bah is as ideal a CRATER" as could be
found in public life anywhere, and the |
nuibbles of the law which lead up to the !
paradoxes are still extant.
The musical merchants of New York
some time ago organized IN violent pro- |
test against what was derisively styled |
canned music. The idea that some simple |
farmer could come home at night, stick |
his feet UP on the fender of the kitchen |
stove and by simply turning a sw1tc re- |
sale his ears with the latest ragtfme |
moved them to protest The recital paid
no toll to the publisher and robbed the
composer of his just royalties. The piano
wagon ceased to provide foretastes of the
current successes and really good
melody in any production comes as a
glad surprises spot Of cream in a del |
uge Of SKINNED milk. Such a policy was
undreamt of when .Ptnafore" and the
Pirates and 1.-THE Mikado were
launched. Their ditties were sung and
played weeks and months before the
troop that rendered them came to town,
and when that troop Arrived. what a re-
: ception 1t found! The piano-organist, at
whom Gilbert takes shot in his song, did
not go out Of business. He merely loaded
/
with an occasional dash of Dixie" or
MY Maryland" and the children in the
street go on dancing just the same. When
a particular gem of melody springs up
there is no enthusiasm awaiting it. Hello
People," the number that gave character
TO Havana" was much talked of, but So
much imaginary success has been ex-
plotted that 1t came and passed with the
current OF things. Many managers are
now frank In expressing a lack Of faith in
musical comedies, and 1t may occur to
some of them that when they dispensed
with the piano organ man they went
back on their best advance agent. Any
how il is a certainty that he never hurt
Gilbert and Sullivan in the slightest.
Like Dickens Christmas Carol the |
seasons work with Al Woods has proved
o nightmare with. a happy ending. AL
though New York. was a failure, Mr.. |
Woods did not commit suicide, and he
comes forth cheerful and chastened with |
The Fascinating Widow" In this pro-
duc;ion Julian Eltinge hanks back to the
days when young men played the roles
of heroines as prettily as they knew
low. II EItinge Is not soon accredited
with ambitions to play viola" or Rosa |
lind" Jacques RosenthaI is no press
agent Why not? Didn't Eddie Foy play |
'Hamlet"? PHILANDER JOHNSON.
MISS GRACE MORRISSEY.-An Incl ]
dent of peculiar interest to Washington in
the production of the new play. Drifting"
will be the first professional appearance of
Miss Grace Morrissey. Miss Morrissey has
advantage in pedigree as well as person.
Atty. Her father is James w. Morrissey.
VINO has been conspicuously allied with
theatrical interests both as author and
manager. Her mother was formerly Miss
Julia Wheeler of this city. who was iden-
titled at first with the famous Lawrence
Barrett Dramatic Club. which graduated
SO many stage celebrities. and later with
the professional stage in association with
some of it's most distinguished artists
Miss Grace Morrissey, though but sixteen
years OF age. has attracted the attention
OF Daniel Frohman. who is interesting
himself In her career. having frankly eX-
pressed the belief that she possesses ex-
ceptional talent She il described as be-
ing OF an unusual type, and as possess
ing a speaking voice Of great sweetness.
The artistic spirit is her inheritance from
an ancestry which included Thomas
Gil. n foH1 ,ro