Evening star. [volume] (Washington, D.C.) 1854-1972, 1911-10-08

ances only and il seems TO De warm
justified by a leading dramatic jour ""i'
The high cost of modern productions
high salaries to actors and tine hish eoS'
of living figure in the journal "is
ment-
There are some who venture the oPii
ion thar if more attention were pald D!
the managers to the intrinsic "oi III anu
o,,alitv of their productions than TO gloss
inc over and embellishing mediocrlty with
COSTLY and elaborate costumes and stage
settinps the cost of production might De
less and the possibility of enjoyment pS
theater patrons more.
strange il is that the fellow VINO mas
something to sell always feels the p'''o"
OF the high cost of things before OF at
least with a seeming greater severity
,bsn the fellow who has to buy and VINO
has no way to increase his income
II children were removed entirely from
Tho stage the wonderful beauties OF ne
Hlue Bird" would be beyond the reach OF
those who have seen and acclaim II
gem of purest ray serene.
The week past furnished more than one
dramatic treat to theater gOers. First in
important because of its allegorica'
better appreciation of the common joys
of life and a deeper. gentler consideration
Tor those that contribute to its woes was
MaeterIink-s masterful sermon. The
Blue Bird
Because il also taught lesson to
managers and public alike that vulgarity
AMI license are not essential to real ell
ioyrnent The Three Romeos Is entitled
TO remeu brance that may lead To the de
cline of that which is objectionable and
the encouragement of that which is really
delightful III musical comedy
The sterner but none the less wholesome
lesson of The White SISTER will have
its marked effect, 100. because OF the dell
cacy OF its presentation and the atmoa-
phere with which 1t is beautifully
clothed.
No tine is out of season for plays OF
The I've Of "Iue Nnlte sister whlch was
so eAdulsue;y presented Dy oathr1ne Coun-
tIss ana ner capable conn any at the
ACADEMY the past week. in II A1ss Coun-
.lss portrays with d consummate oiend
81 al, ana nature d picture oi exalted |
:, onlannoOd mat Is far 700 uncommon In |
Inc outer world. 1T serve To reveal |
IN Miss Co..ntisS that something OF wnicn |
real dramatic stars are maue and wh.e IA |,
no force OF circumstances can obscure |
The play Is one OF sterIlng worth ana tue |
PLAYER q weicome acquisition W the mr. |
mament of genuine steiiar nriiliancy
Julia Dean scored a pronounced hit in |
what ieadlng New orh critic pro-
nounces ''one OF The best ,omedies of New
YORK life that any American playwright |
has shown n many a long DAY me |
play is George Broadhurst bought anu
Pad For OF Miss Dean, Aeon Dawes |
says, after referring to the WORK of Mare |
Norostrom and Frank craven, y Ell
50 admirable is the work of Julia Dean
and Charles Ricnman that the honors
of the performance must be divided be-
tween these four players.
In nothing that she has ever done has i
Julia Dean revealed herself as she does !
in this play. Hers was splendid por |
trayal." Throughout the criticism the
critic returns TO praise Miss Dean por-
traiture.
LIGHT OPERA NOT ON THE WANE. |
Victor Her5ert. the dean of light opera
composers, seldom gives way TO unwonted /,
enthusiasm, but with the announcement
of his newest creation he makes some in
teresting comments on the subject OF the
decline of high-class music.
1t is generally assumed, says Mr.
Herbert. that good light opera is on the
decline. This I deny most emphatically.
The public taste is the same as it was
years ago, probably better. for musical
knowledge is more generally dinused
among the masses. and the increase of
population has enabled managers to APP
peal To d larger and constantly growing
clientele.
The reason for the alleged decadence
of light opera in this country is that
there have been few genuine offerings.
The music which frames a silly story
seldom possesses any real merit ana the
incidents are of such an extravaSant
character that they do not call for the
services OF artists of talent The mere
success of such horse-play and alleged
melody does not predict decline of
good light opera
Operate entertainment Is 10 me the
most delightful form of expression, and
that this form OF lyric output lives is ex-
empLfied in the familiar works of light
opera repertoire which include The Bar
Der OF Seville. Fra DiaVolo. Martina,
the. works of Gilbert and Sullivan. one or
TWO of Audran and Onenbach and native
creations such as Robin Hood
General light opera may he compared
10 it's parallel of the dramtic stage, the
romantic play In the structure OF both
are nicely balanced the elements OF ioNe'
roma nce and comedy.
The new opera on which am now work
ing The EnchantreSs, / think VIII be
my masterpiece in every way, as L nave
had so many varied inspirations TO bring
forth the best that ! can compose
STRONG PLASTER.-WhileV visiting
in Montana last summer Amelia Nielsen
of The Girl in the Taxi company was
forced after d days journey, to stop at
a farmer cottage over night. The fam
ny consisted of the farmer and his wife.
and the pride and JOY of their lives was
an old mich COW named Ciarice, who was
petted and cared for like an only child
At the time of Miss Nelson's enforced
visit malady peculiar To the bovine
species was prevalent in the neighbor-
hood. much TO the distress of the ranch 1
men. sc far the beloved CIarice had es-
capped and she proceeded to chew her cud
with every evidence of that serenity char
acteristie of undisturbed mind and "a
healthy pody.
But, alas. On the very night of the
actress occupancy of the top loft OF the
hut poor Clarice succumbed The con-
sternatien of the farmer and of the