New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1911-07-09
Anglo-AmerlCan Memories
CXXVII.
Copyright 1911. George w su.,,.

ne merry Widow had a plot, sus-
'dlhed dramatic movement and love
STORY which appealed to the audience
from beginning to end. 1t was must
cal comedy. and that was enough for
him
But Miss Lily Elsie found in it a scope
ior acting of very high order: playing
TINS one part for two years to town
winch never tired of il. Before that she
had appeared for six weeks at the Gaiety
Theatre in Aladdin" and made no i'm
preston. The part did not suit her.
When Mr.. George Edwardes produced
THE Merry Widow" ne was in diff
cultles about Sonia, and offered the part
to Miss Elsie because other better known
and older actresses were otherwise en-
gagged Two days before the first night
he was still doubtful about Miss Elsies
rendering. and asked another manager
to come TO a rehearsal. At the end of
the first act, and before the famous
waltz scene, the other manager said to
Mr.. Edwardes:
"SinCe YOU want my opinion, | will give
it. I do not know whatsyour contract
with Miss Elsie is, but. whatever it is, if
you are not content will take it off your
hands. turn my theatre into musical
comedy theatre and star Miss Elsie.
Two nights later the curtain had rung
down on a scene Of triumph rare in any
IL, oil ,Y,,lypnu-n VOllnV
actress had become known and an idol.
il was not altogether musical triumph
Miss Elsie has a pleasant voice OF u"
remarkable range or power. and Is
competent musician. In Covent Garden.
as at the Metropolitan opera House she
would he lost Her triumph had been
won by captivating personality ana
by her acting: i'm a measure, by her
beauty also ] had seen her in "Alad-
Gin" saw her many times in The
Merry Widow: always wondering why
neither I nor any one else SAW i'm her
Aladdin what we all saw in her Sonia.
Tor the one thing rarer than any other
on the English stage is that kind and
degree of art which induces YOU TO say
Of any young actress that she is an
artist.
But YOU must say it ~ Miss Elsie. She
stands apart i'm the finish Of her acting
Every word comes from her lips clear
cue The moduations Of the voice. the
intonations are all delicate and pure.
The softest tones find their way across
the footliShts. out Of every sentence she
gcts all the values there are in it, Her
clocution and her gestures are alike
finished. The gestures have beginning
and an end-usually on the English
stage they have neithor-and clear
purpose. which they express clearly.
Emotions are rendered with juStcSSC and
effect Sonia is from the first in love
with Prince Danlo. and this fact she
imparts to her audience. but never To
him Not many are the actresses who
can play this double role at the same
time and through a whole piece or even
q whole scene What people talked Of
most was her fire and flowing grace Of
movement I'm the waltz. What they felt
most was her suppressed passion for the
uIncc ard the sustained force and
y, autv Of the art by which the romance
OF this untold love was kept alive during
three acts and at the end poured out i'm
five words in tones which came from
the heart or from deep experiences OF
passion, and went 10 the heart. Il have
always loved YOU
Neither The Dollar Princess nor the
Count Of Luxembourg has given her
on equal opportunity. but she has kept
her hold on the public The touch Of
genius is final If the friend whom /
quoted above does not wish To believe in
musica comedy as vehicle Of feeling or
art he is quite right 10 keep away from
Days. In truth, K matters little what
you call piece if there be room in il
for the human note. 80 play was ever
more criticised than Dumas's "Princcsso
Georges" but in 1t Aimee DeSclhe laid
bare her woman's soul i'm tumult Of
In The Merry widow" Miss
lily Elsie did much the same thing. The
art is exquisite. SO is the nature. The
authority is there, but in the guisc Of
charm. and intelligence rules, over the
hole. g. w s