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

| from the pen of Fred de GreSsac. The
American version is by-who do you
guess? Right the first time! Harry b.
Smith. Kitty Gordon is the star and
| Frederick G. Latham is the stage man.
ager. A lavish production. under the
! auspices of Joseph NJ. Gates. who has
piloted a number of creations OF humor
and song to the haven of success, and
music by the versatile and indefatigable
Victor Herbert gave promise OF substan-
| tial merits.
| SO far as producer and composer were
concerned the expectations were brllliant-
ly realized. The scenery and costumes
are resplendent as BELTS a picture OF
court life still touched by the traditions
of medievalism. The production Is not
merely ornate, but tasteful, and the oD-
server need not be an expert in millinery
mysteries to know that the revelation, IN
addition to being sumptuous, is in accord
with the subtle yet supreme dictates Oh
the prevailing mode. The feminine dls-
play reflects the spirit Of diversity which
dominates the entire occasion. There are
types of personality to fit every fanciful
variation of the costumer's art. Inc
languorous full-eyed brunette and the
blonde with the saucy. tilted nose: the
plump vivacity of enduring youth ana
even the acerbity of disappointed matron-
hood are all ranged in studied gradations
before the fascinated gaze. Nor is come
Illness presented at the expense or voice,
for Mr.. Herbert's music is well inter-
preted, by orchestra, ensemble and save
where the plot abandons operate form,
by the soloiSts.
The cast. too, is an aggregation OF tai
ents which represents desire to secure
the most efficient Interpretation of special
lines of characterization. For instance,
there is Mr.. Arthur Forrest. whose per-
Torrance as PetrOnius in "Quo Vadis" and
as the button molder in peer Gynt, not
to mention his dashingly melOdramatic
representation of Capital Swift in days
agone in the role of a suavely villainOus
prime minister. 1t is upon Mr.. Forrest,
who is without reputation or attainment
as a vocalist. that Miss Gordon depends
for the really significant scene. the one
which reveals her as the enchantresS.
She is the woman whose hypnotic fasci-
nations bring the cold metallic nature of
the willy war minister to subsection. and
make him capable of sacrifices which in
volve even his personal dignity. 1t is
curious that this bit of melodrama. more
in the spirit of Sardou than of Smith.
should overwhelm the piece.
Miss Gordon is indeed the enchantress,
sinuous and intense; so thoroughly an
actress that her claims to consideration
as singer or comedienne need not be
discussed.
Artists have pointed out that magma
ton can create nothing which has not
been observed; that even the most fam
tastic creation must result from the COM
bination of familiar objects. The Medusa
and a griffin is composed of eagle and
lion. THE Enchantress" is a theatric
novelty attained by these methods. 1t
has a head of melodrama, the fine fea-
lures of musical comedy; voice which
alternates the patter song of the street
with grand opera, the torso and limbs of
the living picture, the twinkling feet Of
vaudeville and at moments the athletic
agility of the circus. The auditor must
find something to his liking. Much of the
comedy depends on the two burlesque de-
tectives, played by Ralph Riggs and Gill
bert Clayton.
Miss Louise Bliss, after delay which
last night involved some evident nervous
song, II Want to Be a Prima Donna"
Mr.. Harold Fordy. a rugged but sincere
exponent of sentimentalities, extrtcates
himself from the serious lines or the
melodies allotted to the hero lover. And
other diversions are introduced. None
Of them destroys the thread of the mar
rative, but many of them. though enter
with it. One of the most enthusiastically
approved features of the evenings en-
tertainment was an acrobatic dance
which involved display OF physical
energy which amused, though 1t had
nothing to do with the case.
For that matter. Nellie Mccoy had
nothing to do with the case; no more
to do with it than the flowers that
bloom in the spring. But she danced
upon the scene and away again with
graceful spOntaneity, and justified her
presence by the dashing charm OF
her performance. Miss McCoy's dane
ing is a mode of expression as natural
to her as song or eloquence to other
styles of players. and she embellishes
it with little touches OF humorous
pantomime, which are the more eff
fective because they seem to be gratui-
ties, lightly bestowed from an mex
haustible store. of. .exnberance..
And through all this turmoil of in
cidental entertainment the plot moves
along, like an ocean current under
dancing waves. 1t is a very serious
plot and has q happy ending-unless
the somewhat bold efforf to out-kiss
the soul kiss leads to permanent. short
ness of breath or the quite needless
exposure of q group OF young women
who are bereft of their very essential
bath robes in an effort to stimulate the
war minister to a voluptuous frame of
mind, induces a series of bad colds.
No discussion of such considerations
as consistency Of motive or harmony Of
expression can obviate the fact that
THE Enchantress' is one of the most
gorgeous assemblages of wonders from
all parts of the civilized theater world
ever placed on exhibition under the
roof of a playhouse.