The Birmingham age-herald., 1911-02-18


 he said:
 Tt seems that from the very start was destined for the stage. Although IT was educated at Sewanee for the priesthood, I didn't follow the voca- tion intended for me, but began soon after I left school to dabble in musical things-just in an amateur way of course, until finally I began to write some songs-all of them terribly senti- mental. I was young then and mex perienced and my first musical offer- ing to the publishers was something about the Winding Alabama Oh, it was terribly sentimental. Then l wrote two of the best songs I have ever done-'When Eyes Meet Eyes and
 Loves Memory
 And speaking of sentimental things, of course, you expected to sing the lovers role in your opera" l sug- gested. "The tenor always sings the sentf- mental part in every opera" said Mr. Beall, "and wonder why the baritone tisn't given a chance occasionally to do some love making"
 why don't you write an opera and make yourself more famous by such an innovation?" I suggested.
 "Perhaps I shall some of these days" he replied, laughingly. And speaking of the lovers role in the opera l some times wonder that l should essay the part because I really have such a keen sense of the ridiculous that ought to do the comedy stunts. I re- member when was playing with Ray mond Hitchcock one season he said to me one day in that funny way or his'
 Jimmy, my boy, why don't you do the comedy roles in shows, you've got such funny face?"
 And you don't take his advice?" l asked.
 "Oh. no, I've stuck to my first love, the sentimental, but I've written so many comedy sketches that I. am really as much identified with musical comedy as anything else"
 Recalling the season that he played with
 Mr. Hitchcock, MT. Beall said: "In the play we were doing that sea- son we had a wonderful all-star cast.
 Besides Mr. Hitchcock there was Marie Cahill. Adele Ritchie, Nellie Braggin and
 w. T. Carleton, and the play was the
 Three Little Lambs. Afterward l went
 on tour with Tritzi Scheff the season after
 she left the Metropolitan and starred in
 comic opera" | .Js "A Japanese Honeymoon the first opera you have ever written?' l asked. | "Oh. mo-" said MT. Beall. My first at 1 tempt at writing an opera was 'zelena,'
 which was given in my old home in Mont l gomery, and by the way, one or your
 most popular Birmingham women. Mrs.
 Harry Matthews, then Miss Ellie Graves, one of the greatest belles who ever lives | in Montgomery, sang the title role. After that I went to New York and for several years I appeared in vaudeville. It was while was doing turn at the Madison Square Garden, during the vogue or ] Japan By Night and largely through
 the interest that the musical director of
 that little skit took in me. that I got my
 data for my present opera. He told me lot of the beautiful Japanese legends about the sacred cherry blossoms and the harvest moon festival, and how it Is cele-
 crated in Japan, and I began to turn over in my mind just how I could put the
 story together, and "A Japanese Honey moon is the result"
 "Is the libretto yours as well as tho music?" I asked.
 "Everything," was the reply; music,
 libretto, staging, lyrics"
 | What are lyrics, anyway? I always thought they were some sort of jigsaw puzzle or something of the kind,'' I said l fooishly.
 | "Well whatever they are, they are
 mine in this particular opera" laughing
 ly replied Mr. Beall, "and besides that
 am my own manager"
 "Isn't it nice to be in the south among your friends again after such a long | tour through the north and east?" l asked
 Ut is particularly nice to be In Alabama and especially in Birmingham" replied MT. Beall My uncle, Josiah Morris, ot Montgomery, was one of the pioneers in the development of Birmingham, and
 Morris avenue, as you know, is named for him. In fact, there is nothing like 1 the south, anyway. for cordiality and appreciation, and genuine hospitality; and it's good to be here!''
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