The Birmingham age-herald., 1911-05-07


 
 genufeetions alone will prove a drawing card for the wlfeless summer man. After the ballet (and the third or fourth order of drinks) we have 'Gaby,' in which we see more of Miss Ada Lewis. ct al and very much more of Miss Ethel Levey, late of the Paris Olympia. Miss Levey is well comed with vociferous applause among the saclk-coated business men who are working late" and she deserves it. In fact so popular was Miss Levey that one night worker was heard to remark that though "Gaby" was not as interesting as Hell" Miss Levey certainly was
 At quarter to twelve the cabaret show begins. This consists of a sort of subli- mated vaudeville, played OF an open stage, with Janette Denabor, the Paris ian Evan Tanguay," as the principal fea- ture. Miss Denabor is ao attractive young person whose energetic work proves that she amply deserves the name given her. Another feature of tbe cabaret show Is the appearance of little auxiliary stages set mp in the wall on either side of the auditorium, of models in poses represent ing famous pictures and groups of scuip- l ture arranged by Jean Marcelle 1 But after all the principal attraction of 1 the Foiies Bergere is the happy juxtapo- 1 sition Of the theatre and the kitchen the case with which one nay eat and be entertained, drink and observe It fills a long felt want in the busy business life of millions of New Workers who, even in their pleasure, must have a maximum of entertainment in a minimum of time. In a word it combines in happy measure 1 saving of time. and those two greatest of entertainers, food and pretty women. l
 The melodrama, with it's old-fashioned l villain muttering "ourses" behind a false | mustache. the pretty heroine who is be 1 trayed," ''desprite" struggle and all the other good old-fashioned dramatic props of quarter of a century ago are being solemnly broght forth and paraded be- fore erudite New York in nightly per- formance of William A. Brady's gigantic revival" of MT. George R. Sims famous | melodrama, ''Fhe Lights 70 London" at the Lyric. That is, they are being paraded 1 at the present writing, though it would not require a sootsayer to predict that 1 the parade will soon be stopped by that monitor of the drama. who plices Broad way theatrical circles in the garb of pub | lic approval. for whether 1t is the fault l of sophisticated audience or a dearth of the good old-fashioned actors and &C., torines-ancient melodrama has come un- der the category of the astute gentleman of the prize ring, who exclaimed ''They never come back,'
 It is safe to say that there is scarcely a citizen of New York, or elsewhere for that matter, who has passed the age of adolescence and been admitted to the ranks of manhood, who Is not familiar With "The Light Q London" who has not wept at its pathos and laughed at It's comedy, hissed the villain and applauded the hero-yet when the aforesaid gigantic | reviVaI' first made its appearance at the l Lyric the old lines seemed to have lost their potency, the tragedy its quality and the pathos it's sadness. To be sure the audience, from gallery to orchestra, vail antly applauds-but their manner indi- 1 eated that 1t was more because they wanted to get their moneys worth in fun | than because the actors got across with | their lines
 The melodramas first night was chap ter of accidents MT. Brady, intent upon placing the props with the effect for which he is famous, worked like a Trojan behind the scenes only to have his er- 1orts frustrated by a p.eec of falling scenery that put him out of the run. ming early in the performance.
 The next victim of ''crool fate, was Jim, the property horse, whose patient dome was sorely dented by another bit or property Jim, however, instead of going peaceably to sleep, like his mas ter, repented the blow and kicked m his heels with such effect that he bid rare to put London Bridge, which was resting near him, out of business. After this demoralization reigned behind the scenes. The curtain played sad tricks. l descending at odd times upon the heads l or natty squad of stage cops just leaving the prop station house. and the neat property bar in the barroom scene, with an effect that delighted an audience all too ready to turn the melodrama into farce.
 As for the play itself. the old thriller" failed to thrill. Instead the audience was amused.
 All evening the old-fashioned stilted lines provoked the rsibles, but in the last act when the villain gasped:
 Then she has betrayed mehi' the au- dience began to roar and ''boo" in Lon don style. moment later a solicitor jumped upon tine scene excaiming:
 T have the squires will in my posses sion,' and that was the signal for an- other outbreak of laughter
 Undoubtedly some of the fault lay with the nopportune idiosyncracies of the scene shifters, but 1t Is equally certain that far greater fault lay with the &C., tors. MT. William Courtenay as the hero, was lacking in herosm, and MT. Richman, as the villain, was not con- vincing. True. he smoked cigars through false mustache. but no one could think the worse of him for that. The beautiful Miss Keane, as Bess Marks, was un- happily cast and Miss Leonora Harris imparted no thrills to her acting of l Hetty
 Mir. Holbrook Blinn. as Preene the poacher, alone rose above the vein of mediocrity and sent the shivers of true nelodramatic pleasure travelling up and down the spines of his hearers. l MT. Brady gave the play an elaborate production. Tho scenes at Armytage Hall. on the road to London, and on the bridge. were as beautiful az could be desired.
 Pretty Rose Coushlan, efter a rather unsuccessful season in the legitimate, has made her appearance in "A Scrap of Paper" play boiled down to tab- Ibid form for the consumption of the Fifth Avenue theatre's vaudeville devo- tees. Miss Coughlan. Judging by her en- thusiastic reception, has at last put one over.
 Anxious to Know
 "Tell me- said tho society woman who