Evening star., 1912-11-17

5uc,,on had rehearsals are likely to de
veIon listIessness in sluggish tempera
,osn+s or an pveraIertness in more AMI
mated PLAYERS that carries sense OF un
easiness across the footlfshts.
But when success is i'm the air there Is
a nersoraI enthusiasm to be observed n
each plaver and even the gentleman II
the corner with the drums delivers his
norton Of the entertainment with a snar
and deftness that ins5fre confidence. II
a prtma donna onera the supreme tnhu'
ence of course is the prima donna her
self and there can be no mistakine the
fact that little Trnntini thinks exceeding
w well of "The Firef1y."
II NAV be an unselfsh admiration or the
clever book and the remarkably pretty
music that pror,,ts her to express bv her
work an Endorsement more enthusiastic
than words could convey. But there is nc
denving traf II IS for her own purnoses
most painstaking bit Of work She has
everything her own wav. While various
pIayers from time to time seem to mo-
nopoIize interest il is hers whenever she
chooses to claim It. There Is no pom
derous1v erotesrue exponent of rough fur
to create a rivalry for laughs and no seri-
ous rival i'm song In addition to being
the songstress of pre-erninent merit.
Trentini is also the low comedian. the
Hght comedian the sparkling soubrette.
the male impersonator and the naughty
leading lady: an entire cast of characters
In herself
The public welcomed her in each guise,
though perhaps less appreciative of the
naughty leading lady than of the other
personages who figured in her manifes-
tations of protean persif1age. We are
reluctant to give up our merry-makers
The evening with Trentini seemed
frolic under elfin influence. 1t is seldom
that so remarkable voice Is united with
so much temperamental vivacity. 1t can
not be said that the music makes the
fullest demands upon her vocal powers
that they would be capable of meeting
The star appears to be more sol:citous
for the entertainment of her audience
than for consistent display of her ex-
traordinary vocal competence. Her i'm
personation is a character part rather
than a soprano role. She has competent
assistance, but it is always assistance.
and not partnership. in spite of the fact
that Trentini acts every moment of her
gests studious familiarity with the dis
cpiine of the European stage.
One of the cleverest farces of recent
times is Little Miss Brown which dis
plays as much cleverness in avoiding the
suggestion to which it's theme seems, at
the outset bound to lead as in the va
riety of laughable episodes it evolves
II is greatly indebted for the agreeable
impression it makes to the sincere girl
ishness with which the title role Is
played by Miss Kennedy. Its one rough
place is the rather needless explosion OF
primitive profanity on the part or
minor character. The audience does not
resent it, but passes it by with the po-
lite Inconsistencies manifested when
serene conversation is broken in upon by
a poll-parrot with a past
gleeful and vivacious creation, with
explanations of a compromising situation
so profuse that there can be no QueS-
tion, Little Miss Brown" Is nevertheless
an example of the tendency of American
authors 10 follow the lead of Paris in
selecting audacious themes for farce. 1t
IS farce entirely distinct from those of
which the old Hoyt plays may be cited
as typical examples of native humor
.'Rebecca of Sunny brook Farm" under
takes that peculiarly difficult task, an
analysis OF the workings of the mind OF
L child And as in most cases the re-
suit is what q grown person thinks a
child ought 10 be. In spite OF the per-
functory romping which punctuates the
presentation, ii is distinctly grown
up play. though charmingly idealistic and
sweet with the atmosphere of rustic life.
PHILANDER JOHNSON.
HOW BESSIE LOST a "B."-Miss Bes-
sic Abott, who sings Maid Marian in the
big De Koven production Of Robin
Hood" spells her second name with only
one B. and thereby hangs tale. When
Miss ABBOTT. whose real name is Pickens.
and who came from Georgia. was study
Ing under Jean De Reszke in Paris for
grand opera. she adopted her mother s
name of Abbott. The night of her Pa
risian debut in grand opera the French
printers made mistake and spelled her
name with only one B. Thereafter, as
the singer was sup perstitious, sac always
adhered to this unusual spelling.
COMES FROM AUsTRALIA.-Lit
Dolly Castles, in the cast of the new
Niennese operetta. The Woman Haters'
Club" is playing her first American en-
gagement and touring America for the
nrst time. She comes from Australia,
where one of her brothers is a theatrical
producer and where she herself spent the
greater part of her life.
In describing her stage career, Miss
Castle said recently:
Il have studied in France and Ger
many and have played in London, Paris.
Berlin and Vienna, as Well as in many big
cities of my native land. So please dc
not call me colonial.
You see l wanted to study for grand
opera, and so / went TO Paris before
tiers is pr.ma donna Somehow, / jusi
wouldn't grow to anything like a grand
opera size, and so, after lot Of bitter
tears and vain hoping, had to give uI
my grand opera ideas"
In Berlin and Vienna she originated
the soubrette part IN THE Count o.
Luxembourg" and IL London she had
number OF similar roles in George Ed
wardes' plays.
4 LAUDABIE AIM.-'The De kovel
Opera Company was formed" said Regi
maid De Koven. the composer. last week
for the purpose of filling want for th
adequate presentation of light opera i
this country, on a scale commensurate
with that OF the Opera Comique in Pari.
"A number of wealthy friends of min
in New York, many of them directors {