New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1912-08-21
STRAUSS PLAY HEARD
"The Merry Countess at Casino
ConventionaIIy Mounted.
NEW DANCING WINS
Martin Brown and the Dolly
Sisters Touch New Spring
of Pleasure.

w neither unity or impression IN a tHtdt-
rioal production Is desirable or not Is
perhaps legitimately a matter OF opinion.
Certainly the production of Johann
Stausss operetta die F1edermaus,"
which was offered under the name Of
The Merry Countess" at the Casino last
night. lacked unity Of impression. Be
ginning with the Beardsleyesque pro-
gramme design OF Mr. Crew. and con-
tinuing In the Viennese music, the half
American and half English cast OF
players-with one Frenchman the Wen
nese flavor OF the whole background
mingled with references I'm the lines 10
Leicester Square and lemon squash, and
even little rive got you. Steve" and
an allusion TO the Statue Of Liberty, to
give bit Of surely local flavor. there was
highly international combination for
you, which brought with It feeling that
the play is almost an historic accumu-
laton.
In fact. THE Merry Countess has
been much handled. Gladys Unger, a
young American playwright and adapter.
who lives in LONDON and turns CONT
mental successes into English successes.
favored with Piccadillyisms. brought
Die Fledcrmaus" (which IS a perennial
favorite on all continental stages-to
England. under the title OF The
Nightbrds' During last winter and
spring this adaptation had consider
able vogue in the Sad City. In
presenting it here the Unger adap-
tation has been preserved and added TO-.
Some local lines, local ideas OF scenery,
and. fortunately enough, some local dane
ere with A couple Of extremely successful
notions have been introduced. Melville
Ellis has touched up the music Of Mr.
Strauss for the purposes OF the new
dancing. and Charles A. Maynard. Of the
Lyric Theatre. London, did tho staging.
The result OF all this collaboration is an
cIaboratcness and a diversity OF impress
sion that IS at times quite sitting.
The story OF The piece IL generally ia
miliar A; oil events it is the story oi
nearly every light opera that was ever
written during the "Flcdcrmaus' period
The Young count although he loves his
wife madIy, cludcs her to 90 10 Prince
O~lonsky's bail and nlrt there In inc
garden with his countess's maid. whom
De- finds there disguised a lady The
countess goes To the ball masked and
infatuatcs hcr husband. This merry
countess then informs tho police Of the
Whereabouts ~ the princes ball. when
seems to be OF a Kind upon which the"
Iaw does not openly smile. and the police
phil the entire company. although I'm
last nights presentation nothing could
lao been moro wholly discreet than this
rc,ol aud al thc jewellers.
Although tho singers - strauss Hitting
strains were Handicapped by tho uuu-u-
ally awkward wording NJ Arthur Andcr-
sons lyrics. q cannot he said that they
showed a tendency toward brilliant work
Among the men. Maurice Farkoa. who
also gained favor In London. sang with
considerable sweetness Of tone. although
last night. AZ least. he lacked confidence.
Jose Collins and Fritzie Won BusinG both
have capable voices. Miss Won Busing
has been well trained and sings with dis
erection. The choruscs amounted 10 yer!
little. but tho orchestra rose 30 the coca
sion every time and completely biotted
them out
TIE principal event ~ the play. IN iar
as last nights audience. war concerned
oud il win probably be tho same with
future audiences. was the introduction or
"a. dancing i'm. the bali scene. Martin
Brown. who had been playing m!sersbly
a. a bored Russian prince. threw side his
cane aud his sad expression and danced
with each 81 the Dolly sisters hgure
that had considerable novelty and grace
II was related neither to the popular
dancing OF last season nor 20 the inspiF-
Ing imaginings Of the Russian taliet. II
war lust an exhibition Of grace and good
spirits that was entirely refreshing. Mile.
Dazic followed later with a ballet which
was arranged by California dancer, VI.
August. of the Alhambra. London. Dazie
gave her accustomed exhibition OF skilfuI
toe dancing. which won her the accus-
toned applause. Dazzle. however good a
t.chuician Of toe work she may be. IS not
Il born dancer. and her ballet lacked
training very notlceably.
Among the players, Miss jose Collins
created an altogether favorable impress
sion rs the merry countess. Her Work at
Inc W lillfl Ntdihfli ihNN s's+' ''''NN 49,
favorite with playgoers here as music
hail artist As a leader I'm operetta. how
ever. she is a distinct ind. She Is buoy
ant. more than ordinarily good TO look at,
and puts a certain flavor Of romance In
whatever she does.
Forrest Hun az the count was agree
able Maurice Farkoa, the lover I'm the
garden" was best when he sang. espe-
cially IN his rendering of the Blue Dan
ube Waltz IN the last act.
4. W. Baskcomb, an English comedian
with quiet drollery, made hit IN small
part. The others played acceptably.
The temperance Of this Strauss oper-
eta calls attention again 10 the more
than usual activity In revivals which has
been noticed both here and in England
during the spring and summer. Can 1t
bc the first step toward a coming desire
for the repertory idea in thcatricals?
CAST OF THE MERRY COUNTESS"
uka. ......................F ritizie Won Busing
80. soho ............ Maurice FarkOa
f.a,'1t5 ............ Robert Fcuhfer
Countess Rosalinda Cliquot. -. Jose Collins
Dr. Bcrncastler. ....-...''- 'ihuds f'Ui.''s
Count Max Clquot. ....''.'. y ofIesl liun
Uncbbeimcr ....................To Tom A. Shsle
Adele ........-.. 4, - III,
Ebicc. .....-....' NJ 1,,,n',,c
Prince OrIonsky ..............' Mh.uh brown
Inspector 81 Police. .-...-.'.- ,... p rant fosS
%,lrstincr. ............-. Franz harrington
A Warder .....'.'-'..'. ''r,o' :, - .an
Msttoni. ......''... .....--. "'N"''"'0
THEATRICAL NOTES.
A complete private performance of