New-York tribune., 1912-01-23
"THE ROSE OF PANAMA"
Viennese operetta, with English
Libretto, Wins Approval.


music by Heinrich Berte. English libretto
by John L. Shine and Sydney Rosenfeld
was produced last night at Days Theatre
with every evidence Of popular favor. This
work. whose European title was "Kreolcn-
blut, libretto by IgnatX Schneider and En-
erich Won Gatti. has been played with sue
cess throughout Continental Europe, and
when Andreas Dippel was casting about for
light operas for the New Theatre he ac-
qurcd the rights for the Berte operetta.
Needless TO say, "Kreolenbut" comes
from Vienna: everything in light opera
now comes from Vienna. though from
various recent offerings It might he sus-
pected that much comes from the far dis
tant suburbs of that Joyous city. But
"Kreolenblut' comes from near enough
the Ring-Strasse TO have absorbed some of
the good things with which Franz Lehar,
Oscar Strauss and Leo Fall have recently
reviviied a world weary Of the banalites
OF musical comedy
To begin with the music IS charming
True, II is cvocative Of memories: but
what light music nowadays is not? Johann
Strauss truly has not lived in vain, The
irrepressible waltz was there, slow and
voluptuous "a ever; but there were other
tunes. gay, sentimental and dramatic all
Of which brought sympathetic response
from the audience. II only the singing had
been as good as the music; II only the or
chestra had played with little less noise
and a little more nuance.
II was evident that most Of the princi-
pals and all the chorus had been chosen
rather for their looks than their vocal
hoe Il %
young women graced a Broadway stage.
but with one or two exceptions their
voices were unequal to the demands made
upon them.
But perhaps most grateful Of all to the
wanderers along Broadway was the start
ling realization that "The Rose of Panama"
possessed a real dramatic story. and one
Of which the lbretto possessed many witty
lines. Gone were the old gags. the Jokes
whose whiskers reached into the mists Of
the last century, and II the librettists were
no Gilberts or Mcilhacs, they were at least
human.
OF the cast, first honors went 10 Mile.
Chaptne, a young FrenchwOman, who
made her American debut as Jacnta,
fiery Creole maid, who loved tenor. Low
ing tenor is truly handicap, and loving
last nights particular tenor almost a
tragedy. Yet Mile. Chapine got away with
It very well indeed so well. in fact. that
she eclipsed every one else in the cast. THIS
young woman had fire and wlnsOmencss
and charm, which made one quite forget
that her voice was scarcely adequate to
the requirements of the part. II was said
that she had learned English I'm the lat
seven months. II this be true, New York y
dramatic stage will find her a welcome ad-
ditiOn.
Fay Banter as Celine, the stenOgraphic
SPY, also deserves hearty word OF praise.
Her grace and her dancing were most re-
freshing: in fact. she proved herself one of
the most charming little dancers now to be
seen along Broadway. Good words, too,
should be said for Anna Bussert, who was
no less good looking even if she did once
miss her cue most unfortunately and for
VIII Phillips as Query. the reporter. AS
for Forrest Huff, a more unromantic, un-
tenperamental singer never stepped upon
the boards He sang well enough, TO be fair
to him. and better than most Of the others.
As for the plot 1t had TO do with PreSl-
dent Of Panama who wanted 10 get to Paris
and with a pretender who didn't want TO
prciend, but who couldn't help himself. In
addition there was a general miX-up OF
wives and sweethearts of tropc blood,
which made something doing most Of the
time And as a final word, there was the
Inevitable waltz, Loves Fond Dream,
that Broadway will without doubt hear
much Of.
This was the cast: