New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1913-01-24
MAN WITH THREE WIVES
The TameneSs of the Gentleman
Fails To Be Amusing.
LEHAR'S MUSIC PLEASES
Absence of Comedy Prevents a
Capable Cast from Achieving
o Pronounced Success.

ne man WIN 1nfee W ives would
naturally be expected To he a very wicked
fellow. He may have been when he had
his being I'm that gay city of Vienna. but
he wasn't when he came to New York and
the Weber and Fields Theatre last night
On the contrary, he was bit of a bore
almost as much so as good people are
supposed to be. Only he wasn't very
good.
Naturally. much was expected of this
newest operetta by Franz Lehar. Poor
Lchar probably never will be able to live
down the fact that he wrote the music
for The Merry Widow" He IS scarcely
likely TO- at least. in this newest work
In spite Of the fact that it contains a
number of charming melodies.
But II IS not with the music Of The
Man with Three Wives" that there is the
most cause TO quarrel. 1t is with the book
There may have been time when IT was
not necessary to have a plot 10 carry a
musical piece. but that was before the
same Merry Widow" The Chocolate
Soldier" and others of their sort came into
popularity. Now an operetta must have
some sort of pleasing background, with
at least vestige of sequence OF events
In order to come within the domains of
operetta. IL is also expected to have
comedy that is not too far fetched. The
totally absurd may be in keeping with
the character of a musical revue. but 1t
is not with Nicnnese musical pieces.
Those are the respects In which The
Man with Three Wives" is lacking. It's
ba CT &c hut of
a head of travelling tourists agency
who has a sweetheart at every stop. Add
10 this the fact that he has married one
OF them and has failed to break his en-
gagements to two others and there is
subject matter for any number of anus
ing situations
Unquestionab they existed in the orig
inal. but they We're doubtless of such Il
nature that. they were not considered fit
for American consumption. So Paul NJ.
Potter and Agnes Morgan were intrusted
with preparing an English adaptation.
and in the doing of 1t they have left
little that is amusing There is the time
worn device Of different characters in
one anothers hats and the repetition Of
one humorous situation three times but
there is not spontaneous and unexpected
fun sufficient 10 carry the action OF the
piece. There is almost complete alb
sence OF clever lines In the book. and
nothing startlingly new in the phraseol-
ogy of the lyrics.
The result il play which leaves the
spectator sitting smiclcss throughout the
greater part OF the performance. And
as the idea Of the plot il comic, the
American adaptation falls Of Us pur-
pose Even the efforts ~ Cecil Lean as
the man" and his various associate
who have anything to 10 with the story
are virtually in vain.
As FOR the score. Mr. Lehar ias written
a number of charming lyrica and two
pieces Of curtain music that have the
desired spirit. The lyrics include the lul-
laSy. The Vale OF Dreaming" which Is
repeated several times In various forms,
tho Rose oi Yesterday and seNtette
I'm the last act. We Are Free II Is
singular hut the last act Is the most
plcasiug 81 the three. roth in music and
atmosphere II the play has any sort of
an enduring success, its ttnal act ami
p,rts Of It's score will he RESPONSIBLE for
II.
Although number Of clever players
have been got together for the cast. 1t
remained for Charlotte Greenwood 10
make the comic hit Of the opening per-
Torrance. Al she did was kick, but after
almost an entire evening with nothing TO
laugh at. that proved exceedingly Funny
Even Mr. Leans efforts. reaching their
climax when he shook a long lock Of hair
into his eyes. failed to equal Miss Green
woods.
The music of the piece was best sung
by Sophye Barnard and Alice York. as
one of the finances and wife respectively,
while Dolly Castles proved the most on
gaging member Of the cast. The presen 'e
Of the finished Leslie Kenyon among the
players and his efforts TO sing were sub
Ject for regret.