Daily Kennebec journal. [microfilm reel] (Augusta, Me.) 1870-1975, 1913-10-15
AMUSE MENTS
cAPTlVATED AUDIENCE.
Miss Edith Thayer Sings Way to
Hearts of Augusta Theatre Patrons.


A true flash in tile dusky sequence
of comic operas" and musical come
dies" The FREELY, seintillated through
Tuesday evening at the Augusta Opera
house, delighting a large and friendly
audience.
It sparkled with Wit and shone with
beautiful, little melodies. It blazed in
scenic effects and tazzled by rich Co.'S
tunes.
The music accompanied rather than
rode upon the plot which proved re-
markably consistent for the class in
which this production must be placed
This does not mean that the plot was
deep or difficult Ii is easily told:
A little Italian streets singer named
Nina, whose father beats her and
takes from her all the money she
earns. Weary of this treatment. she
decides to masquerade as a boy and
serve on a yacht going to Bermuda
with party of fashionable people,
She becomes such favorite, even in
her boys clothes. with the men on
board, that the women all take a dis
like to the little servant boy" and
when Bermuda is reached and her sex
discovered. all sorts of punishments
are threatened. She succeeds however,
in breaking up an engagement or two,
and in the end becomes engaged her
self to the incest young man in the
party, who was the fianeee of the
daughter of the hostess.
Diminutive, pquant and very pretty,
Edith Thayer might have carried
much weaker company to success.
Her support, if so it might be men,
toned. had its spots which lacked
strength, but these only seemed to en-
nance her own magnetism, across the
footlights, and thus, basking in the
reflection Of her eleverness. made
greater the attractiveness of the per-
Torrance.
Little Miss Thayer was, at one time.
the protege eff the famous Grand OPP
era impressario Oscar Hammerstein.
Arthur Hammerstein's request that
his father allow him to take her into
this lighter work was granted and her
success was assured from the start
in the original production she was
the understudY of Trentini. Now, in
no line word nor gesture does she
seem to do ought but justice to the
efforts of Rudolph Friml and Otto
Hauerbach, The F'irehy's builders.
An audience could not resist her
adoption for the par. She approaches
the ideal type for comedy opera. En-
thusiaStic and vivacious, she is yet
appealing natural actress with, in
stage vernacular. a 'knack Of getting
ii across" Added to, or rather above
this. she possesses a stirring soprano |
of wide range and strength. Perhaps |
the suggestion of strength may be due I
TO her clear tones. However, that may |
be- her voice holds an admirable |
sweetness and a hint of softness even
IN the most difficult passages. Cha
nina" near the close of the first act,
was really the only number which
showed her ability.
While the chorus. by a sourer crit
C might be discovered voeally lack
md unattractiVe, their training and
positions excused their presence. The
gowns or costumes put the balance on
he credit side of the ledger, while
low and then, a good voice swelled to
commend attention.
A Wizard Of or sort of chap with
he alliterative handle, "MaxfieId
Moore" aided in every way possible
or comedian of parts" Never over
LONG his accent or his antics he cap
ured all the favor left over when
Miss Thayer had taken hers.
The song Sympathy" by Thema
5air and Charles II. Bowers, was gem
applauded. Something" by
rene Sampel and Maxfield Morse. was
mother Of the hits.