The Topeka state journal. [volume] (Topeka, Kansas) 1892-1980, 1913-02-17
AT THE PLAY.

That Kitty Gordon is a ravishingly
lovely person no one can deny; wheth-
er or not she can act is a question
and there is no doubt that Victor Her
bert's-or Fred de Gresac's opera is
rather dull. Without the excitement
of Miss Gordon's pulchritude interest
might wane. AS for Kitty herself -
Rodin, the Partisan sculptor has de-
clared her the most beautiful woman
of the age, and many might agree
with him. She possesses that statu-
esque type of beauty uncommon in
this country-has plenty of English
poise, lacks American dash. Every
one of her poses is rather an adorable
picture in an exquisite frame. She
has been called the Milo restored so
often that she is tired of it. She cap
tured biaSe theatre goerS in the east
because she is so essentially different
from the effervescent stars common
in opera comique. Kitty wears stun
ming coStumeS-with backs that slope
to the waist like the slope of a Kan
sas hill What about Kitty's back =?
Well-why desecrate a symphony in
white velvet? Someone has said it is
as white as an enameled bath tub, as
homeless as a disSected Goldfish.
THE Frrnha ntresS' was by no means
a one woman show. Miss Gordon's
direct antithesis, Mayme Gehrue. as
Marion Love, an American heiress,
wide awake, pretty, full of grace of
perpetual motion, scored an imme-
diate hit. Amy Leslie in the Chicago
News" remarks that Miss Gehrue has
apparently been showed in as an az
termath of greWsome dullness in the
book She is full of spirit and fun.
Venita Fitzhugh, as the Princess
Stephanie, was also excellent-small,
slender and blonde, with one of the
most brilliant soprano voices that has
been heard at the Grand this season.
Helen Golf as the Princess Stellina
was charming. Clever character work
was done by Hattie Arnold as the
plump Aunt Mamoute, and Ida Fitz-
hugh as Diana of Russia.
The stage settings were superb.
Nothing like the court scene in the
first act has been seen here since
Walker Whiteside in the 'Typhoon."
Staging, costumes and scenic effects
in general were irreproachable.
AS for Victor Herbert's score, in
places it is very lovely. Vivien's
soliloquy, the Goldfish Song, is de-
1ightful. Other pleasing numbers
were Stellina's Il Want to Be Prima
Donna" Prince VANS and That
Little Girl Is You," Vivien's THE Land
of My Own Romance" and the quint-
ct madrigal 1.-The Dreaming Princess
the most pretentious selection In the
play.
The plot of the piece is so vague as
to be hardly worth mentioning. For
political reasons officials in Zergovia
desire that Prince Ivan shall marry
Vivien Savary. an opera singer, who
has no royal blood in her veins. They
persuade Vivien to enchant the sus-
ceptibIe monarch-and no one could
carry the role of the enchantress more
admirably than Mademoiselle Kitty
Gordon. Ivan Immediately falls vic
tim to her charms, and abandons his
crown for her sake. At the critical
moment it is discovered that Kitty is,
after all, a duchess, so she can have
the king and the crown, and live hap
lily ever after.
One of the notable numbers was a
novelty dance by Ralph Riggs as
Troute, a secret service agent, and
Nina, maid to Vivien. Nina rivaled
Genee in agility and was applauded
q dozen times by a crowded house
who warmly approved of the entire
performance. Alb.