Evening star. [volume] (Washington, D.C.) 1854-1972, 1914-03-10
New National.

A curious blend of legitimate ro-
mantle opera and current extraya-
Ganza was introduced by Henry w.
Savage in his production of the opera
whose title as first done in Viennese
form was The King of the Mountains. 1t
is a stalwart swinging creation OF
love and brigandage which the ltbret-
list. Victor Leon, has offered as an IN
luce ment to Franz Lehar to test his
skill in measures somewhat apart from
the dancing rhythms of The Merry
Widow"
The king of the mountains is a prince
IN the turbulently picturesque regions
which still exist upon the map OF
Europe as Il torment to politicians, put
Il perpetual delight to the opera max
crS. This prince is also a hrfgand. He
issues orders for his own capture with
defiant cyncism and, as the bandit
chief, falls in love. wooes and weds IN
Il heroic fashion that would pc impos-
siblo amid the formalities of court
l.char has found i'll this bit of story
suggestions for some broad and mas
sive musical effects which, despite the
technical skill employed in their devcl-
opment, are most attractive for their
richness of natural melody. There Is
an occasional descent to the veriest
street song. The Rosy Posy'' number.
which is one of the catchiest as we'll as
the lightest in musical quality, seems
to credit Lehar with an imitation in
rare perfection of the style of the
American street song.
The beauty of the music throughout
the piece has had respectful considers
tion in the matter of vocal and orchestral
expression The opera presents a cast
of singers such as is rarely assemb ed.
The song When the Heart Is Young
brings Leila Hughes INTO a prominence
which she sustains with personal grace
as well as vocal ability Albert Peileton,
10. Il. .ff Ha hri
displays a baritone voice of wonderful
sweetness, and looks the part handsome
ly. Josephine Whittell is also personality
of great artistic value in the production.
The Rosy Posy" number, evidently slat-
ed for song hit by the orchestra, which
played il as an exit number, is inter-
preted by Miss Marie Morgan, lady
whose physical dimensions recall Fay
Templeton herself. The principal comedy
is furnished by two detectives who romp-
ed through the action with a pranksome-
ness which defies alike the laws of gravity
and grammar. They are played by Bert
Gilbert and w. S. Percy.
The presentation has freakish vein
OF comedy which conveys the impression
that the action of somewhat serious
musical work is being systematically halt
ed, in order that it may burlesque itself
Musical comedy Of the Broadway sort Is
rompingy reflected when the lair of the
brigands is invaded by a group of suf-
fragiSts. The suffraeists are taken into
camp by a hlghly Satlricai Dodrd OF iaOy
managers composed of absurdly dressed
men who show that they are lady man
ayers because they know how to man
age the ladies.
One Of the brigands cut his finger and
this episode of outlaw life became the
reason-of-being for a group of singing
and-dancing trained nurses, who straight
way create an epidemic of suicidal inten-
lions, in order that the bandits may en-
Joy their care. The two detectives &C.
cupy a large share of the evening in a
travesty the sleuth of fiction. The
element of word-twisting drollery Is SO
emphatic that it would seem well worth
while to give it a setting Of its own
apart from the graceful romantic story
which forms the legitimate inspiration of
the music. The effect is something like
a combination of Fra Diavolo" and
Flo Ziegfeid-
The piece has been rechristened Maids
of Athens, and the American version by
Miss Carolyn Wells enables it 10 present
almost every kind of interest that
musical creation can have, from romantic
melodrama to the sheerest topical sport
iveness. The production reflects the skill
of George Marion as a stage director.
The scenery is exceptionally beautiful
and the costuming represents the last
word in the fashion of the present hour.