Evening public ledger. [volume] (Philadelphia [Pa.]) 1914-1942, 1915-12-18

III Veea than on the stage of
~ opera The play is
called The Great
Lover" and the leading part is taken by
Mr.. Ditrichstein himself. The produc-
ton was an instantaneous hit and will
likely to be in New York for the rest OF
the winter
Three factors contribute TO the chances
OF success for a play with this theme.
First, the stars of the music world. espe-
cially of opera, seem always to live
life apart. and with them we uncon-
Sciously always associate the glaror OF
great auditOriums alive with lights and
jewels, the throb of orchestras, the peal
of song. They are predestined characters
of romance. Second, the tragedy of the
middle-aged artist. the failing of voice,
the vanishing of charm, is a tragedy
which appeals peculiarly to the interest
and the compassion of laymen. especial
ly OF the gentler sex. 1t is a tragedy for
any woman to find the wrinkles round
her eyes. and she knows how keen
tragedy 1t must be for the beautiful
actress to realize some morning that she
is no longer beautiful, that her day IS
over Perhaps there are more OF Us
males than admit it who know the pangs
of sorrow at our failure any longer to
attract the female smile. and We can
understand the tragedy of Don Giovanni
we VINO III our secret neSlIIS nave IL
ways enyied him.
Third, a play about the opera. with
the scene laid in New York. with the set
reproducing exactly the directors room in
the Metropolitan Opera House, with the
leading character called PaureI Zone let
ter changed would make II Maurel, who
was the greatest impersonator OF the
Don in his generatiOn). and with much
OF the acting duplicating what we have
read about the rows between singers and
the trials and tribulations OF directors
with these temperamental children-such
a play is sure TO attract curiosity in New
York II seems. somehow. peculiarly our
own Romantic though 1t is, 1t answers
our need for play about ourselves
So The Great Lover" granted 3 good
cast. a good director and bit of skill
In the writing was about as sure fire as
anything can be in the theatre It got
the good cast, it got one OF our best stage
directors in San Forret, general stage d.
rector for COhan and Harris, and 1t Is
written with skin and briskness. The re-
suit is a packed house at every perfor-
nance
The first act is the liveliest. and Is
largely given over to a picture Of the
troubles OF the manager OF the opera
house Singers to right OF him. singers
10 left of him, conductors behind him and
in front of him volley and splutter The
major portion OF the drama occurs in
the second act, in Paurel's dressing room.
between acts OF Don Giovanni" Paurei
is in love with Ethel Warren, a young
American girl, soprano in the company.
She in turn. is really N love with Carlo
SoninO, n young American-born baritone.
understudy to the great PaureL But
SOnino is jealous Of her, and in a fit of
piQue she says she will marry Paurel.
However, Sabittini, Italian soprano. old
flame OF Faurel, is to be reckoned with.
In the excitement OF the scene she causes,
Paurel shouts and storms-and suddenly
his voice leaves him At the end of the
act he stands sobbing by the door while
his youthful rival is heard out on the
stage, singing gloriously the music of the
worlds most glorious opera.
In the last act Paurel learns that he
will never sing again. He also realizes
that Miss Warren does not really love
him, and he makes the one sacrifice he
has ever made in his pampered life and
gives her up. Then he is left alone
2l years OF love letters catalogued by
seasons. The old servant gets them out
They are his version OF LeporellO's liSti
Yet the telephone rings at the end, and
1t is a woman. He is making I date
with her as the curtain falls Thus
should Don Giovanni pass out-game to
the finish.
Mr.. Ditrichstein's performance OF
PaureI is superncialiy q vivid charaeteri-
cation touched with whimsical eIeen-