The sun. [volume] (New York [N.Y.]) 1833-1916, 1916-04-28
Musical Story Of Paris Latin
Quarter Told at Maxine
Elliott Theatre.
PRETTY GIRLS ABOUND
Come 10 Bohcmia"-At the Maxine
Elliott Theatre.

A musical story of the Latin quarter
IN Two acts and SIN scenes. OF which the
books and lyrics were written by George
s. Chappcll and the music by Kenneth
Murchison. was disclosed at the Maxine
Elliott Theatre last night To the en-
thusiastic delight of a large audience.
1t would perhaps be more accurate to
say that the audience heard the piece
three times. Every number was re-
peated as freauently-at least during the
nrst part of the entertainment. The
frenxied delight Of the hearers seemed
TO get under some sort of control later.
Then the denand for repetitions grew
FAINTER. But most of the work was
given generously to the audience, which
showed an insistent demand for more.
Both Mr.. Chappcll and Mr.. Murchison
are architects. and writing for the stage
10 rather by way OF being their avoca-
hon than their professional calling. II
has been said that some OF the reycla-
uons or Come To bohemia were the
result OF their observations n expert
ences while students at the School OF
Fine Arts In Paris. But the new work
was not devised to hold the mirror IN TO
nature. Come to Bohemia is lust a
musical play Of student life in Paris.
so there were painters and composers,
singers and models and the usual artis-
no colony that peoples such pieces.
There was a story-or perhaps 1t
would DO more just to say that there
had oeen a story. to judge by internal
evidence observable as the scene went
on. The piece showed signs OF having
been vigorously produced" The manu-.
script. whatever It may have been when
Nj. Chappell and Mr.. Murchison handed
u w to the stage manager. seemed to
nave undergone a rather drastic appli-
cation OF the usual means OF bringing
musical plays up or down TO what is
supposed to be the popular taste In the
matter.
20 the audience saw some pretty girls
I'm this respect the chorus showed
more han the routine professional dis
elimination. dancing to lively IL alto
gether conventional ~syncopated melodies
and wearing most tasteful and elaborate
frocks. Numbers were dropped In as II
some professional Zeppelin had sailed
over the dress rehearsal and let fall a
dance here and a song there with no
especial consideration of the demands
OF the situation. Indeed. there were
precious few situations to take heed of.
But there was a story about a young
girl who married a Count or was going
to marry him and then came back to
sing the leading role in her former
lover = opera Nntn Inc prltna donna
grew III or otherwise, failed the COM
poser. In the last scene she seemed to
he marrying this musical first love. but
the fiction was not prepondcrating At
any point.
There was some fun from William
Danforth at intervals. and benman Ma
ley was there in the same line OF BUSH
ness. Fritz Williams is always polished
and william fcrcival is a graceful
singer and dances in time. Natalie Ait.
who wore II series of beautiful frocks.
sang a waltz song frequently. and her
acting was arch. Muriel Hudson visual
lied most of the syncopation. Clara
Palmer-she was in See America First"
displayed her usual determination. and
there was a remarkable pair of acrobatic
dancers in +. j. Nice and Ada Weeks.
Their evolutious were quite remarkable.
There was a delightfully."- picturesque
scene during tho progrcSs of the Quatz
Arts ball in Paris, and part Of an opera
was sung before the audience while the
occupants Of the boxes uuarrelled with
n another. There is no lack of action
in the new entertainments which moves
at . rapid rate. Perhaps this swiftness
would be of more avail II Come to Bo-
hernia" kept moving in the same direc-
tion. But II skids undeniably at times
not enough, however. to disconcert the
tired business man. His diversion. IL II
lies In beauty. melody and grace. is
abundant in Come to bohemia"