Evening star. [volume] (Washington, D.C.) 1854-1972, 1916-03-14
New National.

Somewhere in a theatrical presenta-
tion usually turks an expression when
may constitute it's own criticism IN
"Princess Ira La-La' it is reserved
until the very conclusion of the per-
Torrance. The princess. having cast
aside her royal sutton on the eve OF
their nuptials declared that she was
a woman of heart and affection like
other women and would marry the
man of her choice: the rustic comedi-
enne of the play closes the even
ing's entertainment with the ecStatlc
comment. "Ain't it grand
The princess Tra-i.a- La arrives
under the auspices OF Andreas lippei,
who has done so much toward demon
stratinS that if the musical stage cam
not be reserved for classics il can at
least be Kept to lines of safety and
sanity as well as ornate profusion.
It is Niennese operetta that Mr..
DIPPED offers. The story is about a
young composer who has written an
opera, expects its production on its
merits and fnds it rejected because
ot his lack of influence. 1t looks for
" moment as if d novel idea would he
offered in the suggestion that there
could possibly be on" Nicnnese operetta
which had not been produced. at least
sufficiently to get it in shape for the
American market. But this suggestion
is promptly and elightfulIy effaced as
the princess wanders into the Cafe
Chantant. where our hero is employed
as waiter. falls madly in love with
him and gives him not only the in
fuence needed for his career as Il conf
poser. but her hand in marriage.
AS the little story Is worked out to
music, with Sprightly rhyming and
sincerely jestful dialogue-occasionally
50 sincere as to seem almost serious
4 thrill of response goes through the
audience and echoes the comment of
the little coincidence.
VI certainly is grand
Nothing has been more sloriously
sentimental since the charming slavey,.
Merely Mary Ann won the heart of
the lover whose station seemed SO
much more exalted than her own.
The role of the musician whose per-
sonality must justify to the magma
tion so completely surrender of court
ceremonialS is necessarily d most eX-
acting one. 1t was sung and acted by
George Is. Baldwin with debonair
grace which mad" il plausible. AS an
actor Mr.. Baldwin L. remarka BILE for
ease. finish and absolute lack of self
consciousness. AS u singer his eN-
Ccllent baritone is an important con-
trIbution to every number in which he
participates. AS a violinist he should
De spared the obligation to initiate
control of an instrument with which
he is evidently not familiar, although
it must be admitted that if regular
violinist could produce tones with the
airy nonchalance Mr.. Baldwin assumes
he would be far more pleasing to the
eye than the average virtuoso.
the dashing princess who Scorns
court ceremonials and seeks her own
romance is charmingly played by
Phyllis Partington- Emmy Nicklass
i'm yerSonateS the rustic coincidence in
rollicsomely melodious mood. some
times an ingenue and sometimes the
hearty exponent of direct emphatic fun.
The costumes are gorgeous and eX-
plot the crinoline with taste which
relieves the impression of grotesquery
as the eye becomes more and more
familiar with sarmentage, which even
the comprehensive illustrations of the
department stores have not as yet un-
folded to the common gaze
There is comedy in abundance, pro-
Yided by a corps of stage humorists, in
which Henry Nogel. the rich money
lending gentleman with a conspicuous
purple velvet embonpoint. has promi-
nent responsibilities. BY way of special
diversion a Hungarian orchestra is in
PRODUCED with chara cteristic dancing,
which arouses the warmest enthusiasm.
Everything that the scheme of costum-
ing and scenery could permit in the
way of beauty and elegance, is provid-
ed. Yet the charm of the entertain
ment rests to very large degree upon
its music. which employs the waltz
rhythm. with effects of striking beauty.
The story of the princess, replete with
quips and drolleries, is vivacious and
diverting, yet the "Tra-La-La" survives
as the dominant influence. With all
it's frivolities the production is gen.
1uinely musical. j.