Evening star., 1917-12-04
ADJUSTMENTS
BelaNo.

| It was in an atmosphere Of pleasant
| "reminiscences that Victor Herbert. the
| composer Of Eileen" made bow after
| bow. then made a speech and finally
came as nearly as possible to shaking
| hands with one of the largest and most
| enthusiastic audiences Of the season.
The Belasco Theater turned the clock
| away back to the days Of 1898, days, as
| Mr.. Blossom. the librettist, explains
| In a program note. that were per-
| haps the most romantic Of all Ire
lands romance. The story reveals in
cidents dear to the Irish drama ever
since Dion Boucicault used the sham
| rock as a fairy. wand to bewitch and
dazzle the Imagination. 1t harks back
to feuds and friendships of a distant
past: recollections that might be un-
pretension.. The play serves as a
framework for Herbert to embellish
with Irish melodies so typical that the
ear turns to them as old friends who
of modest simplicity and now present
themselves in all the elegance OF musi-
cal art Mr.. Herbert explained that
his first ambition was to write an
opera, "Natoma," was presented on that
very stage and he saluted its librettist.
who CHANGED to be in the audience. with
a CHEEKY hello" that broke down the
formalities Of the usual curtain speech.
His next ambition was to create a work
whose musical inspiration would arise
from the land of his birth, Ireland;
and Eileen" is the result
1t Is a romantic comic opera: more
romantic than comic. The hair-breadth
escapes of the hero. the woman's wit
strations of the populace, in turn merry
villagers and indignant bystanders. are
more prominent than the element of
fun. As often happens in romantic comic
t. 1~Fk
more to individual demonstration than
to situations naturally evolved by the
story telling. But as a romantic opera
it is swinging, dashing and irresistibly
alluring.
The company presenting EILEEN" is a
wonderful singing organization. Every
member Of 1t, from soloist to chorus
man, sings as II he were singing for the
salary. To mention all the gems Of
melody and rhyming would be only to
recite a lengthy catalogue. Some OF
the musical setting is sheer tuneful-
chorus and the big orchestra. There are
passages Of substantial musicianship.
whose elaborate yet cleanly wrought
counterpoint must elicit thoughtful adj
miration. The style of the popular
song of the day is not neglected. AS
treated with Herbert's resourceful skill
it appeals and satisfies. The one dis
tinctively comic song, however. broad
seem an intrusion. Walter Scanlon, the
tenor hero. sings delightfully."-. and is a
worthy suitor for the hand of the
charming soprano. Irene Rowan. Louise
Allen is a combination of prima donna
and soubrette. whose effervescent per-
sonality contributes much to the enthu-
siasm. Algernon Grieg is the comedian.
He is unusual; remarkably thin and
with mechanical method that height
ems the impression of drollery. Scott
Walsh Is true broth of a boy. both in
song and action. Edward Martindale
contributes substantial merit to the
role of the colonel, whose business 1t
is to pursue the hero and be outwitted
by the attractive Lady Maude, imper-
sonated by Olga Roller.
The scenery is massive, the costum-
ing picturesque and the time and period
demand. The presentation reflects the
highest credit on Joe Weber, the pro-
ducer; Fred Latham, who staged it. and
upon George Marion, who arranged the
dances and ensembles.