Evening public ledger. [volume] (Philadelphia [Pa.]) 1914-1942, 1919-05-20
"FIDDLERS THREE"
REAL LIGHT OPERA
New Composer, New Librettist and
New Prima Donna Win
Joint Triumph

William Cary Duncan and Alexander
Johnston ought not to remain long tn
fortune and to fame unknown on the basis
of the many and varied merits of ssFiddIerv
lhrce, though their names on the Forrest
program, crcditing them. respectively. with
'he pook ana score OF this fascinating speci-
men OF authentic comic opera. had not tho
fantest significance to any one in the crowded
house., They shared honors jointly with the
new prima donna, Tavic Beige, and her
admirable support, both of principals and
chorus, in seasons end first night success
which far exceeds that of any opening of
the waning theatrical year
Although the plot is not distinguished for
especial uniQueness. novelty of sensation and
the romantic materials at least fall into
new molecular structure which affords tbe
refreshing aspect of freedom from the hack
neyed and oftreleasc from the conventions
or lack of thcm-of the prepostcrous revuc
type of entertainment. The plot is consecu-
tive and forward moving and graciousIv OK
cmpt from the Inconsistencies and incop-
clusiveness of the theatrical ''art form"
known as musical comedy. Resemblance 70
the outline of ''The Master Singers of Nu-
remberg," in the underlying idea, of Il COM
petition in which the successful contestant
wins not only the prize but also bride. is
marked and obvious. But there is really no
conscious imitation, and there is sufficient
variation of planning and handling to render
the book freshly interesting on it's own ac-
count. 'Fiddlers Three has its Walther
and Eva, but no Becknesser or David In
substance it is, of course, lighter than the
wagner work, and in spirit more frivolous,
lacking as it does the premeditated and pro
found satire of the libretto which Wagner
wrote for his only comic opera.
The Wagnerian parallel does not go as
far as the music. The music is good-in
fact, far superior in meodic fertility and
inventiveness to that of any musical piece
of light character heard here in seasons
though its distinctions do not include COM
petition with Sullivan, Strauss or Suppe.
1t hasEthe exceeding and, for these days,
rare value of being differentiated and ap-
propriate to situation, emotion and char
acter. The audience could not get enough
of such numbers as when the Fiddlers'
Bow Begins to fly and Can 1t Be Love
at Last?' DomenicO Sodero, responsible
for the skillful orchestration is evidently
and fortunately-ignorant of ragtime and
jazz.
The competition and the rivalries attend
ing it which furnish the romantic complica
tions belong to the decennial carnival of
Cremona, where, according to the story. the
violin makers vie for the insignia awarded
the maker of the best fiddle during that
period. In the current contest there is an
additional prize, as the chief competitor for
the masters award conditions his appren-
tees wooing of his daughter on the lads
handiwork netting both the craftsman's
and masters honors. A mysterious unknown
enters the lists and falls in love with the
maiden. and eventually, though not without
the interposition of numerous arias and
duets, the interruptions of comic relief
from the high and low comedy characters,
and much dancing by the villagers, emerges
triumphantly as a combination of the mod
ern Stradivarus and Lochinvar.
Though the course of true love does not
run smoothly, the airs, tunes and ditties do
so very agreeably, thanks to the strong,
sweet and artistically used soprano of Miss
Beige, of the Antwerp Opera House, until
the German storming of the city, the ex
cellent tenor of Thomas Conkey-remem
bered from his participation in musical plays
of the past, and the ringing baritone of
Henry Leone. Miss Beige is very appar
emily superior artist, well routined, in
addition to her splendid natural vocal equip
ment Her stage presence is easy and
assured her personality is attractive and
her newly learned English is usually in
telligible and always piquant with de-
lightfully individual accent. Louise Groody,
both in song and dance, is charming, and
the comedy of vivacous Josie lntropOdi,
seasoned player in her line; Hal Skelley,
whose droileries are infectious, although not
always apropos, and Echlin Gayer, in a sort
of Lord Allcash, or SILLY ass Brlton role,
lost nothing of its power OF laughter prov
ocation because it had no power to force
faces to flush.