The Washington times., 1921-12-29
D. c. CH0R|STERS
IN OPERA TOUCH.
ART|ST|CHE|GHT
Surprising Professional Tone
Given "Sweethearts" by Ade-
quateIy Trained Cast.

How the Peoples National Opera
has lowered! Last nights
of Victor Herberts light
opera. "Sweethearts," given by THE
Neutrality-suspicious." under the direction
)f Rollin Bond, could well compete
professionally as an attraction for
he music loving world that likes
tunes, pretty girls. real comedy. and
a star cast that il growing quite out
Of the amateur ranks.
The opera will be repeated tonight
and tomorrow night at Central High
school, where 1t is given under the
:isupiceg Of the Community Center
Department Of the Public Schools.
In this revival of "Sweethearts"
he benefit OF experience is most ef-
,actively shown. We should make
mch repetitions possible by not only
rood but by enthusiastic patronage,
which the entire personnel deserves.
Our own light opera stars are be-
ginning to feel their oats" They
now have an ease that gives them
freedom in action and added charm
n their singing, for the Washington
ans have always had an abundance
Of fresh young voices. This com.
nent needs must be inclusive. for
i was amazing how each one came
through with added power that has
-aised the standard of our estimate
.mmeasurably.
The Stars.
Piquant Estelle Murray, verti
ole little French ''milliner" In her
charming costumes. has all the
grace Of a professional ingenue.
She is coquette, delicate in her fun
and humor, and she sings most de-
lightfully, telling her coy little stories
SO that you understand every word,
and dancing like little artist. She
is picture always. and genuinely
Chic" with taste in color and cos
tune that vie with her Professional
sisters.
And rising from small success to
now a big success, the vocal star
of the opera is our delicately textured
Ruth Peter, whose young and fresh
voice is gaining the balance OF q
maturing art and who invites COM
parison with professional singers.
Hers is a mellow, free and beautiful
voice that she uses delightfully."-. And
she has gained a dramatic ease and
naturalness that is bringing through
a little artist who should reach her
Marguerite in Faust. by means OF
Michaela and the lyric roles.
The Lyric gems OF "Sweethearts
are many. and they are given with
lifting musical charm. Singing oppo.
site Ruth Peters Sylvia" Raymond
Moore as the Prince shared with her
the so-called singing" star part OF
the evening. His voice Is a lovely
baritone, and he too has won his
spurs in freedom Of voice and In stage
presence Edward Hines, the tenor
military man, Lieutenant Karl, sang
musically and well. completing
forceful quartet.
The Funmakers.
The funmakers have an important
share in this comic opera, and Ruth
Peter in the scene with her Mother
Goose Riddles enters into this group
too. The youngsters were adorable.
Foremost, however, comes the
Dame Paula" of Norma Eaton and
the ''Mikel" Of Stephen Fegan, both
of whom won stellar honors by the
way they got their lines across ana
by their comedy spirit. Then that
foolish trio were again laughter
provoking, the Englishman Slingsby
being we'll taken by Harry stevens.
though II was a small part to show
his melodious tenor voice, while Joe
Bourne as Van Tromp had a good
topical song and John Pennybaker as
the Frenchman was deliciously
amusing. j. Frank Dug0an and j:
Robert Raeburn in small parts should
surely be material for future leading
roles.
Those refreshing young folks OF
the large chorus, both the Jenny
Lind maidens and the strong male
chorus. sang and acted with buoy
ant ease and sweetness OF voice tha'
was most enjoyable.
The story gives the chorus groups
important little solo parts, the KIND
of thing that lifted Ruth Peter from
our home chorus of a few days ago
1t is a commendatSe>.-th that
is being done. 1t is highly artistic
and wholesome. Besides. the opera
is well worth seeing and hearing
twice. Mr.. Bond has brought his
young neutrality-suspicious." to a high
point of artistic merit, and a large
orchestra gave the score we'll under
mis- baSon, although the drums and
sor,e of the instruments need soften
ing for the sake of the voices.
Go to hear "Sweethearts." The
is given from one
who enjoyed it thoroughly. And
added credit must be given to Estelle
Murray, who directed the dances:
Harry Stevens, stage director. and
Genevieve Bond, dramatic director.
JESSIE MacBRIDE.
NJ n