The Washington herald., 1921-03-29
Nv EARLE DORSEY.


when one considers that who's
who In Musical vienna edition Of
1880 is a volume that graces few
center tables in this republic and
that John Drinkwater has already
made II fashionable to take stage
liberties with historic incident. it is
probable that Blossom Time, the
operetta portrait of Franz Schubert,
the composer. will be threshed out
on a dramatic rather than a bio
graphic basis.
In point of fact, Blossom Time"
current at Polls, appears to be an
earnest and serious effort to effect a
stage portraiture of the famous
viennese musician. 1t Is possible to
imagine better medium than
operetta for portrait painting of this
sort. but the operatic form of
blossom Time" one concludes,
evolved itself rather inevitably from
an effort to surround the piece with
the melodic garlands Of the COM
poser's own work.
The title, of course. is polntless.
As well sail 1t Moonlight and
Honeysuckle." That. however, is a
detail. As it stands, Blossom
Time" Is an unfinished. highly ex-
perimental though sincere attempt
to hang another picture in the
gallery of the stage. 1t is marred
by one egregrious but remediable
error of 1ramsturgy that will
doubtless be corrected ere long. The
= one problematic feature of the pro-
duction-and IL is. indeed, prob
a popular note.
90 In many respects, Blossom Time
seems to commend itself to the body
politic. Its score is its outstanding
asset-an arrangement by Sigmund
Romberg of melodies by Schubert
and Berte-but as a production cal
culated to appeal to the mass of the
population Blossom Time" seems
none too promising.
Primarily, there Is little innate
appeal in portraiture of this sort
unless it is amazingly well done.
And while blossom Time" is an
earnest, studious attempt to con-
tribute something really fine to the
theater. 1t is not amazingly we'll
done. II is not cast. for instance,
with more than half the skill of Gill
bert Miller's "Beaucaire," and while
there are a number of singers in the
cast, there are only a few good ac-
tors. Its score, while appealing
from a purely technical standard.
has not more than two songs that
hold interest for the average seat
holder. Its investiture. on the other
hand. Is frankly colorful and vivid.
The portrait Dorothy Donnelly has
painted of Schubert begins at a
point where the composer in near
ing success and closes with the pub
lie recognition of his genius. Sus-
the somewhat artificial creation of
a love affair. which leads up to the
plays major error Of dramatics that
must be exercised.
Schubert is pictured as a victim
OF the little blind god, enamoured
of a jewelers. danghter.sHis identity
confused with that Of a roue with
the same initials. he is repudiated
by his fair one who instantly and
unnaturally transfers her affection
to the roue in question. 1t Is natural
for an audience to suspect the girl
OF mere pique-a lovers quarrel that
will be Strengthened in the end.
When, however. the final act brings
the amazing confirmation of this
classic of Inconsistency, IL is again
but natural for an audience to
scornfully reject the situation and
turn its protest against the play
wright.
However, one must heap a bit of
praise upon Bertram Peacock--the
name is unfamillar!-for a power
fuL insinuating and well-nigh brill