New-York tribune., 1921-05-01
Rich Scenic and
Musical Settings
For deception

program Of music and stare mum.
bers that matches photoplay In ,
mannerf seldom seen on Broadway /.
revealed At the Rivoli Theatsr this
week. whore Hugo Riessnfeld present,
eDsception" for = second week. Not
content with setting the aim to music
Of the early sixteenth century, he has
also carried out tho spirit eS the peri
cd In tho furniture Of the thsater, the
decorations and In the lobby and ex-
terror.
Mr.. Riesenfeld believes that audien-
ces cannot step from Broadway right
into the spirit Of the second Tudor "a
England, in which, Of course. the ro-
nance Of Anne Boleyn IL laid. So he
has carried cut his scheme Of decora-
tion even to hanging pair Of candel-
abra under the Rivcli marquee and
placing four complete suits Of srmor
at the corners overhsnging tho curb.
These ample symbols have way Of
limiting that Deception" depicts the
days of candlelight and Of plumed
knights and fair ladies. Along the
Sides Of the building hang shields Of
the period to add color to the general
decorations. +
When the patron steps into tho lobby
he 10 again reminded that he IL to step
back to the decade between 1928 and
1888, the yars when Anne Boleyn re-
turned to England, became lady-iu-
waiting to Queen Katherine, rose to =
place az queen and, within three years,
was sent to the scaffold to make way
for the third wife Of Henry WIN.
n the mezzansne floor and the stair
On the mezzanine floor and the
staircases are tapestries that date
back four hundred to Ave hundred
years, as we'll as great oaken chairs,
chests Of drawers, candlesticks, sculp-
lures, refectory tables and benches,
and row of ancient chain armor, the
whole collection given touch Of col
or by the old standards and banners.
The visitor cannot help coming under
the influence Of the old furniture,
with its deep carving, che old draperies
and the wrought iron candelabra.
But Mr.. Riesenfeld's art comes most
potently to the fore in his presenta-
tion program. The opening Of the per-
formance is announced by four her
aids with trumpets and the orchestra
plays an overture which is q garland
Of ancient music. The orchestra has
been augmented by the addition of sew
eral ancient instruments seldom heard
in modern orchestra, such as viola
d'amour and oboe di caccia.
Old music Of the period depicted by
tho historical film also forms the basis
OF the prologue, winch is called "The
Hunt Is Up" The prologue takes its
name from q song written by zone
Gray" =. favorite court singer of Hen
~ Wits, and is dedicated to the king.
Carl Rollins, barytone, appears as
minstrel, and the Rivoli male chorus
appears as a group of courtiers and
huntsmen. AS the prologue, which is
q production Of the New School Of OPP
era and Ensemble, fades from view the
feature film Is shown, with rustic
scoro which brings to Broadway some
Of the rich melodies OF forgotten pc
riod and selections from works of old
composers that are seldom neard. Ex-
cerpts are, used from the compositions
Of Jean-Baptiste Lully, Alessandr Scar
latti, FRANCOIS Coupcrin, Johann Mat
theson. Henry Purcell, Arcangelo Co.
relli, Antonio Vivaldi, Andre Ernest
Mcdoste Gretry, Philippe Ra-
meau George Frederick Handel and Jo-
hann Sebastien Bach.
A striking feature Of the musical
score is the singing toward the close
of the film drama of dirge ascribed
to Anne Boleyn. The picture shows
the unhappy queen being led to the
headsman in the court yard Of the
Tower of London when the song, 80
Death, Rock Me to Sleep" is sung by
Inga Wank, mezzo-soprano. The piece
Is said to have been written by Anne
Boleyn while she was in the Tower
awaiting execution.
Bach's, Toccata and Fugue in d Min
or is played IS the concluding number
of the program by Professor Firmin
Swimmer on.the organ.