Evening public ledger. [volume] (Philadelphia [Pa.]) 1914-1942, 1921-10-25
1.-THE MERRY WIDOW"
STILL ALLURING
Revival Has Splendid Cast and
Freshened comedy-Musio
Varied and Lovely

Forrcst-Sccrc ns big hit for the re-
vived MERRY Widow" Ms for 1.-The
Merry Widow" in premiere produce
tion An enormous house and one
enormously enthusiastic gave emphatic
testimony to this effect in the first
Philadelphia performance of the re-
vival last night. And PhlladClrhia's 3
verdict has been waited with Intelest
by tho management. for it was here
that the famed opcretta of oil the
European capitals had its American
metropolitan premiere more than dec
ade ago Mt the Chestnut Street Opera
House. with Ethel Jackson as the arch
and fascinating title character. Donald
Brian Ms the nmblc- tOcd lover, Fred
,Frear ms the unCtuous Nish and H.
r. Graham as the dry Marsovian
ambassador. whose taste for intrigue
wrought the romantic complications OF
plot that, then as now, Possessed
continuity, cohcSivencSs, suspense and
surprise.
Somebody has said that Beethovcn's s
seventh symphony is the "apothcosls
Of the dance" Certainly Franz
Lchars score for "The Merry widow y
by the same token. is the apothcosis Of
the waltz. The Tilt and sweep and
abandon and curvilincar graccs OF It's
varied and lovely NienncSe vnlses capture
the ear and quicken the pulses as of
yorc. And the other numbers, the
"Marsovinn" folk dances, the beau
tiful and expert part writing Of the
famous scxtpt "Womcn" (Which was
unexpectedly sung MS septct, part of
the timcN: Dantlo's roGulsh MAX
inns" Natalie and CNmillc's touching
love- song "Oh Say No More" md
the remarkably melodious chorusrs-
how wonderful they all were, and how
wonderfully we'll they wear over the
passage Of the years.
The comedy has been frcshened for
the revival, but wisely no attempt has
been made 10 improve on the original
charactcrizations. which wpro bClievahlc
persons and not merely musical comedy
conventional puppets. An atmosphere
and Imagination mark the entire pro-
duction. which is in cxternals rich and
PICTORIAL
The new cast Is splendid, all around
and in detailed personnel. Lydia Lip,
kowska, of the Petrograd Imperial
Opera and formerly Of the Boston
Opera Company (she sang good
Gilda here several years ago, in Ham
morstein's regime. did not cfface mem
ories Of Ethel Jackson, because while
she was rolliCking and seductive (vamp
ish would be the modern word) she had
not Miss Jackson's subtle abandon
But she was. If anything, better vocally
Reginald Pasch. of the Rembrandt
Theatre. Amsterdam. who took the part
of the amorous Prince Danilo vice
Donald Brian (who, Interestingly
enough. by way of coincidence, wa,
hpadlning vaudeville bill at tho
house in which he created the role o
the Prince at the premiere) had bet
ter vocal cords than Mr.. Brian
though not such graceful and nimbl,
legs. But he danced we'll and sans
very well. Dorothy Francis. Of tn,
Chicago Opera, was fine as Natalie
the Ambassadors wife, and Raymond
| Crane made a typical figure of tn
prying diplomat intent on marrying OF
| his impecuniOus Prince to the wealth
widow. Jeff De Angels brought hi
adroit and sure comedy methods to tn
lbuffo role Of Mr.. Nish with the mos
laughable results. and the other mem
bers of the large cast were worthy
keep the principals company.