New-York tribune., 1922-12-31
LADY in Ermine"
Transformed by
American Art

There "a an interesting STORY ln tHo
naturalization o. "Ths Lady IS Er-
mine" the musical play at the Ambas-
sador Theater In acquiring the rights
20 the operetta the producers were not
Influenced by the long run it has made
AZ Days Thehter In London under the
title Of "The Lady Of the Rose" or By
its prestige on the Continent, but be-
cause &c told an interesting, dramatic
story 70 the accompaniment Of haunt
| inr, sensuous and striking music writ
ten IN the best traditions OF Oscar
Straus and Franz Lehar
Indeed. they were not wholly pleased
with the London production. To them
10 did not convey tho romantic ntmos-
phere Of an ancient European castle
with IFS ancestral legends They were
confident thcy could improve upon il in
America. They desired 20 present the
opera under conditions that would take
complete advantage Of the military and
romantic favor Of the story and music.
with this plan q mind the shuberts
sent Charles Sinclair Watson Barratt,
Walter Woolf and Robert Woolsey 20
London not only 20 familiarize them
selves with the spirit o. the work. bat
20 determine upon the manner Of pre-
sentrg Sc here. Sinclair was 20 stage
The production, Barratt 20 desiqn the
settings, while Messrs WooR and
Wooisey had been assigned 70 the prin-
cipal sale roles.
The quartet returned after four
weeks IN the British capital full Of
enthusiasm fer the opportunity Of be-
ing associated with "The Lady in Er-
mine" ard determined 90 present it
according % American ideas. Sinclair
who had IN bis time staged such musi-
cal plays a. "The Prince OF PilSsn,
Woodland" and "The sho-Gun." and
who vas one Of the organizers and
operators o. the Municipal Opera In ST.
Louis, worked out plans for an en-
trancing picturt Of a castle under mill
tary occupation. The ensembles not
only had 20 be coiorful and picturesque
but thcy hrd % move with brisknesi
and precision. Moreover. the story had
I 90 be more consistent He set 20 work,
ard with the aid Of Cyrus Wood. the
American adapter, he soon had a plot
that was free Of loose ends and one
which he considered foolproof.
Barratt. not a. al impressed by the
British settings, which, r said, sug-
gested the Grand Central Terminal,
subrni;tes drawings of a castle in which
he placed heavy staireasss, large tapes
tries, appropriate furniture and one or
two fuli-lcngh aneesral porrais.
Woolf and Woolsey. with their ez-
perience IN American musical produe-
tions. knew that they must bring force
and picturesqueness 20 their roles.
The coordination Of the ideas Of
these four men sKerted It's value n re-
hearsais. ard the production soon
moved with the speed and cohssiveness
that distinguishes musical plays and
reyues ia this country.
There has 70 be q blend Of romance.
+ pieturesqueness, military precision and
Fwagger. music Of contrasting tempos,
4 situatons Of eoutrsstic effect in drama
and comedy in such a work as The
/ Lady in Ermine,'" said J. J. shubert
the other day. American audiences
are very s1aetiag, especially IN musical
plays. and they will not tolerate ineon-
sisteneies Of any kind either IN story
or production. Moreover. they demand
speed and a certain forecfulness. All
of these requirements have placed
American musical productions at the
iopmost rank o. this type Of entertain
ment in the world to-day"