Evening star., 1953-10-05

F.
restrained in showing it in the
presence of Paul Hume and
Milton Berlinger. They are music
critics which makes grand opera
and Mr.. Bing their oxen. They
were not elated and this showed
through their worldineSs and
urbanity. It did not show very
much, to be sure, for both are
intense advocates of democracy
in the arts.
1t was just moment when it
was easier to be a drama critic,
identified with a rakehell art
that has grown steadily less re-
fined since Sophocles. In their
own field, drama critics are
jaded with novelty. They have
seen Alfred Lunt play a small
time hoofer in play by Robert
e. Sherwood. And Sir Laurence
Olivier become a singing high
wayman in THE Beggar's Opera"
while the echoes of his Hamlet"
still are heard in the land.
These are but two of the de-
lightfully horrible ox-gorings
which have put callouseS on the
seats Of the drama reviewers,
and left them shockproof.
And which opened their hearts
to the sight and sound Of Miss
Traubel singing in the draped
and mirrored Embassy Room
instead of the cobwebby Metro
politan.
If the music critics really want
to Junk Miss Traubel, or merely
exile her. she can be the drama
critics girl.
Until she sang them, we had
no idea our miserable little songs
about love, waiting in chapelS,
and other small, mundane hu-
man experiences were really that
good. Surely. we have loved
Mary Martin and Ethel Norman.
and lean Lena Horne and Ethel
Waters for what they have done
with these simple minded and
simple-hearted little airs. How
could anyone help it?
But when Miss Traubel sings
them, ah!
It is as if a cathedral organ
had taken over for a mandolin.
AS an elegant night club per-
former-one is confident Miss
Traubel will never become the
diva Of the diveS-the refugee
coloratura from the Met is over
whelming. Not just vocally. In
a black sequin gown, with long
black gloves, she is a woman who
brings her artistic dignity with
her She makes wiSpS of the
Hildegardes and others who have
played the high-prieStesseS of
such pagan ShrineS.
She might be a woman from
Mars and her effect upon the au-
dience is, for one thing, sober
ing. Before she has sung a note,
1t is clear that the wrought up
blond six tables to the left will
not join Miss Traubel in the re-
frain Of a sentimental ballad.
This is a blessing, a larger one
than those who have led clois-
tered lives will ever realize. Per-
haps including Mr.. Bing. The
majesty Miss Traubel brings, of
course, is the big thing; but the
magic of silencing the "our song"
singers at the next table is some
thing, too.
When she sings a happy heart
break song of old Vienna, mo
Other Love" II Believe" and "St.
Louis Woman" the latter a folk
aria of the peasants of her ma
tive st. Louis, Miss Traubel is
astounding.
She introduces these charm
ingly. but not without a sugges-
tion that they are about to meet
a lady for the first time. This
Is an ingratiating thing, like dis
covering that a Queen knows how
to behave in a cottage or a
eabana as well as in a palace.
The one possible disappoint-
ment involved is that she uses
q microphone. She clearly does
not need amplif1cation. This Sug-
gestS the point that if she is
going to introduce the novelty of
q grand opera star, why not the
additional one of "look people,
no mike?"
This no doubt is a churlish
quibble which Miss Traubel will
ignore, possibly on the ground
that, in Rome, she always does
as the Romans do.
She is entertaining to, have