The Theatre in Boston
"Canary Cottage," which opened this week at the Park Square, is another of Oliver Morosco's clever, frank, and somewhat unrefined musical farces. Like "So Long Letty," which was here a short time ago, this piece treats of western life in the rough, and like it, was produced first on the Pacific coast and then brought here. That it contains a wealth of vulgar humor there is no denying; but the vulgarity, or frankness as it might better be called, is introduced as the means rather than the end.
The proverbial "typical Morosco cast" certainly lives up to its name: Trixie Friganza is her own breezy, slangy, domineering self; Charles Ruggles is kept busy pacifying his different lady loves; Herbert Corthell does well in the rather thankless part of the philandering, drink-addicted husband; Dorothy Webb, dainty, lively, and vivacious, frolics through the piece as the heroine should; while the plump Lecia Lucay, the "baby grand," is the one principal blessed with a really fine voice.
Novelty of scenery and costumes and livelinese of action mark this piece as a true product of the West. The "Orange Day in California" scene is full of "pep," for the entire company engages in a battle with the audience with paper oranges as ammunition. In "Follow the Cook," Trixie Fringaza shows how much "music" a stove covered with suitable pots and pans can yield. The music as a whole is lively and gay, with a rythm and refrain not easily lost. "Canary Cottage" and "I Never Knew" are the real game of the piece and keep you whistling in spite of yourself.
As boisterous, breezy, and lively entertainment "Canary Cottage" is excellent, but those who desire more should go elsewhere.