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Joseph Jefferson will probably retire from the stage next season.
Massenet's "Herodiale" has been played with great success at Milan.
Mine. Gerster, assisted by her husband, will manage an opera-house next year in Vienna.
"The Criterion" is the new metropolitan theatre devoted to drawing-room entertainments.
Mary Anderson will go to the Mediterranean next summer in her new yacht, the "Galatea."
The Princeton College Glee Club will give a concert at Chickering Hall, New York, tomorrow evening.
A New York correspondent says that a former Harvard professor, now on the stage, is to wed Miss Anderson in the spring-time.
The law is being rigidly enforced in Baltimore which forbids minors to enter the theatre unless accompanied by parent or guardian.
Fraulien Ellmenreich's impersonation of Walburga in "Geier-Wally" is pronounced the most artistic piece of work seen in New York this season.
At the performance of "Esmeralda" at the Madison Square tomorrow night, each patron will be given a handsome tile designed by Vedder.
Bartley Campbell's new piece, "The White Slave," will be produced at Haverley's Fourteenth Street Theatre, New York, the first week in April. Georgia Cayvan has been engaged to enact the title role.
A new symphonic work, "Les Eolides," by the talented organist and composer, Cesar Frank, was played at a recent concert in Paris. It is well spoken of by the critics, though the Chateau d'Eau audience hissed it.
Emile Zola is writing a new play for the Odeon; the manager has asked him to be as discreet and virtuous as possible, so that they may announce the play as one to which any young girl might bring her mother.
Miss Dickinson is to cross the dramatic Rubicon next Monday evening; she will appear in New York as Hamlet, and is said to dread lest the withering criticism of the city will destroy the laurels she has won in the provinces.
"Gogo," a new comedy from the joint pens of MM. Edmond Gondinet and Veron, is to be produced at the Paris Vaudeville toward the end of this month, by which time, it is supposed, the success of Sardou's "Odette" will have worn itself out.
The New York Herald says: "That light and volatile individual, "The Professor," will invade the classic shades of the Hub and set his confreres in the neighboring university an example which they will do well to avoid if they do not wish to destroy the dignity of that respectable seat of learning.
New York critics do not think as much of Strauss' latest operetta, "The Merry War," as those of Europe. "Strauss," says one writer, "as he shows himself to us in 'Die Lustige Krieg,' is no longer the Strauss of 'Die Fledermaus.' Everything is well written, in a scholarly and artistic manner, the orchestra is discreetly and always elegantly handled; but there is also a nearly total absence of that spontaneity, that musical humor and sparkling freshness, which made 'Die Fledermaus' so delightful. The score contains various pretty numbers, but they are all more or less the product of labor rather than of inspiration. The only exception is the waltz with which the second act closes, a most felicitous effort even for Strauss, though not even in this number does he approach the level of excellence which occurs at the same point in 'Die Fledermaus.'"
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