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Last night revealed to a large audience at the Colonial Theatre a newly imported musical entertainment. The operetta which Messrs. Werba and Luescher produced, with much expenditure for scenery and costumes, and all too little for talent, is one of those highly seasoned delicacies of Viennese manufacture which have been twisted and pulled by the managers in New York to suit what is believed to be the tast of the king of the "Gay White Way," i.e. the man who buys the tickets. Whether it will suit or not is a question which the future will decide.
Unless radical changes are made in the production; it is the belief of the writer that the piece can hardly succeed. To begin with, the men of the company, with the possible exception of the inevitable chorus, are so uncertain in their methods that they immediately suggest the mediocrity of amateurs.
Of course Miss Augarde is charming, and the princess and the mysterious countess are all very well in their well worn, old-fashioned way, but the whole production is severely lacking in freshness of ideas and "snap". The first act was almost unbearably slow.
A young and noble spendthrift with a tenor voice became engaged to a flighty princess who is one of his guests at "Liberty Hall". He is the heir apparent to a wealthy bachelor uncle, but is suddenly informed that he is penniless because his uncle has married and is the proud father of a son. The princess jilts him when she learns the news, as do all his friends, with the exception of the daughter of his housekeeper. After many trials, this lady falls into his arms just in time for the finale.
The music is of the Viennese type, with which we are now somewhat over-familiar, although some of the songs have a degree of piquancy that is really refreshing. Of course there was a waltz about "roses", and as the people left the theatre whistling it, they appeared to have spent a pleasant evening.
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