New-York tribune. [volume], September 01, 1918, Page 4, Image 38

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Redeeming the operatic promise
Local Bohemian Chorus Revolts Against Singing Austrian
National Hymn in "The Bartered Bride/' Consider?
ing It an Insult to Czechish.Opera
-,-%
CHAPTER V
MEMOIRS OF A DECADE OF OPERA
By H. E. Krehbiel
Copyright, 1918, by H. 10. KrohWel.
THE season, which was begun
on November 16. 1908, ended
on April 10, 1909. Of eight
novelties announced, only four were giv?
en, vis., Puccini's "Le Villi," Catalani*.
"La Wally," Smetana's "Bartered
Bride" and d'Albert's "Tiefland." A
promise that three operas of first class
importance?Massenet's "iLanon," Mo?
zart's "Nozze di Figaron and Verdi's ;
"Falstaff"?would be revived was brill- ',
iantly redeemed. To the subscription*
season of twenty weeks one week was ?
added for Wagner's Nibelung dramas !
and extra performances of "Aida" and :
"Madama Butterfly." Verdi's Manzoni \
"Requiem," having been sung with fine ?
effect at two Sunday night concerts, |
was repeated on the night of Good !
Friday, instead of an opera. The per- j
formances of "Parsifal" took place on I
Thanksgiving Day, New Year's Day and !
the birthdays of Lincoln and Washing- j
ton. There were performances also for |
the benefit of the French Hospital, the :
German Press Club, the Music School
Settlement and the Pension and En- !
dowment Fund.
At the last, and also at a special per
formance at which Mme. Sembrich bade I
farewell to the operatic stage of Amer- ,
ica, the programme was made up of
excerpts from various operas. After
the season was over, on April 29, there
was a special performance of "The
Bartered Bride," at which the Legal
Aid Society was the beneficiary.
Bohemians Revolted
Against Austrian Hymn
This occasion takes on an interest in
the retrospect because of the refusal j
of the Bohemian colony in New York, j
who at the previous performances |
of the work had sent mem?
bers to enliven its dances, to
take part unless the project > of j
singing the Austrian national
hymn, which had been foolishly
conceived by the president of the so?
ciety, should be abandoned. The local
Czechish community would not counte?
nance what it righteously considered to
be an affront to thetr love of country
and an insult to a characteristically
Czechish opera, of which they were
proud. At a late hour it was an?
nounced that "The Star-Spangled Ban?
ner" and Skroup's beautiful "Kde
domov muj," a truly national utter?
ance, would be substituted for "Gott
erhalte Franz den Kaiser,*' but the
mischief had been done; the anger of
the Bohemians refused to be allayed,
and Smetana's opera was performed
for an audience that only half fille_T
the house. It was the first ebullition
of a patriotic sentiment which nine
years later compelled the banishment
of the German language from the rep?
resentations at the opera house.
Casting Doubt
On Gatti's Views
Why it should have been thought
worthy of production at the Metro?
politan Opera House was a mystery
in 1908, and is a mystery yet. The cir?
cumstances attending its performance,
especially an increase in the prices of
admission and the association with it
in the list of "La Wally," both works
being long dead in Europe, caused Mr.
Gatti's judgment and aims -.o be viewed
with doubt and suspicion, and 'the
ghosts of the ghastly failures have
arisen to plague him in every review
of his administration since. The sub?
ject of "Le Villi" is admirably adapt?
ed for a pantomimic ballet, as Adolphe
Adam demonstrated seventy-years ago,
' but not nt all for an opera. A drama I
might, indeed, have been made out. of
j it by an ingenious infusion of con
I tributory incident, but this was neg
! lected by Puccini's librettist. The leg?
end has a placo in European folklore.
It tells of how damsels who have been
betrothed and betrayed and died of .1
broken heart sometimes meet their
recreant lovers at midnight and lure
the faithless ones into a dance which
lasts until the deceivers, unable to
stop, give up the ghost.
Concerning Musical
Taste in Italy
?
While there may not have been
enough intrinsic value in "Le villi"
and "La Wally" to justify the attempt
to foist them upon the people of New
York, they were yet interesting in their
historical aspects. It was the mis?
fortune of "Le Villi" to have been com?
posed at a moment when the musical
taste of Italy was in a ferment. Tue
so-called progressisti had cast off al?
legiance to Verdi and were seeking to 1
enroll themselves under the banner of |
Wagner, without thinking that in prin- i
ciple and method there was an insuper?
able barrier between their artistic nat?
ures and that of the German master.'
The revolution had been going on
ever since "Lohengrin" had its first
presentation in Bologna, in 1868, but
nothing came of it until. Mascagni, piec?
ing together shreds and patches on
which he had long been at work, car?
ried off the Sonzogno prize with "Cav
allcria rusticana." This opera set a
fashion, and all who followed it found '
encouragement with its publishers,
who at the theatrical exhibition in 1892
were able to enter no less than four '
new composers with operas fashioned
in a general way after Mascagni's
nerve-rasping little work. They were
"Pagliacci," by Leoncavallo; "II Biri
chino," by Leopoldo Mugnone; "Tilda,"
by Cilea, and "Mala Vita," by Giordano.
As it had been the misfortune of "Lo ?
Villi" to appear before the new sp;rit J
had been awakened, it was the harsh j
fato of Catalani to bring out his 'La ;
Wally" when critical Italy had ji.st
been carried off its feet by the new
movement. Catalani belonged to the I
Verdi faction, if there is any value in |
the evidence, offered by the music of ,
"La Wally." His previous efforts had |
been made in the period which I de- '
scribed as follows in my "Chapters of ;
Opera" ten years ago:
"Italy had become sterile. Verdi
seemed to have ceased writing. There
were whisperings of an 'lago' wrjtten
in collaboration with Bo'ito, but it was
awaiting ultimate criticism and final ?
polish, while the wonderful old maau-r
was engaged in revamping some of his
early works. Bo'ito was writing essays
and librettos for others, with the un?
finished 'Nerone' lying in his desk,
where it is still hidden. Ponchiclli had
not succeeded in getting a hearing 1'or
anything since 'La Gioconda.' Expecta?
tion;-- had been raised touching an opera,
'Dejanice,' by Catalani, but I cannot re
( call that it ever crossed the Italian bor
? der. The hot-blooded young veritists
who were soon to flood Italy with their
creations had not yet been heard of."
Smetana's "Prodana Novesta" had its
first American performance in Germ, n
as "Die Verkaufte Braut" on February
19, 1909. Gustav Mahler conducted.
The opera is one in which the spirit
of Bohemian peasant life finds as vit il
expression as does Russian in "A Life
for the Czar." Its pictures and in?
cidents are such as may be found in
any Bohemian village to-day, and while
the style of the music is a direct off?
shoot of the classic Italian opera buffa
and the ingratiating voice of Mozart
speaks in many of its pages, its most
; pervasive idiom is com?? straight from
the tongues of the Czechish peasantry.
i So great was the interest in the pro
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Owing to the great demand and at the r<?quest
of thousands of disappointed patrons,
YIP, YIP, YA
(A MILITARY "MESS" COOKED T'P BY
THE BOYS OF CAMP UPTON)
WHI b.g-in a limited eiiKtMrement <'orameiicin?r
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MAJ. GEN. J. FRANKLIN BELL
250 SOLDIJEB BOYS IN THE CAST?BAND AND ORCHESTRA OF 00
Word, and mu.lc by $ERGT. IRVING BERLIN
sta_ed hy PRIVATE WILLIAM H. SMITH.
I auction that weeks before the dale hsd
been announced $2,000 win sent to the !
! box office of the theatre by Bohemian
oitiaenu'of New York to buy nests for
the pr<?mii>re.
Thc-'.per? Is strum; on mi extremely
| slender thread o? probability, Tho
lover of the piny agrees for money to
renounce his claim upon the bund of
the maiden who loves him. 1U? barter?
his bride. But the written contract
conta iih the stipulation that she shall
marry no one but "the son of Micha.''
Theie is n "son of .Micha" for whom n
marriage broker wishes to procure the
pretty maid and lier pretty ducats, tint
he is n lout-who stutters in his speech
and is obsessed ivlso by an impediment
of the mind. Though the others do not
know it. Hans, the hero of the story, is
also n "son of Micha" of the same
Micha, indeed, though he is doing
menial service in the home of the
pretty Marie, having departed from the
house, of his father in the adjoining
village when that father provided him
with an unamiable stepmother. After
his seemingly heartless conduct had
made Marie tearful, and then so angry
and desperate that she decides to
sacrifice her love nnd marry the "son
of Micha" out of spite, Hans discloses
his identity and claims his bride, leav
ing the booby, who \vns an unwilling
rival, playing 'the part of a trainee
bear in a travelling show into which
he had been lured by the wiles of r
tightrope dancer. That is all. Dances
nil the gaping interstices in.the first
two acts of the play, and a farcica
episode, in which the peripatetic moun
tebanks appear, those of the third act
This episode is quite unworthy of th<
comedy, but the dances are its bright
est spots. No damsels with gauzi
skirts these dancers, pirouetting an<
smirking, but lusty men and women, ii
bodices and ample skirts of brillian
colors and stout shoes, which conn
down u. on the floor with a rhythmica
clatter that sets one's blood to coursinj
wildly. The polka in the first act be
gins with a pretty pantomime and end
in a wild whirl, with w-aving kerchief
ana flying skirts, with caps thrown int
the air and maidens lifted high as- th
.-pectatora bieak into loud huzzas a
the end.
A Bohemian
Opera
The music of "Die Verkauft
Braut" roots as I have intimated i
the style of the Italian opera buff
r.nd frequently sounds like a Mozai
tean utteiance. This reference I ir
tend shall go to the forms employe
and also to the direct tunefulness c
the score. Much of the dialogu
which was originally spoken, is carric
on in recitative which is frankly ole
fashioned, though some of the singei
at this performance sought, to achie\
greater naturalness of effect by o
casionally dropping into the speakir
voice, A useless proceeding. It
better to keep ?very elem/ent of tl
lyric drama in the realm of ideali
which is its home. But the old fom
( I mean the buffo song., solo and e
sen.ble) of the Mozartean period ai
the perpetual gush of ''vocal melo>
sound strange in the work of a coi
poser who was a devotee of Wagn
and his methods. "The Barter
Bride" was written in 1866, wh
Smetana must have been famili
with "Tannh?user," "Lohengrin" a
"Tristan." Like Bizet he had to t
dure the accusation of being a Wi
nerite in his opera, but it is doubt:
if a score of persons of the thousar
who listened with ingenuous delif
to the music on th'is occasion coi
have pointed out anything in it as i
fruit of Wagnerian suggestion. Wl
there was of such fruit lay in
flowing flood of instrumental tu
which buoyed up the vocal mcl<
and flashed end eddied and threw
guttering si-.ay above and around
contours most caressingly and bewit
ingly. This is the kind of Wagner
?.vhich r- be found also In Ver
The'Sembrich Repertory Waltz
Sung at the Sembrlch banquet, February 7,1909.
'(Melody copyrighted by Chappell and Co. Used by permission of G. SJohlrmer)
"Falstaff," which, despite its modern?
ity, also consorts amicably with "Le
Nozze di Figaro." Mozartean also is
the score in its characterization.
What a delightful note of nationalism
in tbe large r?le assigned to the clari?
net, which may not ineptly be called
the national instrument of the
Czechs; what a delightful humorist is
Smetana's bassoon in the scene be?
tween the marriage broker and Hana!
What vivacity and lustiness are in the
music as well as action of the na?
tional dances!
The Farewell
Of Sembrich
On February 6, 1909, Mme. Marcella
Sembrich said farewell to the operatic
stage in America at a special perform?
ance which was made the occasion of
an ovation the like of which I believe
has no parallel in operatic history.
The lady's determination to retire from
opera and devote her gifts to the con?
cert room was known to her friends I
before the season opened, and 'the an- I
nouncement of the fact was made In !
the public prints on the day when the i
first performance took place. It was
in no way connected with the mana
gerial imbroglio which I have described.
In the first days of January a commit- j
tee, headed by Miss Laura J. Post as ',
chairman and composed of a large j
number of music lovers representing i
'the Metropolitan Opera and Real Es- '?
t?te Company, the Metropolitan Opera .
Company,"musicians, people of social
prominence and musical critics, ad?
dressed an invitation to the public t_
subscribc to a fund with which to pur?
chase a substantial ?_ift to be presented
to her in appreciation of her services
during the twenty-five' years in whic-n
she had, save for a few interregnums,
been identified with the Metropolitan.
The farewell ceremony took place on
the evening of the. date mentioned.
The programme of the entertainment,
was printed on white satin. The prin?
cipal artists of the company appeared
in a mixed bill composed of a seen?:
from "Don Pasqualc" (Mme. Sembrich
and Signor Scotti), the second act of
"II Barbiere" (Mme. Sembrich, Signor
Bonci, Signor Campnnari and Mr.
Didur) and the first act of "La Travi
ata" (Mme, Sembrich, Miss Farrar
who assumed ihr small r?le of Flora t"
honor her colleague Signor Caruso.
Signor Scotti, Mr. Didur and Signor
Amaio. The rest of the compan>
graced the banquet tables in Vio
letta's house with the choristers'.
The audience was the largest
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Cast Includes:
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Edwin Holt, Armand F. Cortes-, Bernard McOwen, Calvin Thomas,
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ALLIED WAR REVIEW-COMEDV K
M?RY STRAND ALY5
TvK?Tnw SYMPHONY ORCHESTBA 'SSS??7.
ever gathered into the house since po- !
lice regulations against crowding the
aisles, to which official attention had ;
been grievously callod by the burning;
of the Iroquois Theatre in Chicago, had |
come to be enforced. After the scene
from "La Traviata" the curtain was !
j closed for a short space, then reopened j
on the same stage set, supplemented by j
a canopied throne flanked by masses of,
| ferns and flowers. All the members of
? the company were on the stage. Signor
Gatti led Mme. Sembrich to a seat on
the throne and yielded his place to Mr. |
Dippel, who first read a letter from the ;
directors of the company owning the !
building, signed by Mr. George F.
Baker. Then, speaking for the Metro?
politan Opera Company, Mr. Dippel j
presented its gift.- a massive silver
punchbowl, suitably inscribed, and a
series of resolutions setting forth an j
appreciation of the singer's services
and electing her an honorary member!
of the company. The Hon. Seth Low, j
once Mayor of the City of New York,
presented the gifts purchased by pub?
lic subscription, consisting of a pearl
necklace and a watch and chain set in
diamonds.
Farewell to Mme. Sembrich Was Occasion for Ovation
Without Parallel in Operatic History?Going
of Mme. Emma Eames
The orchestra, through one of its
members, Adolf Rothmeyer, brought
to Mme. Sembrich a silver laving cup
nit n token of their admiration, esteem
and irntlUide, an act that was intcr
firi'.t?) a?1 a recognition of the singer'?
generosity in having distributed among
them the proceeds of a concert which
?ho had given, which went to tho
repnlr of tho losses which the
musicians had suffered in the San
Francisco earthquake In April, L906,
There were also personal gifts from
Mr. and Mr?. Dippel, Miss Farrar,
Signor CaruiO and Signor Scotti, and
then Mme. Sembrich took her turn at
making presents, accompanying each of
the mementoes with a short spocch.
Among tho recipients were four mem?
bers of th? orchestra who had played
in tho orchestra at, the Metropolitan
ever since her coming, in 1883.
After tho function at the opera house
Mine. Sembrich entertained her artistic
associ?tes and a large company of
friends in the ballroom of the Hotel
Savoy, and on the next evening waa
herself entertained at a banquet ar?
ranged by a committee of musicians at
the Hotel Astor. Her hosts numbered
over 150. Mr. Krehbicl acted as master
of ceremonies.
Mr. Paderewskj spoke out his pride
in the fact that Mme. Sembrich w?b a
Pole, a countrywoman of his own, de?
claring her to be "the most musical
singer" he had ever heard. Mr. Walter
Damrosch paid his tribute and Mr. W.
.1. Henderson, musical critic, of "The
Sun," paid his, the latter in verse.
A diverting incident of the dinner
which caused delighted comment for
days afterward and quite confounded
the newspaper reporters was an appar?
ently impromptu song carried on se?
quentially by individuals seated in va?
rious parts of the room. After Mr.
Henderson had read h?3 poem the mas?
ter of ceremonies remarked: "A won?
derful woman thia. Not only musical
herself, she is the cause of music in
critics. I wouldn't wonder if there
were a song even in the list of her
operas." Taking up the printed menu,
whose title page contained the repre?
sentation of a laurel wreath bound
with a ribbon on the numerous con?
volutions of which appeared the
names of twenty-seven operas in which
1 Mme. Sembrich had sung, he looked
it over. Isidore Luckstone, who had
frequently been the singer's accom?
panist at her song recitals, struck a
chord on a pianoforte in an anteroom
and Mr. Krehbicl sang "Rigoletto" to
the first motif of the waltz from "The
Merry Widow," the most popular oper?
etta of the day." As if catching the
inspiration, Mme. Homer, Emilio de
Gog?rza, Mrs. Krehbiel, Mr. Dippel,
Mrs. Theodore J. Toedt, Signor Caruso,
Miss Farrar, Signor Scotti, Frank
Damrosch and Walter Damrosch fol
lowed, ?ach in turn carrying on the
tune with opera titles as texts. The
last motif was sung in harmony by
Miss Farrar, Mrs. Homer, Mr. Dippel
and Mr. de Gogorza. As the song went
on amaiement and delight grew, and
at the end there was an uproarious de?
mand for more. The toastmaster bepn
again, but with a new list, and when
the round of singers had been com?
pleted Mme. Sembrich's repertory had
not been, exhausted, but the remaining
titles refused the straitjacket of
versification and were not numerous
enough to fill out a third stanza. Cir?
cumstances conspired to make the joke
sound like an improvisation, and it is
almost a pity even now tp divulge the
fact that the singers had been coached
in their parts, albeit in a great hurry,
within the few minuteB while the com?
pany was gathering.
Thus departed from the operatic
stage of America one of the greatest
stars that ever illumined it. Mme.
Sembrich appeared in opera in a few
European cities during the next sea?
son and continued to give song recitals
in the United States until the begin?
ning of 1917, when persistent illness
compelled her retirement from the
concert field also, a circumstance which
was as deeply deplored as her aban?
donment of the operatic stage had
been.
The Going of
Emma Eames
Though there had been no authori?
tative announcement of the fact till it
was made by 'the lady herself from th*
I stage of the Metropolitan on Februar*
? 15, 1909, Mme. Emma Eames's friends
knew that she would retire at
l the end of the opera in which she
was then singing. The opera was
"Tosca," and after the second act, lit
response to a hearty demonstration by
the audience, she announced her pul?
p?se in a formal speech of farewell,
gracefully worded and listened ta with
rue. Mme. Eames's connection with
the Metropolitan establishment began
with the restoration of the Italian
r?gime under Abbey, Schieffel and Grau
I in the winter of 1891. She effected
| her d?but on December 14, the opening
i night, in Gounod's "Rom?o et Juliette."
j It was an auspicious introduction for
i the young American. She was only.
i twenty-four years old, and there was
I much to laud in her art and nothing
! to condone except its immaturity. Her
i endowment of beauty of person as well
j as voice was opulent. She appeared
! in the opera in which she had made
? her entrance on the lyric stage at th.
' Grand Op?ra, Paris, less than three
years before, and for which her gifts
and graces admirably fitted her. She
appeared, moreover, in the company of
' M. Jean de Reszke. who was then and
who remained until his retirement the
ideal Rom?o in all thing? except mere
sensuous charm of voice. She eame
fresh from her first successes at Co
vent Garden, London, which had been
made in the spring of the year, and
disclosed at once the lovely qualitie??
which, when they became riper, prom?
ised the highest order of achievement
in dramatic song.
She had not realized all the promise?
of her early years, but she had writ?
ten her name on the scroll of fame and
been a delight to the patrons of the
Metropolitan Opera House for a dozen
years.
She established herself so firmly In
popular favor that when Mme. Melba
came, in 1893-'94. she found it ex?
tremely difficult to win appreciation
for her voice and art. The differenc.
between the repertories of the two
j singers had much to do with their
relative popularity. Mme. Eames's list
of operas was small, but it appealed
more strongly to the public, which had
been under German training for seven
years, than did the barrel-organ list
of Mme. Melba.
In her first season Mme. Eames sang
in "Rom?o et Juliette," "Faust," "Ca
valleria Rusticana" and "Lohengrin."
in the season 1893-'94, when Melba and
Calv? were first associated with her,
she added "Carmen" (Micaela), "Mas?
senet's' "Werther," "Die Meistersinger"
(in Italian) and "Le Nozze di Figaro"
(the Countess) to her list.
In this year "Faust," with its "ideal
cast" which she headed, was the only
opera which held a candle to Calv?'s
"Carmen." Again a? member of the
company of 1894-'95, she appeared as
Desdemona in Verdi's "Otello" on De?
cember 3, Mistress Ford in the same
composer's "Falstaff" on February 4
and Elvira in "Don Giovanni" on De?
cember 31. Absent in l|^6-'96, she re?
turned in 1896-'97 and disclosed further
fruits of study by singing Elizabeth in
"Tannh?user" on November 22, 1896,
and Elsa in "Lohengrin" (in German)
on January 7, 1897. Mme. Eames was
encouraged? to widen her artistic hori?
zon, and in consequent'years she sang
. in German performances of "Tann
' h?user," "Lohengrin," "Die Meieter
i singer" and "Die Walk?re."
Her d?but as Sieglinde In the last
| opera was made on December 14, 1898,
? and as Eva in the German "Meister
! singer" on January 24, 1900. Other
| notable first performances were Ero in
i Mancinelli's "Ero e Leandro" _n March
I 10, 1899; Aida on January 3, 1900; Pa
| mina in the Italian "Zauberfl?te" on
j March 30, 1900; Tosca, December 12,
' 1902; Iris (in Mascagni's opera), De
? cember 6, 1907; Donna Anna in "Don
j Giovanni" January 23, 1908. During
j her connection with the opera house
1 she sang in nineteen operas.
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TICKET PROnTKKRI.VG rind told
all ?????t?. n( Hut Offlee nt Bo\ O-Bce
X nu oin ?lim.? voir itpprt-clat'on
nf .Mr. r,|?ifel<t'u rir.iru ?o protect
i in- im).hi |t> refunln? lg im> more
limn (be ?in. .? ill.? G'niriimfnt
tnmwl? ill i-nitiirtufm to iirliit
ItliiU.U on fa. r ..f nil tickets,
Hl.rrhj kiilliiR lirollto.crlna ?nil col
I-..I..I.
Hi
tla.lt
ZIEGFELD MIDNIGHT FROUC
Phong MQ (fy-nl Oy.ii _ll yc-?>
f LIBERTY
THE-AT0r:??V?4_*yr
Kl*?*/ fc. E-rUn^e?r
M-ii-O.p_ ~
Mah>\/t?d.JiSar _i ':?0\
E-*rr.iMa.TOMQBROW
Cohan *. Harris1
present
DAVID BELASCO announces
the Opening of the Regular
BELASCO THEATRE SEASON
on THURSDAY NIGHT NEXT
WITH
DADDIES
A NEW COMEDY BY JOHN L. HOBBLE
Cast Includes :
Bruce McRae, John W. Cope, Edwards Davis, George Giddens,
George Abbott, S. K. Walker, Jeanne Eagels, Winifred Fraser,
Edith King, Pnulette Soizeux. Lorna Volare, Aida Armand.
Evening at 8:30. FIRST Matinee Saturday. 2:30.
SEAT SALE STARTS TOMORROW
RT ISSSAS?^TUESDi&'WGHT SEO??
JOHN CORT presents
A MODERN OPERETTA
' CHARLES^ BEGINNING^
ptn?? T0M0RP0W
Maun*?* WEDHESDAY5SATURDAY at215
KIAWSBHAH6ER amo GE0R6E CTVUR pre-wr
?o? akc?
U*l-- Bf
WTUIAH CAST
PUMCAH
miKtt-i
j-niMon
JOHNSTOM-J
II \I. SKKLLLV
THOMAS CONKEY
GILBERT CLAYTON
with TAVIE BELGE
LOUIS f. QROODY JOSrE INTROPIDI
HAZEL KIRKE ECHLIN GAYER
HENRY LEONI JOSEPH MIIJ.ER
LAYMAN and KLING
AND A CLASS A?1?BEAUTY BATTALION
put into
iFteyRf/m?y
Edward?.Bos?
KIIICffiRBOm^a.F-i
/? ?CHINNING . 1
[WED. NIGHTS^ 4*1
A NEW MELOORA-tATrC GOMM \
iwne
RIGHT BETWEEN THE*!*S
It WAY _? 4? ST. IvLAW ft KRLANGEB. Mkhl
PHONB BRYANT 210. NIGHTS at 830
MATINEES WEDNESDAY AND 8ATUM>AY 230,
??_r HOLIDAY MAT. TO-MORROW (LABOR DAY)
House
CRITERION
B'way, 44th St. .IAMES?_C.
HACKETT, Lessi-e mid Mjr.
MONDAY, SEPT. 9 Igfttfifiif
CHARLES DILLINGHAM will present
..
? 11?
Coi\p<\y of Circus Life
?
By Harrison Rhodes and Thos. A. Wlsa.
4litli K- ,
Oliver D.
I). Smith.
Went of B'way.
Bailey. Nathan
l/ciuees & Mgt-3.
Igth -with
FULTON
OPENS *5S_7 SEPT.
"OVER HERE"
An Odd 1'lay With an Even Cast
?SEATS NOW ON SALE
HI inCfir-J WEBT 44TU ST. Evea.M8.J0.
llUUOUIIj!,.^ Tn-tuorrow. Wett. .?i Sr.t
SAM BERNARD & LOUIS MANN
in "FRIENDLY ENEMIES"
THIS PAPER SAID
"Mitzi Can Act as Well
as Sing and Dance"
HENRY W, SAVAGE offered
MERRY MAGNETIC
COHAN
GEO.
M.
THEATRE, B'WAY and ?3 ST.
KltAW & ERLANOER.M?T?.
Et?. 8:20. Mats Wed. 4 Sat.. _.-Q.
EXTRA LABOR DAY
MATINEE TO-MORROW
ROBERT EMMETT KEANE
DOROTHY MACKAYE
CHARLES JUDELS
GERTRUDE DALLAS
fry t?rry Even? ^\
W?Ker Parcival \
A Gco, 5. Kaufman
(?BOROe C TYLER Fty
S* W0TA8US <CA*T INClUDta
Kas5ird Short Vrm.B.Mack
Lynn Fonfanne Julia Hay
John Blair Robert Hudson
Rex rfDougal. SidneyTbier
c?
? THEATRE
JW>s,42'5
/ Eves ?-10 Mars Wed?WiS3t 220\
f EXTRA MAT. TO MOttPOWiLabor 0?v' I
"HEAD OVER HEELS"
and Ensemble of
GLEEFUL GIRLS ONLY
A GAY PLAT WITH MUSIC.
Book & Lyrics by EDGAR ALLAN WOOLF. Music by JEROME KERN.
STANDARD
B'WAY & 90 ST. Tel. Riverside 43. Evenings ?50 to II,
MATS. TUES. A THUK3., 25c & 50c. MAT. SAT., 25c to 75c.
WEEK... Trt U_-_-_.D_-.-V MIAUT AT
TO-MORROW NIGHT
j The Most F??dn?hn? \
( Myxfe/yP/?y Ever Wen \
races
1 beginning iw-mwnnwii ii i van i . _o ? I
Lou TELLEGEN :
(Untier his own man-gemfnt) I* Bl I K| Ia. Va*"-! ITU1'?' * MONTHS ON i I _.,
IN II IK BRILLIANT SUCCESS DL-HvU IUU III BROADWAY 1 A"
WEBK OF SEIT. 8th. "THE LITTLE TEAt HEB," with MARY RYAN Nl _ir
last
6? ANTHOH-1 PAW. ?UY
HiEmmett Corrigan
nd Violet H-emin?^
HUNDR&DS TURNED AWAY
AT tVERY P?-RFORMANC6