Author Description

This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1884 edition. Excerpt: ...in spite of its good intentions, which were commented upon philosophically in this column more than a month ago--shows no staying power at the Union Square Theatre. Various persons have cried it up, as they cry up Mr. Campbell's wares invariably. But "Separation" is like a man who starts to run around a block and is soon found clinging to the nearest lamp-post, exhausted and panting. "Separation" has already run itself out. It is only clinging to the stage. At the fiftieth performance the theatre was about half filled. Mr. Campbell might make a more vigorous play out of "Separation" byrewriting it and by giving some vague purpose at least to the fourth and fifth acts. The festive Max Freeman, whose libretto for "Orpheus ami Eurydice" was worse than the chills, is at his tricks again. He has undertaken, I am told, to improve Mr. Farnie's version of Meilhac and Halevy's "La Vie Parisienne." This version, which is known as " La Vie," was produced last week at the Bijou Opera House. But, before it was given, Mr. Freeman added a few ornamental scollops to it. Farnie was bad enough--a beef-eating librettist who vulgarized the French piece with unkind perversity--but Farnie and Freeman together would not fail to snuff the light of the moon if they could get near enough to that celestial orb. "La Vie" is wretched drivel, though it is shown in good scenery and makes some display of ripe womanhood. The music is by Offenbach, and is, for the most part, badly sung. At the Metropolitan Opera House there is the customary exhibition of satins and silks on three nights of the week, and some of our first families are not afraid to dazzle us with their alabaster necks and arms. Mr. Abbey also...