Theatre Production - The Merveilleuses

Never has Mr. George Edwardes had a more unanimous greeting than when he was called before the curtain after the last act of "The Merveilleuses." Its success was never in doubt for a moment, and the chorus of congratulations which saluted all concerned was eloquently prophetic of a long and prosperous run. In every sense of the word the new comedy opera affords a relined, a charming, and a mirthful evening's amusement. The period in which the action is set gives scope for tasteful and luxuriant mounting; the colour scheme is a feast for the eye, and the sartorial fashions of the day combinecl picturesque designs with the most Sumptuous material. With such valuable elements in his favour it may be taken for granted that Mr. Edwardes has made the most of his opportunities and produced an ensemble of exceptional richness and beauty.

The libretto is by that veteran dramatist, Victorien Sardou, whose well-trained pen of late years has been employed chiefly in providing plays for the English market. He has had an able English collaborateur in Captain Basil Hood, for Captain Hood's work is more than that of a mere adaptor. It is not difficult to recognise many an original touch by the clever hand of Arthur Sullivan's last associate in Savoy opera. That the lyrics are by Mr. Adrian Ross is a sufficient guarantee or their intrinsic value as verse and their appropriateness for musical treatment. The composer, Mr. Hugo Felix, must consider himself fortunate in having such an accomplished writer to supply him with the necessary foundation for his melodic gift.

There is no question as to Mr. Felix's command of melody and his keen sense for effective orchestration. That he is emphatically original I will scarcely venture to affirm. In that very pretty song, for example, "Cuckoo," most daintily sung by Miss Denise Orme, he was distinctly reminiscent of Michaela's letter song in "Carmen"; there were moments when he gave us sweeping phrases quite in the modern Italian style, and then would come a suggestion of Offenbach and his contemporaries. However, Mr. Felix deftly welded his material together and presented a homogeneous whole that was entirely satisfactory. As a specimen of his technical accomplishment I cannot do better than point to the elaborate finale to the second act, which is worked up to a climax in a way that not only appeals to the average listener, but also proves his worth as a capable and master musician.

Mr. George Ewardes found himself in a difficulty when trying to give the English equivalent to Mr. Sardou's title. "The Women Dandies" scarcely expresses it, and so it was decided eventually to let the French name stand, On the programme it is stated that "The Merveilleuses" were a number of ladies who set the fashion in Paris, under the Directoire, from 1795 to 1799; they were remarkable for their daring eccentricities of dress and manners; they wore what was believed to be classical costume, and not too much of it, and they were prodigal in entertaining lavishly.

The action of the libretto begins in the Palais Royal, outside a cafe, when Dorlis, a refugee aristocrat, learns that during his enforced absence with the army in Italy his young wife has been induced to take advantage of the easy divorce laws of the period to unite herself to St. Amour, the secretary to Director Barras. But Illyrine loves her first husband and when they meet and explanations ensue it is not difficult to foreee that the two will come together again before the end of the play.

The first scene of the second act presents a wonderful picture of the Stock Market, and in the second scene we see Illyrine's devotion to her old love by the manner in which she shelters him from the police by concealing him in her private apartment. It is here we have a very effective scene. St. Amour, and all those invited to the wedding, are waiting outside her door to trap Dorlis, while Illyrine is singing within. This makes the climax to the second act, which is as effective musicaIly as it is dramatically. In the third act we are introduced to a Tricolour Fete at the Palace of the Luxembourg, and amid this scene of brilliant gaiety the young and blushing bride has the unique experience of being married and divorced on the same day, and remarried to her first husband.

PRESS REVIEW

(Lloyds Weekly News [London, UK] - 28th October, 1906)
DALY'S THEATRE

The popular manager of Daly's in the production of The Merveilleuses last night has been as good as his word. He has gone more than one better than musical comedy, and in the variety and splendour of his latest effort in the way of the spectacular may be said to have surpassed his own record, and to have given to the stage a work in which there is abundance to delight both eye and ear.

There has been a good deal of speculation as to the literal meaning of the title of the new piece, which, though perfectly intelligible to a French audience, is not so clear to English playgoers. The Merveilleuses were a number of ladies who set the fashion in Paris under the Directoire from 1795 to 1799. They were, in fact, the female side of the 'smart set' of the Paris of the period, just as the Incroyables were the male side. The costumes of the Merveilleuses - or the want of them - were wonderful. To recall that fact is to excite the curiosity of the fair sex of to-day, and that, with the attractions of abundant interest, imported humour, beautiful scenery, and the delightful music of Hugo Felix, should prove a powerful factor in the success which we may hope is assured, for The Merveilleuses is beyond dispute one of the most beautiful productions the stage has known in recent years.

The adaptation of M. Victorien Sardou's original is by Mr. Basil Hood, and the lyrics are from the practised pen of Mr. Adrian Ross. The action-opens at a cafe in the garden of the Palais Royal, and interest is arrested by the story told in "recit." and air of the military experiences of young Dorlis, the refugee aristocrat who has been forced to the wars, and has come back under an assumed name, to find that his wife has divorced him - divorce was easy in those days - and had given her hand in marriage to St. Amour, secretary to Director Barras, who was at the head of the Government. Dorlis was wanted by the police, and all through the piece there was carried on a pretty little game of hide-and-seek, the hero striving not only for freedom, but for restored possession of his wife, and having for companion in his adventures Laguille, the Incroyable, the hairdresser who had become the most foppish of the dandies, and having also the vowed assistance of "the Merveilleuses," whose leader Lodoiska in the beginning was in sore danger of catching cold. Her garments would have gone into a quart pot, and moreover, the mob was threatening to duck her in the fountain that adorned the gardens.

In the second act the hubbub of the Paris Bourse was realised - with musical effects, of course, and in the third, where Dorlis and Illyrine joined hands, there was a Tricolour Fete so brilliant and so beautiful that ere many nights have passed it will have become the talk of London. The plot of the piece may be flimsy, but here is, indeed, a carnival of colour that should attract the town.

The illness of Mr. George Graves caused a recasting of some of the parts almost on the eve of production; but, all things considered, the representation went very smoothly. Mr. Graves' place, as St. Amour, was filled by Mr. W.H. Berry, who scored his best with a topical song dealing with soap which had been raised in price by a powerful "Lever" and with the German joker whose capture had just come off. Mr. Robert Evett sang very sweetly and acted well in the part of Dorlis, whose companion was most admirably represented by Mr. Louis Bradfield, who, with spirit, led one of the liveliest of the numbers, "The Merveilleuses' Brigade." Some welcome fun was provided by Mr.Fred Kaye and Mr. Fred Emney as rival police spies, while among the ladies the lead was taken by Miss Evie Greene, who created a great impression with her song, "I'm like a little spider," with a fly-buzzing accompaniment by the chorus, and Miss Denise Orme, who as Illyrine brought down the house with her cuckoo song, and won rapturous cheering with another called "I'm so sorry." Miss Marietta Sully secured deserved favour as the little milliner who was beloved of Lagorille, and other prominent parts were well filled by Mr. Willie Warde. Mr Scott Russell, and Miss Elizabeth Firth.

On the fall of the curtain there was much enthusiasm, with calls for all the principal performers, for the adaptor and composer, and finally for the manager, who was hailed with a hurricane of cheers.

The love interest and the sentimental music is divided between Mr. Robert Evett and Miss Denise Orme. Mr. Evett takes the role of the young aristocrat who was carried away to Italy and returns to find himself a divorced man. One of his best vocal numbers is a dramatic scena, "How I took the Redoubt," which comes quite at the beginning of the play, and in another vein in his melodious song in the second act. The heroine has a charming representative in Miss Orme, and the composer, although he has written a trifle high for her voice, has given ber some very expressive music. I have made mention of the "Cuckoo" song, and others that arrest the attention include "I'm sorry," and "The Gay Director," while the two artists are pleasantly associated in the captivating duet, "It might have been."

The head of "Les Merveilleuses" at Daly's, is Miss Evie Greene, and right handsome and stately does she look in beautiful dresses, the soft texture of which clings to her shapely figure in a perfectly irresistible manner. If Miss Greene's part is subservient in its relation to the main idea of the plot, the author has not made her subservient in interest or wasted her vocal and histrionic gifts. She has some of the best numbers to sing in the play, and some of the most effective situations. Her solo in the finale to the first act, "Ring-a-Ring-a-Roses," is an ear-haunting melody that will quickly be whistled by the boy in the street, and her "Merveilleuse" song is another number which shows off her voice to good advantage.

As a vis a vis for Miss Evie Greene we have Mr. Louis Bradfield as the Incroyable, and Mr. Bradfield must be congratulated on the finished style in which he portrayed the manner of the day, and the ease with which he wore his costumes. His conception and his realization of the part were excellent in all respects. He also rendered valuable vocal assistance in solos and the concerted numbers. Miss Mariette Sully is rapidly becoming a Daly favourite, and she has stepped quite naturally into the dainty shoes of poor Juliette Nesville. In addition to being a piquant comedienne she can give delightful point to a neatly-written ballad, and the way she sang "Our Picnic," quite brought down the house. Miss Elizabeth Firth deserves a word of commendation for the tasteful manner in which she sang a watch-winding song with chorus.

On the purely comic side of the piece Mr. Edwardes found himself in difficulties at the last moment. Mr. George Graves caught a severe chill and had to retire, and that led to a rearrangement of the characters and a very quick study on the part of Mr. W.H. Berry and Mr. Fred Emney. Happily they are both experienced actors and equal to sudden emergencies. One would, scarcely have imagined that they had not had weeks of rehearsals instead of two or three days. Both are good character parts with possibilities of much humorous developement. The comic element is further strengthened by Mr. Fred Kaye, and roars of laughter greeted their funny trio, "Not so silly as you look." Mr. Willie Warde and Mr. Scott Russell did all that was required of them in their respective parts. A taking dance was contributed by Miss M. Percival.

The chorus sang well and showed an exceptional amount of life and animation, and for this and the production generally, Mr. J.A.E. Malone is to be heartily congratulated on the successful accomplishment of an arduous task. Daly' s orchestra is a picked band of capable players, and they performed their share of the work in a thoroughly satisfactory manner under the efficient guidance of Mr. Barter Johns.

A L'EMPIRE was the cry some months ago sounding throughout the World of Dress. Now it is the turn of Le Directoire, and all the powers that be in matters sartorial are busily conning the traditions of that period and striving their utmost to adapt the modes of the past to the needs of the present.

Quite apropos of the present order of things in Fashion's regime comes "The Merveilleuses," and though one can hardly expect to learn very much from such very scanty costumes as worn by Miss Evie Greene, still, strange as it may seem, even from her diaphanous attire, there is something to be obtained. For instance, that little coat she wears in the first act is eminently suitable for the present-day mode, and many models I have seen represent the outlines in a modified degree. Hers is of pale blue satin, with silver braidings on either side of the front, and silver tassels adorn the points of the coat, while the sharply pointed revers, so distinctive of the period, are of pale blue and white striped satin.

The soft yellows and greens, and the subdued heliotropes and blues which mark the Directoire era are sufficient contrast to the vivid colourings of the Empire period to make them specially adaptable to our present-day requirements. A particularly beautiful example of a delicate blue is given in the gown of the little dancer in the last act, Miss Maude Percival, which is of cream silk, embroidered in a bold design in shaded blues, with most exquisite effect.

Miss Denise Orme contributes a very satisfactory quota to modern modes, in her two costumes, which would form ideal tea gowns for the woman of leisure. Her first dress is of heavy cream crepe de chine, bearing a design in the Greek key carried out in folds of cream silk embroidery. Above this comes an artistic coat arrangement of rich white satin, split up into panels and bordered all round with embroidery in pale green and silver, the sleeves, which are slashed to show the bare arm, being caught together by silver ornaments, and an exquisite lace scarf is draped loosely around her shoulders.

Her second frock is of most beautiful lace and satin. The entire front of the gown, and the long angel sleeves are of finest white Spanish lace, while the over-dress of satin displays pointed revers in front, held on the bust by an elaborate diamond button. The skirt comes high at the back, and the hanging sleeves are confined by tight ones of satin above the elbow. A twist of soft cream lace is threaded through the hair, and tied in a bow in front.

Another charming mode which we shall see adapted to our immediate use is a fascinating little cape coat of finest black Spanish lace, falling from a capelike pelerine of black satin edged with a ruching of the same; this finishes just below the waist line in a point on either side. The frock which accompanies it is truly Directoire, built of shot mauve and pink silk, high waisted and held by a bow upon the bust, while a flounce of the same edges the full skirt.

Mademoiselle Sully's first dress marks a delightful mode, a schoolgirl's evening frock. It is built of finely tucked and embroidered white muslin, the sash, which comes high under the arms and falls to the end of the dress at the back, being of exquisite painted silk ribbon in a floral design, the ends being rounded. This gown is crowned by a quaint little bonnet of fine broderie Anglaise, surrounded by a wreath of pink roses, and tied under her chin with pink ribbons; two pale pink ostrich feathers waving gaily at one side.

Specially noticeable among the Directoire modes are the semiclassical borderings on the gowns, displaying the Greek key designs, interlaced half diamonds, and waved lines of ruchings in alternate colourings. All these adornments are very conspicuous just now upon the present-day dress, so that the modes of the past are adapting themselves most amicably to our requirements to-day. Then again the headgear of the Merveilleuses, modified and adapted to the modes of the moment, gives us some very novel and eminently becoming millinery, while among our coiffure ornaments for evening wear, the floating paradise plume, and the folds and bow of soft gauze represent "le dernier cri" in this respect.

For children perhaps even more than for their elders is the throwover cape being adopted for evening wear, and among the new models supplied for our delight are many delightful imitations of the voluminous mantles now gracing the boards at " Daly's."

Even the masculine wardrobe appears to be coming under the influence of the Directoire period, since the West-end windows are displaying quite a large assortment of striped half-hose, which to our unaccustomed eye seems a little outre, but no doubt the present-day dandies will not fail to avail themselves of this particular opportunity of emulating the lncroyables of that time. Another innovation in masculine attire, which has been steadily creeping in and will now no doubt become marked, is the fob, with its attachment of colossal seals. Shall we now see its double on the other side of the waistcoat? We most sincerely hope that the watch of the period as portrayed in this play will not come into vogue, since we have sufficient impedimenta to carry about with us already.

The delicately artistic eyeglass so favoured by the fair ladies and their admirers in "The Merveilleuses" may be recommended as a distinct improvement on the somewhat insolent tortoiseshell lorgnettes which have been favoured for so long. This indeed, would only be a change for the better.

As St. Amour so tentatively remarks "Where there's a frill there's a fray," and we can quite realize that there may be some truth in this statement, when rival belles of the twentieth century strive to emulate the beauties of two centuries ago, and in the emulating, succeed in out-vying each other.