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of the show:
One of the genuine hits of the local
season was sprung at the Vendome
Monday night, when the first appear
ance here of “The Golden Girl/’-^a
musical comedy, was made before a
Nashville audience.
It is not over praise to say that no
better production along musical com
edy lines has been given at the Ven
dome in many a day than this arrange
ment of music and fun by Frank
Adams, Will Hough and Jo Howard,
with as neatly-a balanced cast to carry
the situation along as one might-hope
to see.
Productions of the" above type fre
quently arrive with one or two strong
features and others not so good. “The
Golden Girl” was above the average
in every particular—in cast, chorus,
music, humor, dancing, scenic effect and
all the rest.
The lines were particularly clever
and -the different intricate situations
well drawn. The music *was well along
the popular line, and in many instances
rich with melody; the dancing was a
show in itself and the scenic effects
of a high order. And with all this
there were at least six or eight leaders
in the cast, with able support to carry
the show along with a rush, and there
was a rush from curtain rise to cur
tain fall. The only trouble was that in
many instances the performers found
trouble in leaving the stage, being en
cored repeatedly by the audience and
forced to return time after time.
There were several in the cast who
deservo mention in terms of much
praise. Jimmie Lucas as Cadet Jeffer
son Carter, proved to be one of the
“THE SERVANT IN THE HOUSE.”
Local theatergoers will have an op
portunity to see the most widely, dis
cussed play on the merican stage when
Charles Rann Kennedy’s famous dra
ma, “The Servant in the House,” comes
to the Grand Opera House on Dec. 6,
for a week’s engagement with matinees
on Wednesday and Saturday. This is
the play which Harpef’s Magazine calls
“the most remarkable play in the Eng
lish language.” The conservative New
York Evening Post says it is “the
greatest drama of the generation” and
“the best example of dramatic work
now extant.” The New York Sun calls
the play “a masterpiece,” while the
New York Times terms it “a sensa
tion.” Chicago is equally enthusiastic.
The Chicago Daily News declares “The
MRS. C. C. BOWEN,
MUSIC TEACHER.
43 N. Depot St, Dalton, Ga.
HisjWaster’* Voice
Drs. Lord & Riley,
Osteopathic Physicians
Servant in the House” is “the most
beautiful play of all ages.” The Chi
cago Tribune says it is “a work of art
that is simple enough and true enough
to touch the heart of .the world.” The
Chicago Inter-Ocean hails the Ken
nedy drama as an “epoch-making
play,” and the Chicago Record-Herald
pronounces it “a work for the world
to see and ponder upon.” On the
morning after the Chicago premiere
the Chicago Journal said: “‘The Ser
vant in the Housed has come to stay
ten weeks—it ought to stay a year.”
Thij most striking feature of the play
is the character that gives it its name—
a mysterious Hindoo whom critics in all
the large cities have called a reincarna
tion of the Christ. But, unlike W. T.
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PAGE
THREE
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clergymen as it has from America’s
and England’s representative critics.
The play is, above all, a powerful dra
ma and an absorbing stage story, which
strikingly becomes stirring pathos,
sparkling comedy, imposing tableaux
and eloquent speeches that are master
pieces of English. The play ran an
entire year in New York, ten weeks in
Chicago, six weeks in Boston and three
weeks each in Philadelphia and San
Francisco. No other play of the day
has received such remarkable attention
from the newspapers and magazines of
both America and Europe. It is now
running in England, Norway, Denmark
and Sweden, and productions will be
made during \he next few weeks in
Paris, Vienna, Berlin and St. Peters
burg. The play will be presented in
Atlanta by the number one company
known as Henry Miller’s Associate
Players—practically an all-star cast,
headed by Tyrone Power in his great
role of the Drain-Man. The manage
ment of the Grand will give special at
tention to mail orders for seats from
out of town patrons. These orders
will be filled in the order of their re
ceipt when accompanied by a remit
tance.—Atlanta Journal.
“The Servant in the House” will he
the bill at the Opera House Thursday
night, December 9.
“THE FLOWER OF THE RANCH.”
"“The Flower of the Ranch” which
comes to the Opera House at an early
date is a musical show differing, from
the general run in that it is “a melo
drama set to music.” .The Newpcfrt
(Va) News Times-Herald contained
the following after the appearance of
“The Flower of the Ranch” there:
“The Flower of the Ranch,” a three-
act musical comedy, that is really “mel
odrama set to music,” pleased a good-
sized audience at the Academy of Mu
sic last' night. It is constructed along
Uhes that are far removed from the
conventional order of musical enter
tainment, ' and was originally used to
exploit the talents of Mabel Barrison.
LeComte Flesher and Wade, who
are responsiblt for the present pro
duction, engaged Nellie Watters, Miss
Barrison’s understudy, for tj»e part
of Little Flower. She more than fills
the requirements of the role and won
well deserved applause last night.
There is a pretty little romance run
ning through the show that gives it a
certain charm, and the whole effect is
heightened by the introduction of pic
turesque characters familiar to the
southwest.
The music is by Joseph E. Howard
and is not only tuneful but catchy.
Some of the numbers best remembered
are “Claremont,” “California,” “Just
Say You Care,” “Dreaming,” “In the
Days of 49,” “The Big Banshe,” and
The “Pajama and the Nightie.”
Adelaide O’Brien, a new prima don
na, made her second appearance with
the company last night in the part of
Margaret Merron. Her voice is if
good quality and she will undoubtedly
6ing with more freedom after a few
more performances.
The chorus is a distince feature of,
“The Flower of the Ranch.”
E 53
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words and music caught the quick fan
cy of the house.
Miss Mina Davis, the Louisville girl,
in one of the leading feminine roles,
won instant approval from the audi
ence and made good the prediction
of hed friends that she would take the
first rank at an early date, lthough
but a debutante in a star role, she
must even at this stage be ranked well
up among the best. Her voice was
excellent and her work in general both
artistic and thoroughly attractive. Her
stage future is undoubtedly assured.
Marie Flynn, as Columbia Dixie—
or rather Dixie Columbia—(probably
switched \rith the stand north or south
of the Mason and Dixon line) Curtis—
proved to be ‘another attractive leader
in the cast, whose worth in detail was
of a most pleasing order. Both Misses
Davis and Flynn filled the two roles
given them with good effect.
Franklin Famum as Cadet John Fisk
with Joseph Neinmeyer as Bobby Har
rison, deserve much praise for their
work. Charles Horn and Porter Ray
mond as rival Confederate and Union
veterans, enlivened proceedings at ev
ery opening offered. Robert Powell
was very good as the much-hazed plebe.
As side line specialists, the intro
duction of Joseph Snyder, Sydney Cra
ven, Lew Fuller and Grace Sparks—
ancestors called in my dream, proved to
be a winning card, while the fine danc
ing of Misses Mantel and Sparks with
Messrs. Mountain, Hall and Neinmeyer
only added further attractiveness to
the production.
The wor kof the chorus was fast and
snappy. The members were well train
ed and better looking.
It was a production out of the beat
en path and well worth seeing by those
who failed to witness Monday night’s
performance. The songs to be remem
bered were “The Family Tree,” song
mentioned above, “Don’t* Forget the
Girl You Left Behind,” well sung by
Franklin Famum; ‘The Land of Used
to Be,” sung by Miss Flynn, and “The
Ship of Dreams,” by Miss Mina Davis,
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Big Sale.
Capt. Wm. McWilliams, of Green-
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8th and 9th.
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