Indianapolis Times, Volume 39, Number 186, Indianapolis, Marion County, 13 December 1927 — Page 7

DEC. 13, 1927.

REAL GRAND OPERA ~ IS ON VIEW HERE Cianci, Hoeppel and Sciarretti Bring Their Talents to That Point of Fine Satisfaction in Which Verdi Reflects His Glory. i ■ . By WALTER D. HICKMAN I was mentally kicked all over the lot at English’s last night and I came out with not an inquiry. What I mean is this—l was prepared for about anything in the way of “grand opera” and I left English’s with that sincere conviction that in the La Cianci New York grand opera company we have an organization that is giving more than it charges for its seats.

I write this in the quiet hour of 4 o’clock in the morning on the day it is read. I heard “Aida’’ this summer at the Zoo Opera in Cincinnati, Ohio, and I have heard it before in ofher cities. I have, in my opinion, the right to compare, and I take that right. Last night during “Aida” I was startled beyond my wildest thoughts regarding opera. I recall that Walter Hampden in the classics worked for years before he had his own theater on Broadway, but he always had the idea of giving his best in educating his public. It is the same way .with these singers of the New York Grand Opera Company. They are giving,

or did in “Aida,” a pe r f ormance of commanding worth. Credit goes to Muriella Cianci in voice when she desires to get beyond questionable makeup as Aida, but the voice is always present; Elizabeth iloeppel as America, the King’s daughter, with a dramatic understanding which lift-

.Ejiuiiitt tuiguiA cu uie iUot ux the last act to that height which merited a personal ovation; Salvatore Sciaretti as Radames, at no time looking the part, but who went beyond that with voice and an accurate understanding of the dramatics of the role, and Michael Feveisky, conductor of the orchestra, who brought that quiet, intense, loud and accurate understanding of the score and the theme of the composer into the orchestra pit and onto the stage with the singers. Here is not ten-bucks-a-seat opera at the box office, but here is deliberate, enthusiastic, honest and at all times intelligent opera on the part of the principals and conductor. And what more opera do we want? When this city arrives at that stage of its musical development that the Chicago Civic Opera or the Metropolitan Opera can come here with its first line casts on tour, and its prices, and the money that it takes to bring ’em here, then that is a different matter.

Look at the loyr prices that the La Cianci New York Grand Opera Company is charging in this city and then consider the singing worth of this organization as reflected in the cast and the conductor—and the audience last night in its size was a miserable compliment to the worth of this organization. Please let myself, and all of us, get this one great big, truthful thought— Hampden, Robert Mantell and the others struggled for years to give the road the glory of the poetry of words. This opera company is giving us the poetry and the melody of opera, accurate as to the score on the part of the principals and the “chorus,” as reflected in the second scene, first act, on the part of the priestesses, and at all times when the priests appeared. I laugh out loud against the two lads (not with the company), all dressed up as guards with Radames in the first scene of the fourth act when Amneris summons him to appear. The tights of these two lads might have beep used for the covered wagon. That is beyond the point, they did not sing, but a wise selection of the “extras” would have given the “look” to this scene. But this is a minor point, but yet, it is noticed and could be so easily corrected. As I consider “Aida” as given last night at English’s, I have a spirit of thankfulness, because we have with us this week an operatic or-

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ganization of competent worth, valuable pi the step toward even a greater appreciation of bigger music. i Theater going is nothing but the experience of many forms of entertainment. And here is worthwhile form. Tuesday night at English’s we have a double bill—“Cavalleria Rusticana with Emila Vergeri, Eunice Harper, Julia Peters. Sciarretti and Eugenio Prosperoni; and “Pagliacci” with Maryla Granovska, Francesco Bocca Fusco, Martino Rossi, Roberto Farina, Eugenio Prosperoni, with Feveisky conducting both operas. Here is in this company, I believe as judged by “Aida,” an operatic purchase which is way beyond in value what the highest seats sell for. tt tt tt THINGS GET BETTER AT COLONIAL The Dixon Players at the Colonial are-offering “Amy of the Circus,” which is drama woven around the life of a chorus girl and her misfortunes. The girl, Amy, is carried into the home of village preacher, injured. He falls in love with her, and as complications arise she finds that she is the daughter of the village rich man and that his son is adopted. The father then sanctions the marriage that he had forbidden. Mazie Dixon is Amy. Her work is up to her standard of putting life into her parts. This is perhaps the best thing that she has done so far here. Larry Arnsman is the Rev. Robert Gorden, who is so smitten. J. Courtland Lytton does some fair work as the father, Johiah Gorden. These three carry the bulk of thee work and do the best work. The story is a clean, simple little melodrama that is handled in fair fashion. At the Colonial this week.—(By the Observer.) CONCERING*A * * LOT OF REDHEADS Music with lot of jazz is the main stay of the Parisian Red Heads at the Lyric this week. If the hair has anything to do with the kind of playing that this organization can do, then, they are rightly named. I want to say that these fourteen girls, with hair ranging in color from |

a faint tint to a deep red, can play. Their program contains selections from standard numbers and some hot jazz. And then one of the red heads shows that more than noise can be gotten from a “uke.” _ This girl, the banjo player, can get some real music from the uke.

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Bobby Grice

Bobby Grice is the conductor and master of ceremonies. This girl puts life into the music and then slids in dancing. She is responsible to a marked degree for the success of the act. This girls orchestra is as good, and much better, than some that I have heard. The Jolly Four are playing another engagement in Indianapolis. This act is composed of four oldtime minstrel men, who have been in the business for nearly fifty years. They are nearly an institution. Sandy Shaw does some character parts of Scotch people. He has that brogue that made several other Scotch comedians famous. Shaw has some good songs that fit the characters that he presents. His Scotch highlander soldier is his best. It is peculiar how funny a lot ot

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sense to it. If there was, it wouldn’t be funny. Williams is one of the few comedians who can play with

the audience and make them like it. (This department has recognized the ability of the team for years.) Edna Deal has an act that Is a bit different in song presentation. She calls her act a basket of flowers, and from the basket she picks certain things that she feels you will like. The only regret that I have is that her voice, while clear and sweet, does not have the volume, nor carrying power, that it should have. G. M. Stevens has a trained bear that is a good wrestler. All I saw of this act was the bear putting the finishing touches to a match between some people and himself. Comedies and news reels complete the bill. At the Lyric. (By C. S. G.) * * * IT TAKES TIME FOR JIM TO STEAM UP He comes on the stage, this man Jim McWilliams, carrying his overcoat. The piano has first been moved onto the stage by those who are paid for doing -it. McWilliams admits that he is no “sap” because he carries no scenery, no nothing but his overcoat. He tells you that the other acts work for years to do a great dance or sing a big song. But does he worry? Not at all. He tells the orchestra to go down stairs and stay there until he raps on the stage floor. And they go downstairs. Then he starts to do absolutely nothing. But that “nothing” is something. It is fooling with a purpose, and it has artistry. He tells you to leave because just at that moment it is a good time because he is getting steamed up. Many times I have told you about this man. He sells “nothing” and admits it. But “nothing” is the most difficult thing in the world to deliver as “nothing.” And here is the artistry of fun. You will like him again, even when he starts to do his burlesque on grand opera. When I was present he had to give his curtain talk, and what a talk! See him. I flatly refuse to give away the fun of “The Monologist.” It is a panic if you care for this sort of eccentric fun. Some nice, very good dancing, in the* act of Hubert Kinney and those associated with him. Kinney knows his dance floor but not his singing or rather his talkingsinging voice. He is a good dancer. He should study his orchestration. Too loud, not blaming the orchestra at Keith’s, but the way the man at the piano causes the many outbursts. Margaret and Jean are youthful individuals who play this musical instrument and then that one. Rasso is a juggler who has brought anew understanding to this sort of entertainment. Good act. The movie feature is Madge Bellamy in “Very Confidential.” At Keith’s all week. tt tt LOOKING OVER ~HT: T MUTUAL BURLESQUE “The Moonlight Maids,” now playing at the Mutual, is a fair example of what a singer can do to pull a show out of the common rut.

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much better than some that have been here. At the Mutual this week.—(By the Observer.) * tt tt tt Other theaters today offer: "The

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