White Fawn

Event Information

Venue(s):
Niblo's Garden

Conductor(s):
Howard Glover

Event Type:
Play With Music

Record Information

Status:
Published

Last Updated:
28 August 2017

Performance Date(s) and Time(s)

13 Apr 1868, Evening
14 Apr 1868, Evening
15 Apr 1868, Evening
16 Apr 1868, Evening
17 Apr 1868, Evening
18 Apr 1868, Evening
18 Apr 1868, 1:00 PM

Program Details

This week's performances included the following musical and dance additions (descriptions from citations provided after the title where known; performers in parentheses where known):
Glover: "Farragut Maletot," ballet
Glover: “Bridal morn waltz” (Stockton)
Glover: “Who’s King Ding Dong” (Smith)
Glover: “Piff, paff, pouff” (Smith)
Glover: “What a thing is love” (Willmore)
Glover: “Now our little game is done,” quartet polka and chorus
Glover: “Tam o’shanter," selections
M. Costa: "The Bersaglieri," military ballet
M. Van Hamme: "Loves of Martha and Lionel," comic ballet
M. Costa: “Jealousy,” pas comique

Performers and/or Works Performed

Citations

1)
Article: New-York Daily Tribune, 10 April 1868, 4.

“‘The White Fawn’ is to undergo an almost entire revolution next week. In the first place, Mr. Howard Glover, the distinguished English song-writer, has been engaged to conduct the orchestra, and he will, on Monday evening, take up the baton, and so make his first professional appearance in America. That occasion he will signalize by the introduction of a good deal of music of his own composition. A new overture is designed, and there is to be new march-music, and new ‘transformation’ music, and new music between the acts, and selections are to be played from Mr. Glover’s ‘Tam O’Shanter,’ and four new songs, also by Mr. Glover, are to be sung.”

2)
Advertisement: New York Herald, 12 April 1868.
3)
Announcement: New-York Times, 12 April 1868, 5.

“Howard Glover, the English song writer, replaces Mr. Mollenhauer (beginning 13 April), who is retiring, as orchestra director. New songs, as well as a new overture and incidental music, by Mr. Glover will be added; several new dances will also be introduced. William Wheatley resigns from the management at the end of the season, to be succeeded by Jarrett and Palmer, who will lease the theatre for three years at the present rental of $33,000 per annum.”

4)
Announcement: New York Herald, 13 April 1868, 7.
5)
Announcement: New-York Times, 13 April 1868, 5.
6)
Advertisement: New-York Times, 13 April 1868, 7.
7)
Review: New York Post, 14 April 1868, 4.

"A new lease of life was given to the ‘White Fawn’ last night by the introduction of new songs and dances, and a change of musical direction to the hands of Mr. Howard Glover. The announcement of the changes brought out one of the old style ‘Black Crook’ audiences, by whom the novelties were generally received with favor and sometimes with enthusiasm. Among the manifest improvements in the music is the introduction of airs from the ‘Grand Duchess’—the ‘Piff Paff’ song being especially notable. A new ballet called the ‘Farragut Maletot,’ executed by Mlle. Bonfanti and twenty assistants, took the audience by storm. The liveliness of the dancing, the patriotic colors of the dresses and little banners, and the emblematic tableau of the ‘Ship of State’ at the close, were greatly admired. Another new ballet, ‘The Loves of Martha and Lionel,’ was less successful and considerably broader. Several other new features were brought in which we have not space to mention today. The only difficulty was that there was too much of a good thing. The performance lasted until after midnight.”

8)
Review: New-York Times, 14 April 1868, 4.

“The doctrine of transfusion seems to be practiced with as much success upon plays as upon men. What new blood does for decaying mortality new incidents seem to effect for the tottering drama; so that additions and changes which have been made in the spectacle at Niblo’s Garden are likely to prolong the life of that array of glitter and extravagance, of poetry and beauty, to an unnameable period. In fact, the ‘White Fawn’ may be said to be as good as new again. The management, however, with a firmness that is to be envied, have resisted any disposition to interfere with the literary beauties of the original piece. They have not deprivedthe publicof a single gem in that poetic garland that has filled so many hearts with indescribable emotions. An exceedingly large audience attended the introduction of the novelties prepared for the play, last evening, and it is pleasant to be able to say, most of these were quite worthy the attendance, and the applause they elicited. The incidental music, which is quite new, is altogether more appropriate—and Mr. Howard Glover, the new conductor, is to be praised for the good taste he has shown in the selections. He has put Offenbach under contribution with good results; the cleverest musical arrangement, however, is that of putting the ‘Star Spangled Banner’ into service as a hornpipe. This occurs in the new ‘Farragut Maletot,’ which is danced by Mlle. Bonfanti, assisted by 20 coryphees, dressed in sailor blue, each bearing a silken banner, and is the cleverest and best of all the new ballets introduced. One peculiarity of this dance is, that everyone is dancing all the time, and the stage is constantly mazy with intricate and varied figures, in which the premiére always assists and none of her satellites are idle. The dancers certainly earn their bread after the proverbial fashion in ‘The Farragut Matelot.’ The tableau formed at the close of this dance, emblematic of the Ship of State, is quite fanciful, and was encored. It has for a background the new picture of ‘Neptune’s Daughters at the Bath,’ a radiant mingling of colored lights which are reflected upon flowing waters, and a group of human beauties very much undressed,—as  it is only natural they should be, to accord with the popular notion of how Neptune’s daughters look when they are bathing. The new comic ballet of ‘The Loves of Martha and Lionel,’ was not so great a success, and deserved little better fate than the ironical laughter that shamed Mlle. Solke and Mons. Von Hamme from a persistence in some of the unblushing motions introduced. The child-dancer, Fraulein Schlaeger, is placed at a late part of the entertainment—but her scene is worth waiting for. The motions of the little one seem to be wholly unforced, and are entirely graceful. Some of her steps, notably those that belong to the purely gymnastic part of the dancing art, are so marvelous and finished as any that Bonfanti or Solke exhibit.

It will be necessary to curtail some of the ballets, or to wholly omit some of the single dances, however, to bring the performance of the renewed ‘White Fawn’ within endurable hours. The curtain did not descend upon the final tableau, last night, until midnight. The work of curtailment will be easy, for much can be spared. Very little has been done to renew the scenery, and rough usage has made much of that rather unsightly. The same remarks may be extended to some of the old dresses.” 

9)
Review: New York Herald, 15 April 1868, 9.

“The changes and new features in this spectacle Monday night were of such a nature that it might be called an entirely new piece. Mr. Howard Glover led the orchestra and introduced many selections from his works.  Miss Fanny Stockton sang the ‘Bridal Morn Waltz,’ one of his best compositions, like a thorough operatic artist. The two dashing bass songs, ‘Piff, Paff, Pouff,” and ‘Who’s King Ding Dong’ were given by Mark Smith in capital style. Of the new features in the ballet, the sailor’s dance with Bonfanti, the Hungarian polka of Sohike, the valse d’amour of Miss Schlaeger, a phenomenon of ten years of age, who made her first appearance on this occasion and surpassed all the other premières, and the pas de comique of Costa, were the best. Want of space prevents us from entering into detail regarding the music and the ballet, but no one can complain of lack of variety and spectacular effect. There is enough in the last act before the transformation for a half-dozen reasonable ballet spectacles.  The bath or fountain at the end of the fish act produces a splendid effect. In its present state the ‘White Fawn’ far surpasses it black predecessor.”

10)
Announcement: New York Clipper, 18 April 1868, 14.
11)
Review: New York Clipper, 25 April 1868, 22.

“The first noticeable improvement is that of the music, which is now in the hands of Howard Glover, a recent addition.  The prologue and first act, with the exception of two new songs by Mark Smith and Lizzie Wilmore, composed by Mr. Glover, remain unchanged.” Continues with an elaboration of other additions and changes to the piece.