“Mrs. Oates’s experiment with ‘Madame Angot’s Child’ naturally challenges a comparison with the recent performance of the same play in the original. The venture is bold, but on the whole successful. Mr. Byron’s version, as a version, is fair, and though much of the French sparkle must evaporate, he offers in exchanged various interpolated jokes of his own making, which sometimes win a responsive titter, and always show good intention. As to the delicate question with all French literature—what not to translate—he has shown good general tact, excepting, perhaps, in one place, where the school reminiscences of the two young female persons are more piquant than needful to the action.

 

The scenery, especially in the last act, is better than at Daly’s—it could not be much worse. In the costumes there is more sheen than splendor, together with some extraordinary varigations [sic] of stockings, which are too important an adjunct of success nowadays to be carelessly grouped. The orchestra, though not large, is particularly well balanced, and, what is unusual, seems to play better, if anything, with the singers than between the acts. The chorus also might be larger, and the metamorphosis of the market-women into court ladies is so immediate as to be rather funny. It is as well for this reason, besides others, that the scene in which they say their little say is omitted. But the voices are better than the average, and the stage drill is excellent; in fact, it is a lively not to say antic chorus—more like actors with a little voice than voices with a little experience of acting.

 

Mrs. Oates as Clariette acts very well, and sings much better than she acts, and with great spirit and judgement of her own resources, which she husbands neatly till the last scenes. She has not organized this opera on the star system, simply to exhibit and glorify herself. She gives their fair prominence to Mrs. Annie Kemp Bowler, who sings better, and to Miss Nellie Larkelle, as Amaranthe, who is prettier, and she thus throws herself honestly on her own merits. There is a sense—we had almost said a manliness—about this, that is too rare, and it reaps its reward in good work by all; while Mrs. Oates is just as popular with the audience as if she were jealous of every figurante.

 

Mrs. Bowler’s role of Mlle. Lange gives good scope for her solid, trained, and true contralto, and not half the scope we could wish for her graceful dancing, which makes the bail scene seem too short. This regret, however is canceled by the robust motions of Mr. W. H. Tilla, who brings to the part of Ange Pilou a cheery, rollicking manner, a speaking voice, fitted for a petit maître part, which this, as we understand it, is not, and for singing, a powerful, easy, well-governed, rather shrill tenore robusto. In his stout mercurial way, he fills the character better than did Juteau, of whom even Pomponnet could not decently pretend to be afraid.

 

The remaining parts are all creditably taken, and those who missed Aimée can really make up much of their loss, and gain something besides, at the Olympic.”