Black Crook
Event Information
Venue(s):
Niblo's Garden
Proprietor / Lessee:
Henry C. Jarrett
Henry Palmer
Manager / Director:
Henry C. Jarrett
Henry Palmer
Conductor(s):
Michael [conductor] Connolly
Event Type:
Play With Music
Record Information
Status:
Published
Last Updated:
12 March 2025
Performance Date(s) and Time(s)
18 Aug 1873, 7:45 PM19 Aug 1873, 7:45 PM
20 Aug 1873, 1:30 PM
20 Aug 1873, 7:45 PM
21 Aug 1873, 7:45 PM
22 Aug 1873, 7:45 PM
23 Aug 1873, 1:30 PM
23 Aug 1873, 7:45 PM
Performers and/or Works Performed
Citations
Forthcoming revival of the spectacular drama, the fourth production at this theatre; principal attractions.
“Third revival of the famous spectacular drama.”
Opening for the season; features of the new spectacle.
Long review; regarding the music: “The music in ‘The Black Crook’ has been chosen by Mr. Connelly expressly for the revival of the work now consummated; and it is generally appropriate and pleasing; though the gentleman might have spared the few bars of one of Beethoven’s most exquisite scherzos from association with opera bouffe airs and tunes more questionable still. We may add that, while we are not aware that Mr. Connelly is responsible for the vocal as well as the instrumental score of ‘The Black Crook, Miss Sudlow’s share of the business of the first act might be reduced with advantage.”
“In regard to the singing and acting we have no praise to waste. Mr. Collier’s Rudolph lacked grace, the only thing of which it is capable. The Amina of Miss Lizzie Kelsey was as insipid as a rail fence out West. Miss Bessie Sudlow’s Carline was worse, if possible, than Miss Kelsey’s Amina, and her singing and behavior were insulting to an intelligent audience. If managers will persist in thinking that New York theatre-goers will endure the coarse and vulgar conduct of young women, who are given important parts for no apparent reason, they may find at last the forbearance has ceased to be a virtue. The only recompense for Miss Sudlow’s coarse behavior and impudent grimaces to the audience last night is her withdrawal from the piece.”
“The music was mixed—two of the songs—‘The Political Whip’ and ‘Kissing’—were supremely silly, and ought to be discarded. The ‘Revel of the Sirens’ proved tame…The London Madrigal Boys sang deliciously in accord, and were three times recalled upon the scene. The best way to enjoy their vocalism, however, is to listen to them with your eyes closed.”