“Mrs. James A. Oates impersonated Mrs. James A. Oates under a different name last evening at the Olympic Theatre. On this occasion she called herself the Grande Duchesse. This name was about the only resemblance which she bore to the heroine of Offenbach’s most popular opera bouffe. She appears to be ignorant of any kind of art, is intemperate in the use of a rather hard, sharp voice, in a certain unvarying series of bodily motions, and the means of showing self consciousness. She seems inclined to hold intimate relations with her auditors, and generally talks to, look and smiles at them, instead of addressing herself to the personages who help her in the attempted representation. This representation is sometimes funny; at least that given last night was so, but not in the way that Offenbach intended. The dresses were bright enough, and so was the scenery; and a moderately large audience was present.”

“…Mrs. Oates appeared as the frivolous, facetious, and dashing heroine. The brisk little lady went through the mirthful business of this musical face with much automation [? could be a different word], and executed the chief airs with spirit and appropriate sentiment and musical skill. The house was moderately well attended. We have space only to record this effort, without now remarking on it in detail.”

“Mrs. James A. Oates’ Comic Opera Company sang Offenbach’s ‘Grand Duchess of Gerolstein’ at the Olympic Theatre last night. There was a fair audience, who seemed to be well pleased with the performers’ rendering of the popular numbers. Mrs. Oates was at least a vivacious sovereign, and Miss Nellie Larkelle was as unsophisticated and tuneful a Wanda as the public are accustomedto [sic] hear in English versions of the opera. Taken as a whole, the performance was even and entertaining. It will be repeated until further notice.”

“Last evening was produced at the Olympic Theatre an English version of the opera of the ‘Grand Duchess.’ [Lists cast with roles.] It would be unjust if not difficult to make any comparison between the numerous French companies who have appeared in New York in this, the most popular of Offenbach’s bouffe operas; yet it must be said that the opera was very complete as given last evening. The costumes were new, bright and up to the Parisian standard for correctness; and, although a greater part of the fire and piquancy of the original must be lost in the translation of an opéra bouffe into English. Still it is only fair to say that in the ‘Sabre Song,’ in the second scene of the second act, where Fritz betrays his witless boorishness; in the duet between the Duchess and her latest flame, selected from the ranks for serene favor,[;] and in the last and most trying piece of the opera, the ‘Drinking Song,’ it is undeniable that Mrs. Oates acted and sang with a thorough and honest appreciation of the character which had been previously performed by a host of ladies trained in all the severe minutiæ of the French stage, which requires such hard work from all its votaries before a crown of success can be granted. What she lacked was in that nameless quality of a sentimental sensuousness which is the charm and the moral fault of French singers. And let it be said that Mr. Tilla, as Fritz, very ably seconded Mrs. Oates, and that he was careful to answer the demand made of every good actor, ‘Action, action,’ to an extent that would have bewildered Guffroy or Juteau, or any of the many gentlemen who have pranced before New York audiences in the character of the thick-witted German soldier. Mr. W. H. Crane’s General Boum was exceptionally good if he could have left out some mannerisms and gags in the early part of the evening, and the modest, careful and gentlemanly performance of Mr. W. H. Woodfield, as Prince Paul, was deserving of high praise. To essay a character once filled with so much credit by Leduc was no slight task, and this rôle if overacted becomes a hideous burlesque. Yet Mr. Woodfield dressed the part to an exactness that was commendable, and sang so well the ‘Gazette de Hollande’ song in the second act that the encore was very enthusiastic and hearty. Baron Puck (Mr. J. H. Jones) and Baron Grog (Mr. Edward Horam [sic]), received a great deal of commendation, particularly the former, who was most droll when he least intended it. The Nepomuc of the evening was a Mr. H. H. Pratt, who possessed an excellent and impassable face for the character, but whose legs exaggerated the importance of features, dialogue and impersonation which belong to Nepomuc. Even in a beggarly little German principality having an army of but 500 men, an officer, combining in his person the duties of a high class usher and aide-de-camp would not have been permitted to have converted himself into a circus rider when entering or leaving the audience chamber of a Serene Highness. The chorus, though limited in numbers, is a good one and no person who has ever heard the ‘Drinking song’ [sic] in the last act form the lips of the former heroines of opéra bouffe in New York should miss hearing Mrs. Oates sing it in English.”

“At the Olympic THeatre ‘The Grand Duchess’ was performed during the week just closed to a fluctuating business. It was well mounted, and all the costumes were new, rich and elegant. The performance, as a whole, was quite creditable. Mrs. Oates, in the principal numbers of the music allotted to the Grand Duchess, found ample opportunity to display her vocal acquirements, and gave satisfaction. Nellie Larkelle made a charming Wanda, and sang and acted with care and attention. W. H. Tilla was quite satisfactory as Fritz; and the General Boum of W. H. Crane, the Baron Puck of J. H. Jones, the prince Paul of W. H. Woodfield, the Baron Grog of Edward Horan, and the Nepomuc of H. H. Pratt, deserve commendation.”