“ANNIE KEMP BOWLER announces through our advertising columns that upon the termination of her engagement at the Grand Opera-house, New York, she will accept engagements for singing parts in dramas, spectacles, etc.”

“…The costumes are said to be new and imported expressly for the occasion, and several European opera bouffe actors are mentioned as having been engaged.”

“MRS. JAMES A. OATES’ Comic Opera Troupe under the management of Tracy W. Titus, assisted by J. W. Allison, business-manager, are to commence their season at the Olympic Theatre on Sept. 19. A number of artists have been engaged in Europe for this company, and a new and magnificent wardrobe has been made to order in Paris at a cost of some $4,000.” Lists repertory planned.

Company list and full cast list with roles.

“Mrs. Oates, who begins an engagement at the Olympic Theatre to-morrow evening, has evidently a laudable ambition to abandon burlesque for the more refined and less unintellectual graces of comic opera. Her opening representation will be in an English version of ‘La Fille du Madame Angot.’ Mrs. Oates is as vivacious as she is ambitious, has a voice which is as fresh and sparkling as her wardrobe, and her artistic desires warrant respect.”

“Adapting opera bouffe to English is much like trying to translate Bret Harte’s ‘Heathen Chinee’ into French—there is so much that is peculiar and absolutely untranslatable. But while an English version of a French comic opera cannot be opera bouffe, the music can be well sung, and the performance may be very amusing and enjoyable. Mrs. James A. Oates and her company began an engagement at the Olympic Theatre last evening by the performance of an almost literal translation of ‘La Fille de Mme. Angot.’ The representation passed off smoothly enough, before a large audience, and Mrs. Oates and others of the artistes were several times called before the curtain. It would be well, perhaps, if the adapter had not followed his text quite so closely, and had omitted several rather broad massages. ‘Mme. Angot’s Child’ will be repeated nightly until further notice, and be given at the Wednesday and Saturday matinées.”

“Mrs. James A. Oates and her comic opera company began an engagement at the Olympic Theatre last night by a very good performance of ‘Madame Angot’s Child,’ an English version of the work very recently represented at the Broadway Theatre by the Aimée opera bouffe troupe. No notable changes have been made in the composition by the English adapter. Mrs. Oates and her troupe have sufficient vocal strength to deal fairly with the music; but their performance might be much improved by rehearsals. There was, last evening, some noticeable want of precision, tunefulness, and harmony among the singers, which seemed to be caused chiefly by want of sufficient practice together. The orchestra was competent, and the acting such as gave great pleasure to the very large audience present. The scenery and costumes were all that could be desired. This piece is announced for repetition at this house every evening this week.”

“The appearance of Mrs. Oates, which is the opening of the regular season, was greeted by a full house last night, as this general favorite always is. We failed to get up much enthusiasm over ‘La Fille de Madame Angot’ when Mlle. Aimée produced it a few weeks ago; and it is but fair to confess that the piquancy which made it tolerable then is to a great extent wanting in ‘Madame Angot’s Child.’ We had some good burlesque acting in Mrs. Oates as Clairette Angot, Miss Annie Kemp Bowler as Mlle. Lange, Mr. W. H. Tilla as Ange Pitou, and W. H. Crane as Pomponet; and passable acting generally. The singing, also, was good, and the orchestra was very well managed. We think little of opera bouffe in French and less of it in English. Burlesque at best is a poor thing; but the burlesque of a burlesque has a thousand chances against it to one for it. The translation and adaptation of opera bouffe is a little short of burlesquing burlesque.”

“A full house greeted Henry J. Byron’s English adaption of Charles Lecocq’s comic opera, ‘La Fille de Mme. Angot.’ Mr. Byron’s success in the field of burlesque writing would have warranted a much better English dressing to the music of this piece than he has given it. The play has not been changed in the incidents, but a flavor of punning has been introduced into the dialogue, which smacks more strongly of London than anywhere else. The company, led by Mrs. James A. Oates, contained a number of aspirants to fame new to the New York boards. Mrs. Oates herself, a vivacious and pretty burlesque actress, now essays the more aspiring grade of opéra bouffe, and brings to it a fair, fresh voice and a good deal of that verve which is essential in the rendition. Her singing last night was correct, and performed without particular straining. She received several encores, which were generally well deserved. The new tenor, who comes fresh from the shores of Albion, Mr. W. H. Tilla, has a sweet voice, fairly trained and well managed. In the part of Ange Piton, the poet, he made a favorable impression, in spite of his perceptible nervousness at the start. But he is a poor actor at best, and if he intends to sing in the comic opera for any length of time he should study the poetry of motion. Mrs. Bowler, as Mlle. Lange, the contralto of the piece, was passable. Her voice seems uncertain, and she drops out of tune occasionally. Miss Larkelle as Amaranthe was pleasing. The Pomponnet of Mr. Crane, the Buteux of Mr. H. Brown, and the Larivandiere of Mr. Woodfield will improve when they are more at home in their parts. The orchestra and the choruses went very well, with the exception of the female chorus at the beginning of the second act, which is a pretty piece of music, in lively time. The scenery was very well painted, the set piece in the third act being really pretty. The costumes were rich and appropriate. Taken on the whole, ‘Madame Angot’s Child’ was fairly successful last evening and promises to be a success with a little more rehearsal. It is impossible to preserve the volatile spirit of French comic opera in translating it into English; but we are here presented with an imitation, like some native champagnes, quite as sparkling as the real article, but lacking its more delicate flavor and bouquet.”

Lists cast and roles. “…It was mounted with freshly-painted scenery, and all of the costumes were new, rich and elegant. Mr. Byron has adhered closely to the story of the original opera, and his translation may be pronounced effective. Mrs. Oates, who is endowed by nature with youth, beauty and great vivacity, gave a thoroughly effective impersonation of Clairette, and found a better opportunity to display her musical culture than had been hitherto afforded her. Her voice is fresh, and its pure, rich tones gave delicious effect to the principal numbers of her role, and during the evening won for her several encores. Annie Kemp Bowler’s conception and embodiment of Mlle. Lange were correct and satisfactory. Nellie Larkelle in the brief part of Amaranthe was seen to advantage. Miss Tracy White acted Hersilie naturally. W. H. Tills [sic], who made his American debut, gave a thoroughly enjoyable impersonation of Ange Pitou. He has a good tenor voice of considerable power, well under control, which he uses with artistic effect, and is withal a good actor. W. H. Woodfield, who likewise made his first appearance in America, is a good actor as well as vocalist, and was evinced by his clever performance of Larivaudiere. W. H. Crane, for some seasons the comedian of the company, acted Pomponnet with much comic humor. Edward Horan deserves praise for his careful performance of Louchard. J. H. Jones, who made his first appearance in America, proved a desirable acquisition, and his impersonation of Trenitz was in every way satisfactory. Although the other characters call for no special comment, they were well performed. The choruses and instrumentation were good. ‘The Conspirators’ Chorus’ was twice redemanded. The opera was performed during the entire week, and during the early portion thereof attracted a good attendance.”