Children in the Wood

The new piece is written expressly for the Vokes family, “and it will be presented with all the liberality and taste for which kindred performances at Niblo’s are habitually conspicuous.”

 Lists the participating Vokes as Victoria, Jessie, Rosina, Frederick, and Fawdon. Children in the wood was “written expressly for them.” “Twenty-four premiere solo danseuses and an auxiliary aid of one hundred and fifty coryphees, who will appear in the grand new ballets, GOSSAMER DREAMS and FALL OF THE LEAF.” “The entire entertainment produced at an actual outlay of over forty thousand dollars.”

“…There was but one drawback to what would have otherwise proved an exceedingly enjoyable performance. The theatre is infested by an extremely large and particularly ill-regulated claque. These people embrace every opportunity to applaud the idiotic performances of Miss Bessie Sudlow, and certain other persons who are continually thrust before the public at this house. These performers are well known—too well known—and long familiarity with them has bred a wholesome contempt. If audiences must be afflicted by their presence, let them be kept in the background as much as possible.”

The play “bears on the bills the formidable title of ‘original, dramatic, musical, comical, fairy spectacular extravaganza,’ whatever that may mean. It is an unadulterated spectacle, such as we are favored with nowadays, possessing no claims to be considered dramatic art… Unfortunately there were many songs distributed throughout the spectacle, and the absence of voices capable of singing them rendered their introduction anything but agreeable…” No further mention of music.

No mention of music.

Letter from Jarrett and Palmer explaining that a Miss Nixon “was not seriously injured” in the “transformation scene” and will reappear in it shortly. Modifications have been made to the set, “where such an accident cannot again occur.” The accident had to do with a “revolving pedestal.”

“…The London Madrigal Boys are a feature of the performance, though why madrigal we are at a loss to know. Probably not one of them ever heard a madrigal, and certainly they are perfectly incapable of singing one if their lives depended on it. They all sing in unison, and on the treble, and apparently have not even had training enough to sing in two parts, a first and alto, much less to sing the four or five parts, in which the ordinary madrigal is written…” No further mention of music.

A very long review. Notes that Connelly had composed “an original medley overture and new ballet music” for the piece.