American premiere of Vasseur’s opera bouffe.

Improvements to the theatre; forthcoming season; greater accessibility of the theatre, thanks to the new cross-town railroad. 

Forthcoming season. 

Roster; alterations to the theatre; opening production.

Argument of the opera bouffe. 

Cast listing. 

“The Lyceum Theatre was opened last night, and a very large assemblage saw the first performance in America of ‘La Timbale d’Argent.’ The appearance of the house was cheerful, and the reception accorded to the piece was good-natured and almost boisterous. This theatre, a charmingly pretty one, is prettier than ever, now that gray and white have taken the place of red, in the decoration of its interior. Other material change there is none to be noted—unless the removal of the ticket pen. in the lobby, and the sub-division of the proscenium boxes be deemed material. The representation of ‘La Timbale d’Argent’ proceeded smoothly; and, though it is a vile piece, and lasted a good while, it was followed with attention and greeted with many outbursts of applause—the utterance, it seemed, of a pleasure imparted rather by the actors than the drama.

Upon Opera Bouffe itself there is no need for present remark. The subject has been discussed, in every phase. Nor is there any need of many words upon the new specimen of it, now presented. If a crank became something else every time it was turned there might be good reason for noting every turn of it. Since it remains always the same the record of its turning is apt to grow monotonous. Last night’s revolution of the tuneful wheel brought round such another frolic musical farce as those of Offenbach—though not nearly as vivid as the best works as that composer. All the members of this family have a strong family resemblance—just as the weird and grotesque ghosts do, in the second act of ‘Rip Van Winkle.’ In this case the trait of wicked levity was conspicuous. Upon the plot of ‘La Timbale d’Argent’ it is best not to comment. The idea is obscene and the tone is indecent. But—all is vailed and sugared in drollery. The music impressed us as lacking the originality of distinctive character, and as being reminiscent. It is, however, sprightly in many places, and generally pretty. Mlle. Aimée sang certain plaintive portions of it with unexpected tenderness. She has grown stout, and is in fine health and spirits, and her mischief and placidity formed as droll a combination as ever. The company comprises a clever little actress, Mlle. Gandon, a good ‘old man,’ M. Doubouchet, and an amusing eccentric actor—of the ‘Muggins’ breed—M. Debeer. Mlle. Minelly has ripe feminine beauty and witching ways, but only a thin voice. She acted more than well, though, and herein gave token of reserved power. Mlle. Gandon became the popular favorite of the moment. Her cleverness, though, did not prevent her from being coarse. The chorus was fair; the scenery indifferent. Upon the ‘staying power’ of this successful opening we should not like to prophesy. The opening was certainly bright and reasonably auspicious.” 

“Last night a new season of opera bouffe was opened under what we suppose must be called highly-favorable circumstances. There was a crowded audience and a great deal of applause. The house was warm, and the play, or opera, was warmer still. In fact, a more striking work of art of the kind we do not happen to have seen before, and we should not take it much to heart if we never saw one like it again. But it was received with favor by the audience, and we must therefore presume that the public taste is running decidedly in this particular direction. Perhaps Mr. Wallack or Mr. Daly might find it worth while to receive one of the most indecent plays of Wycherley of Congreve, with all the ‘strong’ passages left in. There is nothing like striking the iron while it is hot.

A synopsis of the plot of ‘La Timbale d’Argent’ was kindly supplied to the newspapers on Sunday, but for the benefit of those who read the narrative in question we may say that it bears only a very general resemblance to the piece. There is, indeed, something about a silver cup in it, and a trial of voices. But the opera turns upon other matters entirely—the relations between the sexes are dealt with from a French point of view, and the men and women represent or talk and sing about passions which may be natural, but which were perhaps not designed to be exhibited on a public stage before a miscellaneous audience of men, women, and children. For there were children present last night, and we should think that their parents were very glad they had taken them there. There is nothing like instilling good lessons into the minds of the young from the earliest possible period. If we felt ourselves at liberty to describe the plot of this latest illustration of French wit and spirit, our readers would see at once that every young lady ought to be taken to see ‘La Timbale d’Argent.’ But we are afraid that mere words could not do justice to the efforts of the artists who were engaged last night in depicting certain varieties of the human emotions. The advice of M. Dubouchet (Raab) to his niece after her marriage; the conversations between Raab and and Pruth; the adventures of Fichtel; the devices employed by Molda to secure the attentions of her husband, together with her song, ‘Faut lui sourire’ in the last act; all these merits of the performances—and doubtless they were merits, or they would not have been so much applauded—cannot be described in the columns of a newspaper. At several points an astonished cry of ‘Oh!’ broke from many men in the audience, but the ladies seemed to be gifted with stronger nerves, for they showed no signs of either surprise or displeasure. Perhaps they liked it—we presume they would not have stayed if they did not. Yet it is difficult to know precisely what to think of women who could sit out such a performance as that without a blush. It must be said that most of them seemed to be foreigners—there was scarcely a true American face in the house among the ladies; let us hope that the same fact may be noticed during the run of ‘La Timbale d’Argent.’ Not that it is much worse in mere language than the story of ‘Bessie,’ which Mr. Tracy and other gentlemen connected with Mr. Beecher’s church have thought fit and proper to be placed before the public. If Plymouth Church deluges the town with reading of that kind, deacons and elders have little right to shrug their shoulders at opera bouffe. But ‘Bessie’s’ story was not acted, and there is much in action, as Demosthenes preached, and as MM. Dubouchet and Debeer and Mlle. Minelly seem to have learned.

Mlle. Aimée has a comparatively innocent part to play—the part of the lover. She has several fair songs to sing, but the best of them are not so taking as the worst of her airs in ‘La Fille de Mme. Angot.’ She played with her usual force and sprightliness, and was not ‘broad’ or coarse in her representation. The two actors whom we have named have a great deal of fun in them, and we should suppose that they might succeed in thoroughly amusing an audience even without the aid of what in plain old English phrase is called ‘smut.’ People who do not object to the thing need not quarrel with the word. It is the one which describes ‘La Timbale d’Argent.’ The two chief actors have a good deal of the article in question to distribute, and they scatter it with an unsparing hand—daubing it on their own faces and on those of the women in the play until one begins to think it is an orgie one has come to see, like those which take place at festive gatherings in the South Sea Islands, at least if we may believe ‘The Earl and the Doctor.’ The part of Fichtel—which is simply all dirt from beginning to end—was played by a woman, perhaps because a man was thought to be not quite equal to it. There are delicate shades of wickedness in it here and there which the managers may have thought require a feminine touch. Mlle. Minelly –well, we suppose she only did what she was paid to do. It is useless to go over the list of performers. Fortunately, there are only two or three attractive tunes of any kind in the work, and none which are likely to take a strong hold of the popular taste. Perhaps, therefore, the work will soon be changed for some of those other productions of the same school which, while being sufficiently light and lively to suit every taste, do not degrade human beings to the level of beasts, and turn them out to wallow before each other in unrestrained profligacy and licentiousness.”

“The season of the French Opera Bouffe was begun last evening at the Lyceum Theatre. The night was cool, the theatre handsome in appearance and comfortable in temperature, and the audience numerous. So far as the prestige of a first night is concerned, the season may, therefore, be considered to have begun prosperously.

The theatre is under the direction of Mr. Maurice Grau and Mr. C. A. Chizzola, two managers who have justly won and well deserve the public confidence.

The opera selected for the commencement of the season is ‘La Timbale d’Argent’—The Silver Cup. It is the composition of M. Leon Vasseur. The credit, or perhaps we should say discredit, of the libretto belongs to Messieurs Adolph Haime and Jules Noriae. If the silver cup were offered as the prize of indecency this opera would easily carry it off above all competitors. It is undoubtedly the most depraved work that up to this day has been presented in this city. Such wit as flows from equivocal suggestion, significant action, and the gross humor of indecency, it has in superabundance. There is plenty to laugh at of the kind. Nor does the play lose any of its salaciousness at the hands of the company to whom it is intrusted. Every indelicate point is brought out with the most consummate understanding and the keenest appreciation of its most subtle meaning. In fact the company is composed of excellent actors and actresses. Foremost among them is, of course, Mlle. Aimée, who returns with all her old vivacity and with a voice fresher and stronger for the rest it has had. The new members who appeared last evening were Miles, Minelly and Gandon and MM. Debeer and Debouchet. They all commended themselves as skilled players, M. Debeer in especial displaying conspicuous talent as an eccentric comedian. As to the music of the opera it is neither very good nor is it bad. It is the libretto and not the music that has given the play its success in Paris. Several of the numbers, however, are graceful and pleasing, especially a bridal chorus, Bonne Nuit, in the second act. It is scarcely necessary to add that the managers have produced the opera in a liberal spirit and with every advantage that a trained chorus, pretty scenery, and appropriate and tasteful costume could lend to its attractiveness.”

“The handsome theatre on Fourteenth street, the scene of so many artistic triumphs and the cause of so many pecuniary failures, was reopened last evening under a new management. Mr. Maurice Grau has now taken upon his hands this establishment, which it was once feared would become notable in the dramatic history of New York as a white elephant. If we may judge from the circumstances attending the opening performance under the new management, the tide is turned and a season of success has begun. The decorations of the house have been somewhat changed. The glaring effect of the interior has disappeared, and lighter tints have displaced the unpleasant redness of former days.

The audience last evening was very large, and it was apparent that the French population was well represented. As it was also very enthusiastic, and at times expressed admiration with audible ‘Ahs!” and boisterous ‘Bravos!” there was additional evidence of the presence of a large foreign element. There were very few ladies in the house last evening, and on succeeding evenings, until the programme is changed, there will probably be fewer. We have the kindliest possible wishes for the success of Mr. Grau in his new venture, and have expressed our belief that it is already assured. But we are compelled to say that morality—nay, ordinary decency—is not one of the attractions offered in the present performance.

The entertainment of last evening was presented by Mlle. Marie Aimée and her new opera bouffe company. The play was called ‘La Timbale d’Argent,’ (The Silver Cup), the music of which was composed by M. Leon Vasseur. The text was written by MM. Jaime and Noriac, and as their names appear on the books and programmes, it may be assumed that they are not ashamed of their work. We are confident that there are no English or American writers living who would be guilty of acknowledging the authorship of so much nastiness.

Mlle. Aimée, who is as sprightly as ever, appeared as Muller, an unsophisticated young man. She sang effectively and acted with excellent humor. Her new company is exceedingly rich in really good players. M. Doubouchet, the ‘old man’ of the troupe, is a very clever actor and a good singer; and Debeer, the ‘low comedian,’ is a proficient in facial expression, and was greeted with a little Babel applause last evening in a burlesque scene in imitation of the grand opera. Mlle. Minelly, who also made her first appearance last evening, is a droll actor and a sweet singer, although her voice might be fuller. The new company includes a Mlle. Gandon, who appears to possess remarkable powers as a comic actress; but her coarseness makes her performances unenjoyable.

M. Leon Vasseur is a composer entirely new, we believe, to American audiences. There are two delightful melodies in his score—one a chorus—‘Bonsoir, la demoiselle,’ and the other—a little song—‘La Timbale au sommet dumdt,’ which is sung in the first act and recurs at the close of the piece. There is nothing especially noticeable in the other numbers, except that the air which terminates the first act is strikingly like an ancient and familiar hymn. M. Chizzola is still the manager of the Aimée Opera Bouffe Company. The chorus last night was as good as usual, and the orchestra was effective.”

“The pretty little theatre in Fourteenth street, which has become the home of opéra bouffe in this city, was last night crowded by a brilliant audience to witness the production of Leon Vasseur’s ‘Timbale d’Argent.’ The house looked brighter and more comfortable than ever, the changes in the decorations having been made with a view to increase the air of lightness of the theatre. The piece selected for the opening obtained great success in Paris. Its sparkling dialogue and the excellent quality of the music deserve all the success which the piece has obtained. The story on which the piece is constructed is of course absurd, and perhaps over sensitive people would be slightly shocked by some of the allusions; but delicate souls of this kind ought to avoid opéra bouffe on principle, for its aim is to make people laugh at grotesque absurdities. And the person who can sit through the ‘Timbale d’Argent’ without indulging in a hearty laugh must, indeed, be strangely constituted. The situations are very amusing, and are well connected with an intelligent plot…[synopsis follows]. Such is the general scheme of the play, which is admirably written. Many very bright and clever songs are scattered through it, and the choruses are strong and well balanced. There is, perhaps, no song that will become as popular as ‘La Fille de Mme. Angot,’ but the songs ‘La Timbale au Sommet du Mat,’ ‘Pendant que sur la nappe Blanche’ and ‘Allons Margot’ are likely to become popular favorites. The artistes introduced to the American public last night made a very favorable impression and will help to place opéra bouffe on a footing that it has not hitherto occupied in this city. Mlle. Minnelly, the new prima donna, is a great acquisition; she acts spiritedly and sings well. It was evident in the first scenes that the climate had exercised an unfavorable effect on her voice, but after she sung a little the slight hoarseness quite disappeared and she achieved a real success. Her personal appearance is very pleasing, and she will, no doubt, secure no small share of popularity. Aimée looked well and was in excellent voice. She was evidently bent on showing the public that she had lost none of her old power during the recess. Her rendering of the song ‘Pendant que sur la nappe blanche’ secured for her the honor of a recall, and during the evening she was the recipient of many marks of public favor. Mlle. Gandon who played the rôle of Fichtel, showed herself an admirable actress, exceedingly droll and with a keen sense of the ridiculous. Mons. Dubouchet as Raab was very acceptable, but the masculine laurels of the evening fell on Mons. Debeer, whose exceedingly comical impersonation of Pruth kept the audience amused during all the time of his presence on the stage. He is an admirable actor, with a wonderfully mobile mask, and in addition he sings well. Mr. Guyot, who also made his first appearance before an American audience, did not have a sufficiently important part to enable a judgment to be formed of his talents, but the little he had to do he did very well. The mise en scène was very creditable, and the management have kept their word by reorganizing the chorus, which has been considerably strengthened and improved in quality. Once or twice the chorus got slightly out of hand, but this will, no doubt, be remedied by a few more rehearsals. The ‘Timbale d’Argent’ has been produced in a most creditable manner, and marks a new era in Opera Bouffe in this country.”

Notice of improvements to the theatre. “On Monday evening, Mlle. Aimée, with her reorganized opera-bouffe company—including among the new voices Mlles. Minelly, Gandon and Dubouchet and MM. Debeer, Dubouchet and Guyot, inaugurated the season by producing, for the first time in America, Leon Vasseur’s comic opera of ‘La Timbale d’Argent’ (The Silver Cup). The company has been considerably strengthened since its previous appearance in this city, and gave evidence of being composed of admirable material. The opera, while abounding in lively dialogue, and being inimitably acted, has hardly a single idea to entitle it to an existence; and while it has been cleverly constructed, it can neither equal in attractiveness nor popularity Lecocq’s famous success of ‘La Fille de Madame Angot,’ or the musical effervescences of M. Offenbach. The story concerns… [synopsis]. The dramatic portion of the opera, abounding in situations which afford the utmost opportunity for double entendre and direct allusions of a forbidden nature, has been admirably put together, and with the clever acting of Mlles. Aimée, Minelly, Gandon, MM. Dubouchet and Debeer, has gained for the work whatever reputation it may possess. Musically, it will hardly be known, as there is scarcely a number that has sufficient attractiveness to catch the popular ear. Mlle. Aimée acted with her accustomed vivacity, rendering her part without coarseness, and making the most of her several songs, which allow her but very little opportunity. Mlle. Minelly, a particularly graceful and pretty actress, is quite an acquisition, dramatically; her voice, however, is rather thin, and she is compelled to use it most skillfully to make her musical points. Mlle. Gandon is a clever little actress, and M. Dubouchet enacted the old man’s role creditably. M. Debeer, an eccentric actor, with a very mobile face, was equal to if not the peer of any whom we have seen in a similar characterization requiring great drollery. The chorus was respectable, and seemingly not yet well in hand. The success of the opera will apparently not be of long duration, as there has been a perceptible dropping off in the attendance.”