“The Summer season of opera bouffe at Robinson Hall progresses merrily, and, apparently, with good results. Last evening Hervé’s opera bouffe, called ‘Chilpéric,’ was represented, Offenbach’s ‘Rose of Auvergne’ serving as a preface to the more important work. In spite of a clever performance of Chilpéric by Mr. Henri Laurent, an acceptable personation of Frédegonde by Miss Louise Howard, and a very creditable rendering of the choruses, it can scarcely be said that the representation at Robinson Hall effaces recollections either of the French recital of ‘Chilpéric,’ given some years ago, or of the interpretation of the opera by the Soldene Troupe, last Winter. The piece, however, is full of spirited and daintily-written numbers, and no little pleasure was derived from the brisk execution of the most impressive parts. There were several encores during the night, and the audience—a large and respectable one—enjoyed the entertainment the more from the fact that, thanks to several broad windows on each side of the auditorium, the temperature was as cool as that of a garden.”

“Robinson Hall was filled last evening by an audience that seemed greatly to enjoy the performance, or rather the second part of it. The first part was Offenbach’s comic opera in one act, ‘The Rose of Auvergne,’ a trifle which could never be very entertaining even when presented under the most favorable circumstances, and which actors of the Anglo-
Saxon race cannot make other than dull.

The second part was Hervé’s opera bouffe in two acts, ‘Chilpéric.’ It had evidently been rehearsed with care by a very good cast of actors; many of the voices were noticeably good, the chorus strong enough, the acting in general spirited, the costumes bright, the scenery good. The management has the nucleus of an excellent company for the performance of comic and burlesque operas, indeed much more than a nucleus, since a very few changes and additions would fit it to present a homogeneous and well-compacted musical troupe, and fill a place as yet vacant in the theatrical entertainment of this city.

Encores were not rare last night, and Mr. Laurent, who has an excellent tenor voice, took the largest share of these honors. The performance of ‘Chilpéric,’ as a whole, was uncommonly good.” 

“’Giroflé-Girofla’ was presented for nine weeks at Robinson Hall, the pleasant little theatre on West Sixteenth street, near Broadway, and last evening it was succeeded by a condensed version of ‘Chilpéric.’ Hervé’s melodious extravaganza was supplemented on the bill by Offenbach’s ‘Rose of Auvergne,’ the representatives of which, however, lacked the ease and polish necessary to the success of a French vaudeville. In ‘Chilperic,’ Mr. H. Laurent, who assumed the title part, sang one or two of the songs in a very creditable manner; and Misses Emma Marini and Annie Mortimer were graceful representatives of Landry, the peasant, and Brunehaute, the court lady, the former winning plaudits for her rendering of the guitar song. Mr. George Atkins, the low comedian of the company, is rather too broad and loud-voiced, but he is amusing. New scenery has been painted by Mr. Matt Morgan. The dancing is not only in bad taste, but is of inferior execution, and is a distinct blot upon the entertainment. Such performances will not improve the reputation of Robinson Hall. The choristers in the little company have fair voices, and, with one or two changes in the cast (the promotion, for instance, of one of the ladies we have mentioned above by name to the character of Fredegonde), and ‘Chilpéric’ could be kept on the stage as long as was its tuneful and grotesque predecessor.”

“A change of bill took place at this very pretty little theatre last night. An operetta by Offenbach, ‘The Rose of Auvergne,’ introduced Miss Louise Howard and Messrs. Laurent and Jepson, who were received very warmly and gave undoubted evidence of popularity. The piece is not an attractive one, either in its original form or in its present English dress. In fact, it may be regarded as a decided failure. Different from this was the sparkling opera of Herve, ‘Chilperic,’ judiciously cut down to two acts, with its bright, sparkling music and well selected cast. Although it is extremely difficult to present opéra bouffe in an English form, and especially with such materials as the eccentric Herve furnishes, yet the management of Robinson Hall deserve much praise for the present version and performance of ‘Chilperic.’ The cast is not particularly strong, but it possesses many elements of attraction. It is an unwise experiment to present certain works of the opéra bouffe repertoire in English form; but in the case of last night’s representation of ‘Chilperic’ much praise is due to the company. The following was the cast [see above].”

“The opera bouffe of ‘Chilperic,’ in an English garb, presented at Robinson Hall, was seen on Monday by about 200 persons. The piece has been made known here in French, by Mlle. Aimee, and in English, by Miss Soldene; and it is known to abound in sparkling melodies and in miscellaneous levity of action. It is less sprightly in English than in French, but it retains,--not withstanding condensation,--much of its musical sparkle; and Mr. Robinson’s numerous and generally efficient company sing and act it in a lively, zealous, and often whimsical manner. M. Henri Laurent, as Chilperic, used his good tenor voice with animating force, in the several melodies; the choruses were given with an evenness and emphasis showing intelligent rehearsal; and the piece was gayly set in Mr. Matt Morgan’s pretty scenery. Chilperic, by M. Laurent, Fredegonde, by Miss Louise Howard, Senna, by Mr. George Atkins, and Sigebert, by Mr. E. O. Jepson, [an actor whose voice, bearings, and mannerisms strongly and pleasantly recall Mr. L. R. Sherwell], were the recipients of frequent applause. ‘Chilperic,’ in brief, though not brilliantly interpreted, was pleasantly done, and it afforded an hour of amusement. A clumsy and dull performance of ‘The Rose of Auvergne’ preceded the representation of ‘Chilperic’—serving to show that M. Henri Laurent is incompetent to act farce. It requires, indeed, a finer order of talent than is discernable in the company assembled at this theater—or than is often perceptible anywhere—to make extravagance seem drolly natural, and to temper boisterous fun with neatness and polish. Robinson Hall has the field almost entirely to itself just now, and its light entertainment, appropriate and pretty, deserves the popularity it has attained.”

“The Robinson Opera-Bouffe Company, during the past week, gave the first representations by this troupe at Robinson Hall of Offenbach’s ‘Rose of Auvergne’ and Herve’s ‘Chilperic.’ The performance of the former, a clever little farce, rarely interspersed with musical numbers, scarcely came up to an acceptable standard, receiving most inadequate treatment from the performers. The delineation of the character of Fleurette by Miss Louise Howard, lacking personal attractiveness, gave evidence that the lady, who is the possessor of a perceptible Milesian accent scarcely in keeping with an expression of French character, had at her best but the fain reminiscence of a former voice. The lovesick swain Alphonse, by Mr. Laurent, hardly added to his reputation as an actor, the exaggerated action and grimaces in which he indulged in attempting to convey a comical idea of the part, proving anything but agreeable, the little measure of applause which was bestowed upon the performance falling upon Mr. E. Jepson for his clever rendering of the few vocal trifles falling to the share of the robust blacksmith. ‘Chilperic’ was well placed upon the stage, both in regard to scenic details and costumes, the abridged form of the opera presented receiving a representation worthy of commendation in several respects. Mr. Henri Laurent’s expression of the character of Chilperic was a capital performance, proving an agreeable surprise after the experience of the preceding operetta, and liberal praise can be accorded him, even in comparison with former interpretations, for his graceful acting and admirable vocal rendering of the part. The Fredegonde of Miss Howard, on the contrary, presented proof of a want of vocal culture and dramatic talent to successfully portray a role requiring at least a certain amount of ability, that made the characterization most unsatisfactory and the only drawback to a creditable production of the opera. The other roles, notably the Landry of Miss Elma Marini, Brunchaute by Miss Mortimer, Galsuinda by Miss Vinie G. Clancy, Siegbert by E. O. Jepson, and Mr. Merrill’s fine rendering of the bass numbers of Divitiacus receiving a competent interpretation at their hands, making the cast quite acceptable with one or two exceptions. Mr. Geo. Atkins as Senna, the court physician, rather overdid the low-comedy part entrusted to him, and broad liberties were taken with the character, the gags with which it was filled savoring of anything but proper wit, the part, which allows a considerable latitude, needing a perceptible toning down to make it presentable to an intelligent auditor. The chorus was well under control, and did capitally, and to the production of the opera we must accord the praise that, in its entirety, for the first performances of a troupe so recently organized, it was well given. Successive repetitions and a strengthening of the cast—which occurs this week, Miss Clara Fisher reappearing and assuming the principal role—will, no doubt, make the new bill as strong a favorite as the former success.”