English Comic Opera: Boulotte

For Aug. 14. “First appearance in America.” Includes names of company members. 

For Aug. 16. 

“…founded on the popular Opera Bouffe of ‘Barbe Bleue,’ by Offenbach, arranged by the eminent composer and musical director, Mr. F. Stanislaus.” 

“The rigor of the season being somewhat mitigated last night, by keen moonlight and cool breezes, a great crowd of spectators thronged to Wallack’s,--and completely filled the place—to see the first appearance of Miss Julia Mathews and the English Comic Opera Company of Messrs. Henderson and Colville. It was a cheerful occasion, and we may say at once that Miss Mathews was welcomed with fervor and that she showed herself worthy of the welcome. She is a handsome English blonde, bright and gleeful, in fine health and therefore in the joyous animal spirits that health alone can supply, and she personated a merry, capricious, tantalizing romp--with an excess of levity and physical recklessness, indeed, which sometimes was broad—but with a spontaneous vim and rosy good-nature that were entirely delightful. The part that she played was Boulotte, in a new English adaptation of the opera-bouffe of ‘Barbe Bleue.’ Memories of Mlle. Aimée in this character floated into the general current of thought as we observed her; and we may say, descriptively, that while Miss Mathews lacks the dangerous, subtle, somewhat wanton piquancy, as well as the finely finished artistic style of the French actress, she is more roguish, more wholesome, and of a quality much more in consonance with kindness. The acting and singing of Mlle. Aimée glittered with a strange kind of perilous beauty—as when the leopard gently undulates her form and lets her white teeth gleam in the light. The acting and singing of Miss Mathews are genial, joyous, human, and companionable. We do not compare them as artists, but note these points of contrast by way of briefly recording an impression. Miss Mathews is full of pranks, and the lower tones of her rich and brilliant voice are surprisingly suggestive of the relish for mirth and the taste and capacity for innocent mischief. That tone which might be called coarseness in her texture of personality and of action impressed us as the hoydenish affectation of frank simplicity—vailing refinement a crisp talent for satire—which in an accomplished actress of such a part as Miss Hardcastle every person of taste and judgment would pronounce admirable. As a vocalist Miss Mathews is correct, sympathetic, and very spirited. If we were to judge by the frequent outbursts of applause by which the Lady was rewarded, and by the recalls that were given to her, we should say that she made a brilliant impression; the fact is that her artistic success was little more than that of esteem—and the reason is that she appeared in a dull piece. The story of ‘Blue Beard’ is a sad story. Roses that grow over a grave-stone are roses, to be sure; but there is always a scent of sorrow mingled in their fragrance. The piece dragged. And another reason is that most of her coadjutors seemed unhappy, with the exception of Mr. G. H. Macdermott, who acted King Bobeche—and who reminds us of John Owens, when that rosily humorous comedian was in his thin and ballad days—these performers appeared as lorn as a family of Gummifiges. Mr. Macdermott was as emphatically the hit of act second, as Miss Mathews was of act first. His droll comic songs, his relish of his fun, his proficiency at all points and the flash of his acting are worthy of emphatic recognition. ‘Boulotte’ contains a few bright speeches—the humor of which is ridiculous unexpectedness—and many taking melodies, a few of the latter having been culled from Strauss’s new opera of ‘Queen Indigo.’ Mr. Matt Morgan has painted three new scenes for the piece—the first of which is a charming landscape, and all of which are marked by taste in the use of color. The appearance of the stage last night, was made particularly brilliant, we should say, by the deft employment of contrasted colors in the costumes. Toward the close of the exhibition a couple of dancing-girls and a dancing man were somewhat abruptly shunted upon the scene, and it quickly became apparent, from the tumult of public joy which then arose, that the object which the populace had chiefly come forth to see was the Female Leg. Two varieties of this product were flourished, and the curtain then fell amidst general acclamation. Miss Mathews is soon to appear in ‘The Grand Duchess,’ and she will undoubtedly make, in that piece, a brilliant hit. Upon the threshold of her American career she begins by winning a good will that will readily ripen into admiration. Frank, hearty and cheerful mischief are embodied in her; and, being a trained and competent actress, in a line of art that seems perennially popular, she will not fail to make these merits felt.”

“A lively entertainment was offered by Miss Julia Mathews and a company of English singers and actors to a very large audience gathered at Wallack’s Theatre last evening. Opera bouffe in English is surely not opera bouffe in French, nor do its representatives succeed in imitating the clever methods by which the personations of French players have, from a certain standpoint, been admired as well as laughed at; but as a rendering, with considerable comic vim, of amusing text, as a spirited interpretation of a number of ear-taking tunes, and as a spectacle bright with picturesque scenery and showy dresses, the performance of ‘Boulotte’ can fairly rank with the best of the sort. ‘Boulotte’ is simply Offenbach’s ‘Barbe Bleue’ with some of the dialogue refashioned and some of the songs reset. From the fact that Miss Mathews is the Boulotte, we cannot complain if the name of the character she portrays is bestowed upon the opera. Miss Mathews is not only the cleverest artist in her troupe, but she is really fitted to carry the weight of a representation of this order almost unassisted. As we have implied, neither she nor her associates bear in mind that one of the main causes of the popularity of opera bouffe in France is that its absurdity is not for one moment hinted at by the actors on the stage, who are as serious about their work as if tragedy were the task assigned to them. Miss Mathews and her companions, in other terms, resolve to be funny, and do whatever they please in the attempt, whether their pranks have any raison d’etre or not. The lady, however, in particular, brings to her acting exceptional vivacity and variety, and her ‘business’ in ‘Boulotte,’ especially in the first part of the piece, had the merit of unusual appropriateness and drollery. Occasionally opera bouffe music to English text is sung in the style of those composite arias in which a clog-dance accompanies the chorus, and occasionally it is recited with a dignity which would lead one to believe that the singer was created to grace an Italian opera-house, and felt quite hurt at the duty now imposed upon her. Miss Mathews does not fall into either extreme, and if she does not strike the happy medium between the truth of nature and palpable satire, as do, for instance, Mlles. Schneider and Aimée, she at all events supplies an inspiring sketch of the character she assumes. She is tolerably skilled as a songstress, and she handles her voice, which is pleasant, though worn, with sufficient tact to conceal its worst defects. Everything she sang last night was heartily applauded, and several of her airs were redemanded. We shall not enter into details as to the merits of her fellow performers further than to mention anew that their efforts resulted in a remarkably-symmetrical entertainment. The tenor, Mr. Albert Brennir, has an excellent barytonal voice, and uses it effectively, and the delivery of Mr. McDermott’s interpolated song, in the second act, showed that he will approve himself, whenever a suitable rôle falls to his lot, a comedian of humor and experience. Much hilarity was elicited by a tyrolienne, sung by a Frenchman in act the second, and no little surprise was excited by a wild can-can at the close of the opera. As neither of these incidents has the remotest relation to ‘Boulotte,’ we cannot but think that judgment would have been exhibited in their omission. The new music--from Strauss’ ‘Queen Indigo’—brightens up the score most acceptably. We have only to add that the choruses were given with unimpeachable brio and precision, and that the orchestra’s accompaniments were faultless, two results due wholly to the talent and industry of Mr. F. Stanislaus, than whom no better conductor could be wished.” 

“A short season of English opera bouffe was begun last evening at Wallack’s, under the direction of Messrs. Henderson and Colville. The old Offenbach favorite, ‘Barbe-Bleue,’ one of the brightest and most spontaneous of his many entertaining operas, was presented in a somewhat altered shape, and by a new company of artists.

This work has been so often and so admirably given by the various companies in this city that any new presentation of it is very sure to challenge a rather severe comparison, and it is to the credit of the new company that they are able to give fresh point and vivacity to the old story.

Miss Julia Mathews, the prima donna of the company, has a very pleasant voice and a bright and pretty face. Like Miss Lydia Thompson, she makes good-natured vivacity and animal spirits do duty for real comic acting, and to the audiences generally they seem to afford a satisfactory substitute. The lady has these happy qualities in abundance, and, supplemented as they are by a good voice and method, they will doubtless make her a favorite.

The company in other respects is a very good one. Barbe Bleue in the present version becomes rather a subsidiary character, and Mr. Albert Brennir, though possessing a pleasant tenor voice, has not the talent to raise it into a part of any great significance.

Mr. MacDermott was the King Bobeche, and is an actor of unquestionable ability and genuine comic talent, showing itself in those slight and suggestive actions and words by which the true comedian makes his points. It was a little surprising to find an actor who knew so well how to make his points by legitimate means, and by that finesse so peculiar to the French, having resort to such antics as rolling about the stage as he did at the close of the second act. Violent action is almost never funny, and a man who fails to excite the sense of the ludicrous in his audience by his intellectual qualities will be very certain never to do it by brute force. We say this the more freely because Mr. MacDemott has unquestionable ability, and seemed to possess by far the keenest sense of real humor, and the happiest faculty of expressing it of any member of the company.

The opera was very well put upon the stage, with pretty dresses and scenery, and a well-trained chorus. In spite of a thermometer among the nineties, the audience was enthusiastic, though wilted.”

“A very large audience, composed chiefly of the sterner sex, assembled at Wallack’s Theatre last evening on the occasion of the first appearance in this city of Miss Julia Matthews and her English company. The piece selected for presentation was ‘Boulotte,’ which is practically identical with Offenbach’s ‘Barbe-Bleue,’ if we except a few interpolated airs selected from the new opera bouffe ‘Queen Indigo.’ Miss Julia Matthews, who was warmly greeted, played, of course, the principal character, and, it may be added, achieved a decided success. Miss Matthews has evidently selected Mlle. Aimée as her model, and imitates her faithfully, not only in matters of costume, but of gesture and style. She has, however, many excellences of her own in addition to those which she has borrowed from her French rival. She has youth, good looks and an abundance of animal spirits on her side, and a thorough appreciation of the broader kinds of humor. She is, therefore, physically well qualified for the profession she has adopted, and her natural gifts have been greatly improved by careful training. She manages her voice—which, although naturally strong and flexible, is now rather worn by hard work—with great skill, and the delivery of her songs proves that she has been taught in a good school. Her acting is characterized by energy and vitality rather than grace, and she possesses none of the exquisite finish for which Mlle. Aimée is remarkable. Her fun partakes of the English national character. It is rough and hearty, springing evidently from a diet of roast beef and plum-pudding and resting on a foundation of solid content, but it lacks the sparkle and mischievous suggestion of Aimée’s every glance and every motion. It is, however, the more honest merriment of the two, for it means no more than appears on the face of it, while the French actress is most dangerous when she is most demure. French opera bouffe is bright, sparkling, effervescent, full of the spirit of champagne. English opera bouffe is in comparison dull and heavy, with a somewhat stronger flavor, like the nut-brown ale which was, in the good old times, one of the chief glories of England. The fact is that Mlle. Aimée and her associates have excited a fastidious taste among us in the matter of opera bouffe, and only first-rate performers can hope to please. Miss Matthews has, therefore, every reason to congratulate herself upon the result of last night’s experiment. Several of her songs created positive enthusiasm, and she was several times called before the curtain. She is certainly the best English opera bouffe singer of the kind who has visited this city for several years, and it is probable that she will appear to still greater advantage in some more important character than that of Boulotte. ‘The Grand Duchess,’ in which she will soon appear, will afford her a much better opportunity for the display of her peculiar powers.

Of the remaining performers there is little to be said. Mr. G. H. Macdermott was an excellent King Bobeche, and is evidently a skilled actor and clever comedian. Hayden Corri was moderately successful as Popolani, and Mr. Harry Collier, a dancer and posturer of exceeding suppleness, excited laughter by his performance of Alzares. The only other thing worth of notice was a buffo Tyrolese song, sung by a Frenchman, M. Delorme.

The scenery, painted by Matt Morgan, was extremely good, and the costumes unusually brilliant in color and tasteful in design.”

“English comic opera was produced last night at this house under circumstances that promise well for its success with the New York public. So much had been heard about Miss Mathews and her jolly troupe that a good deal was expected, and it is not too much to say that the expectations of the most exacting were fulfilled. The work selected for the first appearance of the new company is an adaptation of ‘Barbe Bleu,’ by Offenbach, but great liberties have been taken with the lines and the score. In fact, the latter has been wholly departed from in some instances, and portions of other works inserted at the good will of the adapter and arranger. The result of this mélange is, however, a very lively opera, full of sparkling music. Nothing in the way of stage setting that could add to the effectiveness of the work was neglected, and the costumes were rich, if not always exactly correct. The company is remarkably good, and enters with more spirit into the performance of their rôles than is usual in English opéra bouffe. There is evidently a good deal of animal spirits among the actors, and they carry the audience along by the force of their fun rather than by its subtlety and skill. Miss Mathews is one of those English women who have caught the chic of the French artists. Not a little of her success is due to the possession of a mobile, expressive face, and a certain dashing, offhand manner, that at once catches the popular fancy and puts the artist on a good footing with the audience almost as soon as she appears. Her performance of Boulotte is full of vivacity, but is at all times kept well within the bounds of propriety. She is clever at by-play, and her voice is clear and sympathetic, and was used with excellent effect in the second solo, ‘See how all those pretty hussies.’ She made an instantaneous impression upon the audience, who fell into sympathy with the good-natured, saucy drollery of her impersonation of the not over timid peasant. Mr. Albert Brennir, who undertook the rôle of Blue Beard, is not a very good actor. His voice is, however, pleasing, though not of very great compass, and he has the advantage of a good presence. Mr. Macdermott as King Bobeche was more successful. He played the part of the little royal tyrant to perfection, and in the courting scene in the second act kept the audience convulsed with laughter. His buffo song was also received with applause, and he had the honor of an encore. Mr. Harry Collier, too, as the supple man, created much merriment by his absurd movements and comical stupidity. He established himself as a favorite. When the curtain fell on the second act the principal performers were called out and received a popular ovation. The choruses were well given and everything passed off with the utmost smoothness, not a hitch occurring to remind us that it was a first night. Matt Morgan, to whom we are indebted for the scenic illustrations, has done this work in his usual artistic manner. [Cast listing follows--see above].

‘Boulotte’ will be given during the week and will no doubt attract audiences as large as attended its first production. It is a thoroughly enjoyable performance and one of the best approaches to the French opéra bouffe that has yet been made by any English speaking company. No one need fear a dull minute while witnessing the performance of ‘Boulotte,’ and this is saying a great deal when English comic opera is in question. The house was crowded last night.”