Draper Italian and American Opera: Doctor of Alcantara

For Sonnambula with debut of Varian Hoffman.

For The Doctor of Alcantara.

“As Mr. Eichberg assures us that he has retained the orchestral score of this beautiful opera in his possession, it will be curious to ascertain how the opera can be performed as written.  He does not hold himself in any manner responsible for what may be brought before the public in this unauthorized and necessarily incomplete manner.”

“The original published version of Julius Eichberg’s charming operetta was given at the French theatre on Thursday evening. There is a vast difference between this version and the amended one played at this establishment last summer, and the composer should, for reputation’s sake, either correct his first edition or publish an emended version. The overture played on Thursday night certainly did not belong to the opera, and the transition from it to the opening serenade is abrupt and unnatural. Mr. Eichberg’s overture, or even a few introductory bars, should be played. [Cast is listed.] Miss Stockton, although not possessing the brilliancy of voice which, after Miss Richings, we looked for in the character of the pert little Spanish maiden, sang and acted unexceptionably. She understands the character thoroughly, and has a good stage presence, and sings with taste. Miss Mina Geary, who made her début in opera on the occasion, evinced considerably vocal and dramatic talent. For a first appearance her success was very great, and we doubt not of her capability to attain a very high position among operatic artists. Her acting was rather melodramatic for comic opera, and her voice requires more strength and ease; but these are defects that can easily be remedied.  Her voice is young, fresh and beautifully modulated, and her late Southern tour with her father seems to have improved it. Miss Allen should never attempt the rôle of Lucrezia.  There could not possibly be any just comparison in point of voice or manner instituted between the Lucrezia of Thursday night and the former excellent representative of that character, Mrs. Sophie Mozart. Whatever induced the Doctor to assume such a hideous makeup—a sort of cross between the Albino family and the Chimpanzee—we are at a loss to determine. His voice was very good, but the dress and face ruined the part.  Pomposo and Balthazar were but middling. They were tame and dreary in comparison to Ketchum and Peakes, of the former troupe. Mr. Hill has many points in his Carlos superior to William Castle, and a great many inferiorities, too. His voice is excellent.  The best part of the performance was the chorus and orchestra, although fifteen instruments were not enough in the latter. The two dashing songs, “When a Lover is Poor” and “My Soul is Filled with Joy,” written for Miss Richings, are not in this version of the operetta. The substitute for the first one is very poor indeed. The laughable little duet, “Hush! All Right,” always encored before, was spoiled on this occasion, and therefore passed over in silence. With a few changes and improvements in the cast, however, and above all with attention to the front of the house, and the absence of confusion and irregularity, American opera, with Mr. Draper’s company, can be made a success.”

 (…) Draper did not use the full score which is owned by Eichberg (composer), but only the score for the voices. He had another composer of utter incompetence add the music which resulted in a complete disaster. The performance was laughable, not in a comical but a ridiculous way. Draper himself played the role of the doctor not merely in a “monkey-like nimbleness”, but also vocally and costume-wise gave the most memorable performance that has ever been seen in a theater. It is deplorable such nonsense is not stopped by the police.