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The Arcadians
Liberty Theatre, New York, 17 January 1910
The Arcadians, an immensely popular English musical play by Mark Ambient, A.M. Thompson and Arthur Wimperis, with music by Lionel Monckton and Howard Talbot, that ran for 810 performances at the Shaftesbury Theatre, London, between June 1909 and July 1911, reached the United States early in 1910. After playing for three weeks in Philadelphia (Forrest Theatre, 4 January 1910), the Charles Frohman production moved to New York where it opened on 17 January with the following cast: |
The Arcadians transferred from the Liberty to the Knickerbocker, New York, on 16 May 1910, for a total run of 193 performances. * * * * * * * *
Charles Frohman's production of
'Coming direct from London, where it enjoyed a long and prosperous run, The Arcadians began a three weeks' engagement at the Forrest last Tuesday evening before an audience that was next door to, if not quite, capacity. This latest of Charles Frohman's English productions at once created a marked impression – maybe a decided hit would be nearer the mark. The music is by Lionel Monckton and Howard Talbot, the book by Mark Ambient and A.M. Thompson, while the lyrics were furnished by Arthur Wimperis. The humor is excessively English, and the comedy passages are often lacking in snap. But there fault-finding must end. A more beautifully staged production of its kind has never been seen in Philadelphia, and that is saying not a little. Colors are harmoniously blended in the artistic settings, and the dresses of the ladies of rich material are stunning in effect, and combine tastefulness and luxury. The music is exceedingly melodious and of superior quality. Several of the songs are charming, and the score in its entirety is musicianly, a rather uncommon characteristic in latter-day musical plays. Frank Moulan, the principal comedian, impersonated a wealthy Cockney restaurant keeper whose airship carried him to Arcadian. His arrival creates great interest among the shepherds and shepherdesses, who lead the simple life in that blissful abode of perfect truth and happiness. They had just heard of England, a land of "monsters," and of London as a terrible place where the people did not tell the truth, and lived in "cages" built of bricks and stone instead of in the open air and cheerful sunshine. In consequence of telling a lie, the Cockney is immersed in the well of truth and comes forth an Arcadian. He is obliged to lead a part of Arcadian shepherdesses to London on a missionary enterprise to convert the wicked Londoners to the truth. From Arcadia the scene is transferred to Askwood race course, where the climax of absurdity is reached by having the transmogrified Cockney ride the winner in the principal race. When the horse and rider are brought in to receive the triumph due them the jockey is clinging to the horse's neck fast asleep. To account for this it is explained that the intelligent animal had entered into a compact with an Arcadian shepherdess who understood the language of all the animals. Arcadia is brought to London in the form of a restaurant in the third act. The Cockney falls from grace by telling another lie and is again dipped in the well of truth and restored to his own grotesque self. The prima donna of the company is Ethel Cadman, an English beauty, who as Sombra, a shepherdess, sang in a pure, fresh, cultivated voice of considerable flexibility and range. She had several charming numbers, which were repeatedly encored, and deserved to be. Julia Sanderson made a most attractive Irish lassie, and her singing and dance of "The Girl with a Bit of a Brogue" took the house by storm. Percival Knight as an English jockey aroused much merriment with his English comedy. Connie Ediss was humorous as the Cockney's wife, and Audrey Maple was pleasing in song and dance. Alan Mudie and Lawrence Grant were two other principals who played with success. All of the minor parts were well taken. |
Charles Frohman's production of
'The piece was received with every mark of popular favour and offers an interesting entertainment to all classes of playgoers. It enabled Percival Knight to score as a melancholy jockey, Ethel Cadman in the principal singing part, Frank Moulan in a light comedy role with dances, and Julia Sanderson in dainty dances and several pretty songs with Alan Mudie.
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© John Culme, 2004
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