As I recall the annual performances of this obscure troupe, they were surprisingly good. At least, so they seemed to me, and I can laugh even now at the excruciatingly funny fellow who sang the topical song, "Bob up Serenely" in "Olivette." There was also a curious dance, I remember, that went with the song,--a spreading out simultaneously of arms and legs in jumping-jack fashion,--and we boys thought it vastly amusing. We clapped and stamped and whistled, and kept the poor comedian at work as long as our breath held out and long after his had gone.

The last time that I saw the Bennett and Moulton Opera Company was in "Fra Diavolo," and the prima donna--the term seems ridiculous and absurd as I think of the person to whom it is applied--was a golden-haired little creature, wonderfully ample, tremendously in earnest, and strangely fascinating, a dainty slip of a girl, who seemed, in truth, only a child. I can see her now as she sat on the edge of the bed in the chamber scene, unfastening her shoes, singing very sweetly and very expressively her good-night song, all unconscious of the bold brigands who were watching the proceedings from their places of concealment. She charmed me as no singer in light opera ever had before, and the impression that she made upon me has never been lost. The child was Della Fox, of whom at that time no one had ever heard--Della Fox in the humblest of surroundings, but to me more fascinating than in any of the brilliant settings that have since been hers.

I did not see Della Fox again until 1890, when she was playing Blanche in "Castles in the Air" with DeWolf Hopper. She had changed greatly in the few years, though far less than she has since the days of "Castles in the Air," "w.a.n.g," and "Panjandrum." Her appealing, unsophisticated girlishness had gone, and in its place was self-possession and authority. She was charming in her daintiness, provoking in her coquetry, a tantalizing atom of femininity. Her archness was not bold nor unwomanly, and her vivacity was well within the bounds of refinement and good taste. Her singing voice, too, was musical, though not over strong.

Della Fox was born in St. Louis on October 13, 1872. Her father, A. J.

Fox, was a photographer, who made something of a specialty of theatrical pictures; and thus Della's babyhood was pa.s.sed, not exactly in the playhouse atmosphere, perhaps, but certainly in an atmosphere next door to that of the greasepaint and footlights. Her experience on the stage began when she was only seven years old as the midshipmate in a children's "Pinafore" company, which travelled in Missouri and Illinois for a season. She was an astonishingly precocious child, and many persons who watched her shook their heads and predicted that her talent had ripened too early, and that, as is the case with many promising stage children, she would never amount to anything.

Apparently this midshipmate experience firmly established in Miss Della's childish mind the intention to become an actress. Her parents, however, succeeded in keeping her in school for a few years longer, though she appeared in several local performances where a child was needed. When she was nine years old, for instance, she acted for a week in St. Louis the child's part in the production of "A Celebrated Case"

of which James O'Neill was the star, and she was also at one time with a "Muldoon's Picnic" company. Her first real professional experience, however, was obtained with an organization known as the d.i.c.kson Sketch Club.

This was gotten up by four St. Louis young men, W. F. d.i.c.kson and W. G.

Smythe, both of whom became prominent theatrical managers, Augustus Thomas, the playwright, and Edgar Smith, the author of several Casino pieces, and at present writer-in-ordinary to Weber and Fields. Mr.

Thomas made a one-act play of Mrs. Frances Hodgson Burnett's story, "Editha's Burglar," and the company also appeared in a musical farce called "Combustion." Della Fox was the Editha in the play and the soubrette in the musical piece, while Mr. Thomas acted Bill Lewis, the burglar, and Mr. Smith was Paul Benton. Miss Fox's impersonation of Editha was, according to report, very good indeed. At any rate, the success of the play was sufficient to encourage the author to expand it to three-acts. The result was "The Burglar," one of the first plays in which Mr. E. H. Sothern appeared as a star. In the three-act version Sothern acted Bill Lewis, the burglar, and Elsie Leslie was Editha.

Mr. d.i.c.kson, who is now connected with the business staff of the Alhambra in Chicago, referred not long ago to this early experience as a manager.

"Yes," he said, "that was 'Gus' Thomas's debut as a dramatic author.

'Gus' was in the box office with me at the Olympic in St. Louis, and he managed to find time during the leisure moments when he was not selling tickets to scribble ideas in dramatic form. He read me this little sketch, 'Editha's Burglar,' and asked me to give it a trial. Right across the street from the theatre lived Della Fox, daughter of a photographer, a precocious little miss, whose talents were always in requisition whenever there were any child's parts to be filled at the theatre. I used to send over for Della whenever there was a little part for her, and she was delighted to get away from school and skip and trip before the footlights. After 'Gus' had read the play to me, he suggested that Della should play little Editha, and as a result I was induced to put the piece on with the budding author in the princ.i.p.al role. It had a certain sort of success, and we went on a tour, using 'The Burglar' as a curtain raiser to another play called 'Combustion,' also from 'Gus'

Thomas's pen. Later 'The Burglar' was produced in New York as a curtain-raiser to William Gillette's comedy, 'The Great Pink Pearl.'

Gillette himself played the burglar, and Mr. Thomas was encouraged to expand his sketch into a pretentious three-act play, and it went on the road, making money for the managers and familiarizing the public with Augustus Thomas's name."

Next came Miss Fox's connection with the Bennett and Moulton Company, with which she appeared in the leading soprano roles of all the light operas,--"Fra Diavolo," "The Bohemian Girl," "The Pirates of Penzance,"

"Billie Taylor," "The Mikado," and "The Chimes of Normandy." Her success with this minor organization brought her to the notice of Heinrich Conried, who was getting together an opera company to appear in "The King's Fool." She was given the soubrette part, and created something of a stir wherever the opera was given by her singing of "Fair Columbia,"

one of the most popular songs of the piece. From Mr. Conried also she received about all the real instruction in dramatic art that she had ever had. When Davis and Locke, who had managed the Emma Juch Opera Company, decided to launch DeWolf Hopper as a star, they began to look about for a small-sized soubrette to act as a foil for Mr. Hopper's great height. George W. Lederer, of the New York Casino, suggested Della Fox, and accordingly she was engaged and opened with Hopper in "Castles in the Air" at the Broadway Theatre, New York, in May, 1890.

Her success in this larger field was remarkable, and before the summer was over she was sharing the honors with Hopper and was just as strong a popular favorite as he. Her Blanche was a delightful creation throughout, but best remembered is the "athletic duet" in which she and Hopper gave amusing pantomimic representations of games of billiards, baseball, and other familiar sports. Her Mataya in "w.a.n.g," which was brought out in New York in the summer of 1891, was another triumph. This was, perhaps, the most artistic of all her roles. She was cute, impish, and jaunty in turn as the Crown Prince, and, in addition, was a picture never to be forgotten in her perfect fitting white flannel suit, worn in the second act. It was in this act, too, that she sang the famous summer-night's song, which was whistled and hand-organed throughout the land.

Next Miss Fox created the princ.i.p.al soubrette role in Mr. Hopper's opera "Panjandrum," in which she continued to appear until she made her debut as a star in August, 1894, at the Casino, New York, in Goodwin and Furst's opera, "The Little Trooper." Her first season was extremely successful. The next year she was seen in "Fleur-de-lis," another Goodwin-Furst product. Writing of Miss Fox in this opera, Philip Hale said:--

"Disagreeable qualities in the customary performance of Miss Fox were not nearly so much in evidence as in some of her other characters. She was not so deliberately affected, she was not so brazen in her a.s.surance. Even her vocal mannerisms were not so conspicuous. She almost played with discretion, and often she was delightful. Her self-introduction to her father was one long to be remembered. No wonder that the audience insisted on seeing it again and again. All in all, Miss Fox appeared greatly to her advantage."

His criticism of the opera is also interesting:

"It was March 31, 1885, that 'Pervenche,' an operetta, text by Duru and Chivot, music by Audran, was first produced at the Bouffes-Parisiens.

Mrs. Thuillier-Leloir was the Pervenche, Mauge the Count des Escarbilles, and Mesnacker the Marquis de Rosolio. The honors of the evening, however, were borne away by Mr. and Mrs. Piccaluga, who were respectively Frederick and Charlotte. The opera did not please, and it ran only twenty-nine nights. Nor has it been revived.

"In the time of Henry the Second, or Henry the Third, two nephews disputed the right to possess a castle in Touraine that had belonged to their late uncle, who died without will. Rosolio held the castle, and Escarbilles tried to dislodge him. By the will, found eventually, the castle belonged to Rosolio if Frederick, the son of Escarbilles, should marry Pervenche, the natural daughter of Rosolio.

"The performance was in the main poor, and the music of Audran was not distinguished, they say. A romance of Frederick, a pastorale Tyrolienne sung by Charlotte at the end of the second act, and a duet of menders of faience in the third act, said to be the best of the three, alone seemed worthy of remark.

"So much for 'Pervenche,' the libretto of which furnished the foundation for Mr. Goodwin's story and songs. Just how far Mr. Goodwin departed from the situations furnished by Messrs. Durn and Chivot, I am unable to say, for I never saw 'Pervenche' nor its libretto. However much he may be indebted, this can be truly said: he has written an entertaining book; the plot is coherent, and the situations laughable. The second act is admirable throughout. The colossal effrontery of the starved Rosolio in the castle manned by women disguised as soldiers, the reconciliation of the nephews, the exchange of reminiscences of gay student days in Paris, the discovery of the imposition, and the renewed hostilities,--these are amusing and well connected. Furthermore, the audience at the end of this act realizes at once the need of a third act, to clear up matters. Now this is rare in operetta of to-day. Even in the third act the interest never flags, although there was one dreadful moment, when it looked as though the old 'Mascotte' third-act business was to be introduced. Fortunately the suspicion was groundless, and the audience breathed freer and forgot its fears in the enjoyment of the delightful scenes between Des Escarbilles and the miller, and then the ghost.

"Not so much can be said in praise of the music. It is the same old thing that has served in many operettas. There is a jingle, there are the inevitable waltz tunes that always sound alike. But the music gives the comedians an excuse for singing and dancing. It thus serves its turn and is promptly forgotten until another operetta comes, and the hearer has a vague impression that he has heard the tunes before."

"The Wedding Day," with Della Fox, Lillian Russell, and Jefferson De Angelis in the cast, was brought out in the fall of 1897, and it revived to a degree old-time memories of players at the Casino. The opera itself proved to be of an order of merit recalling "Falka," "The Merry War,"

and "Nanon," the like of which had not appeared for many, many seasons.

The music was ambitious without being dull, and some of the concerted numbers had genuine musicianly value. The story held its interest fairly well, though in spots it was too complicated, and at one point in the third act quite absurd. Still it was an excellent vehicle to display the talents of the so-called "triple alliance" of comic opera stars. Miss Fox, who had shown a decided tendency toward stoutness, had trained down to within hailing distance of her former slender lithesomeness, and she made a pretty and attractive bride.

The following season found Miss Fox again an individual star, this time in "The Little Host." Her last appearances in opera were made in this piece, for after her season had begun in the fall of 1899, she was taken seriously ill, and for a long time her death was expected. She recovered partially, however, after months of illness, and in the spring of 1900 she appeared for a few months in vaudeville. Even this labor proved too much for her strength, and her friends were compelled to remove her to a place where she might have perfect rest.

CHAPTER XVIII

CAMILLE D'ARVILLE

Camille D'Arville, like Lillian Russell, Pauline Hall, and Jessie Bartlett Davis, is one of the old guard, in American light opera. She has not appeared in opera for some time, for during the season of 1899-1900 she followed the general inclination and went into vaudeville.

From these appearances it was apparent that her voice was not what it had been once--and little wonder that it had failed, when one recalls how continuously that voice has been in use since the owner left her Dutch home, forswore her own name of Neeltye Dykstra, and first learned to talk a prettily accentuated English. She still had in full the power to win an audience instantly and completely. Nor had she lost to any perceptible degree her rare good looks. A little fuller in the figure, perhaps, than she was five years ago, she carried herself with the same fine grace and perfect poise which were of themselves an art.

Camille D'Arville has temperament, and she has style. It is these two qualities particularly that have brought her success so often in dashing cavalier parts, parts which require that a woman shall act either a man or a woman masquerading as a man. The modern comic opera librettist often has but one main purpose in mind, that is, to get his prima donna in tights as soon after the show begins as possible and keep her in them as long as practical. Indeed, if one were looking for a practical way to distinguish modern comic opera from extravaganza, he might find it in this matter of tights. If the leading woman represent a woman disguised as a man, she is an operatic prima donna; if, on the contrary, she be represented as a man from start to finish, she is merely princ.i.p.al "boy" in extravaganza.

I suppose this tendency toward tights, which is so common as to be almost a light-opera conventionality, is an outgrowth or heritage from the old-fashioned burlesque. In fact, the difference between the modern comic opera and the burlesque of thirty years ago is purely one of degree. The relation between the two is similar to that between the variety show of eight years ago and the so-called "fashionable vaudeville" of to-day. Variety has been put through what managers of the large circuits call a refining process. There is no denying that the old-style variety show in most of its components was crude, noisy, and vulgar, and that its surroundings were scarcely favorable to the development of high art. But one was always sure of finding vigor and life--plenty of both--in the old-time varieties, and there were oftentimes spontaneity and humor--rude and bucolic, perhaps, but real, just the same--which one is not sure of meeting in the latter-day entertainments so carefully prepared for the mentally delicate and sensitive.

Modern comic opera has adopted in a modified and refined form the chief characteristics--one of them the woman in tights and another of them the clown with his perfunctory low comedy--of the old-fashioned burlesque.

Of course, the opera makes more pretensions than did the burlesque, and musically it is superficially superior, not necessarily more tuneful but orchestrated with more scholarly skill. Stage pageantry to-day is also much further developed, and spectacular effects are far more elaborate.

The costuming is richer and more tasteful, and the women on the stage--if not actually younger and prettier--are certainly daintier and more feminine. The girlishness and natural beauty of many modern light-opera choruses are simply amazing.

If we look beneath these externals, however, we find that the comic opera of to-day is hardly an advance over the burlesque of yesterday.

There was good stuff in most of the old burlesques. They had original ideas, plenty of simple dramatic action, and some genuine comedy, but it is seldom that one finds any of these three essentials in the book of the modern comic opera. Not for ten years, I am tempted to declare, has there been written a light-opera libretto with sufficient intrinsic merit to attract the public attention without the a.s.sistance of the most magnetic personalities surrounded and set forth by the most gorgeous of stage accessories.

Camille D'Arville's cavaliers--and in recent years she has not played a part that did not require male attire--are a direct heritage from the burlesque stage. When Camille D'Arville becomes a man, she makes the change from petticoats without the slightest show of self-consciousness. I heard her once termed the most modest woman in tights on the stage. That was simply an acknowledgment of her complete effacement of the personal equation. Yet her individuality was not at all diminished, her presence was inspiring, and her acting both vivacious and forceful.

Camille D'Arville was born in 1863 in the village of Oldmarck, Province of Overyseel, Holland, and came of a family that had never shown any theatrical or especial musical talent. When she was twelve years old, her voice gave promise of developing into something more than the ordinary, and she was sent to the Conservatory at Amsterdam for instruction. Here she made her first appearance in concert in 1877.

Later she went to Vienna, where she received further instruction, and also made a successful appearance in a one-act operetta.

"I was a big girl fourteen or fifteen years old before I saw other lands than my own Holland," remarked Miss D'Arville, "and after I left Amsterdam I was on the Continent and in England for a long time before I returned home. I still claim Holland as my birthright, however, and I do not want to be called anything but Dutch. If I have a trace of French accent in speaking English, as some claim, it is not my fault.

"But, do you know," she continued, "if it were purely a matter of inclination, I think I should much rather be an actress than to be a singer. Of course, I love music, but what can be more gratifying than to portray the heroines of Shakespeare and other great dramatists? But my natural endowment as a singer led me toward the operatic career. In opera I prefer a strong dramatic role, a part which has only one grand song if it afford plenty of opportunity for acting.

"When did I first sing in public? Oh, I can't remember that. I appeared in concerts in Amsterdam when I was a girl, and by the time I entered my teens I took part in operatic performances given by the Conservatory pupils. Do you mean when did I make my real debut in opera? I suppose that might be said to have occurred in March, 1883, at the Strand Theatre, London, in an operetta ent.i.tled 'Cymbria, or the Magic Thimble.'"

Before this, however, Miss D'Arville had anything but a pleasant experience in London. She went there under the supposition that she had been engaged to sing in opera. The managerial promise she found to be worthless, and she had to be satisfied with a chance to earn a little money in a music hall. It was after several months of the most uncongenial toil that she finally gained recognition in "Cymbria."

"Harry Paulton was responsible for that appearance," continued Miss D'Arville. "He heard me sing, and under his tuition I learned the words of the opera and sung them before I understood their meaning. It was not long, however, before I could speak English fairly well. The Dutch, you know, are famous linguists.

"In October of the same year I created the part of Gabrielle Chevrette in 'La Vie,' an adaptation by H. B. Farnie of Offenbach's 'La Vie Parisienne.' The critics spoke very kindly of me then, but were much more generous in their praises when during the following spring I appeared as Fredegonda in a revival of M. Herve's 'Chilperic' given at the Empire Theatre. Perhaps chief among my early successes was in 'Rip Van Winkle.' I succeeded Miss Sadie Martinot in the leading soprano part, and sang it until the end of the opera's long run. Fred Leslie was the Rip Van Winkle, and very fine he was, too. It was a pity he afterward became so thoroughly identified with burlesque."

It was at the time of her first appearance in opera in England that the singer adopted the name of Camille D'Arville. It was chosen for euphony only, and had no significance whatever.

After her success in "Rip Van Winkle" Miss D'Arville toured the English province with "Falka," and in 1887 returned to London to play in "Mynheer Jan." This was followed by an engagement at the Gaiety Theatre, and her position in London seemed established, when a quarrel with the management caused her to break her contract and she appeared at another theatre in the t.i.tle role of "Babette."

Miss D'Arville first came to this country in the spring of 1888, being under engagement to J. C. Duff; and her first appearance here was made in New York in April in "The Queen's Mate" in the cast with Lillian Russell. In the fall Miss D'Arville returned to London, where she appeared in "Carina," in which piece her charming archness was a feature. The Carl Rosa Company then engaged her to take the part of Yvonne in "Paul Jones," in which Agnes Huntington as the hero had taken the city by storm. With the same company she also created the t.i.tle role in "Marjorie," which also enjoyed a long run. During the summer of 1889 Miss D'Arville became connected with the New York Casino, appearing in "La Fille de Madame Angot," "The Grand d.u.c.h.ess," and "Poor Jonathan."

Back to London she hied herself once more, and for a time was heard at the Trocadero and Pavillon. Then she returned to the United States, and joined the Bostonians, with whom she sang Arline in "The Bohemian Girl,"

Maid Marion in "Robin Hood," and Katherine in a revival of "The Mascotte." She was probably the most satisfactory Maid Marion, all things considered, that ever sang the part. Certainly she was better as an actress than Marie Stone, who had previously taken the role, and she was physically better fitted to the character than Alice Nielsen.

Critics, who up to that time had not been entirely satisfied with Miss D'Arville, claiming that her vocal method was bad and her acting oftentimes crude and meaningless, found her work in "Robin Hood" very much to their taste.