The Irene Dunne Site
'Firefly' Artists Receive Ovations On Opening Night
First Night Audience Records Smashed as Check on Monday Night's Attendance Is Disclosed.
BY Ralph T. Jones
"The Firefly", fifth in the series of six light operas in Atlanta's first season of municipal opera offerings, had its premiere at the auditorium Monday night before decidedly the largest first night audience of the summer.
The semi-final opera number this week precedes "Sweethearts," which will be given througout the next week as the closing offering of the season, and like its forerunners is extremely enjoyable, presenting a galaxy of brilliant stars headed by Louise Hunter, in the leading role. A group of stars who have endeared themselves to Atlanta during the past four weeks are cast in roles which offer exceptional opportunities for their talents, with the result that "The Firefly" is expected to prove the most popular of the any opera presented thus far.
In the title role of the Hauerback and Friml masterpiece, Miss Hunter fits in most beautifully, number after number offering her the opportunity to further demonstrate to Atlantans that her voice is one of the most delightful and refreshing ever heard here. Encore followed encore in many of her selections.
But in fairness it must be said that Miss Hunter wasn't the only one to get encores. There were, for instance, Irene Dunne and Thomas Conkey. They took more encores on the "Sympathy" duet than any other single number. And the audience, if it had had its way, would have been listening and watching that fetching little hesitation in Miss Dunne's voice until daylight.
The opera is musical comedy in its highest form. Funny, but with music far above the average and a plot that is really a plot. Scenery that seems to outdo, even, the best that has been done before during the season, and chorus work that fully holds up the superlative record the local ensemble has achieved.
The audience Monday night, according to the box offive figures, was the largest of the season and the performance fully justified it. In fact, careful comparison leads inevitably to the conclusion that this week is the best production of the five yet given. There is one more to follow, when "Sweethearts" is given next week, but if it is better than "The Firefly," well, it is impossible, that's all.
Every member of the cast does wonderful work in this week's performance. Beginning with Edith Moore, a local girl whose voice fills the auditorium with its sweetness, principal after principla takes the center of the stage with steadily accelerating success, until -
In the last set Miss Hunter sings the Waltz song from Gounod's "Romeo and Juliet." Didn't we tell you it is a marvelous opera?
Ethel Louise Wright who, unfortunately, has been missing from the cast for the past couple of weeks, comes back with a bang in another French maid role. She is one of the most attractive soubrettes in captivity.
William McLeod has a good little part, as the valet, and Anne Yago again uses her great contralto to advantage as "Mrs. Vandare."
Pitkin Gets Laugh.
Robert Pitkin, the star comedian, has a peculiar "silly ass" role as a confidential clerk. As usual, he gets all the comedy possible our of the part and his "Bug Song" in the last act was a featureof the performance.
Irene Dunne, as had been said, sings "Sympathy." But more than that, she is the ever irresistible Irene, a lovable, charming, beautiful girl, who can have all the male sympathy in Atlanta any time she wants it.
George Meader plays the straight and his great tenor rings out with powerful tone in several good songs, duets and ensemble numbers.
Thomas Conkey has better opportunity than ever for his baritone which has become so popular in Atlanta, and Dudley Marwick portrays the old choirmaster with fidelity and charm. Charles Schenck, Peggy Lumpkin and Walter Herbert round out the balance of the splendid cast.
As usual, the orchestra, chorus and ballet could not be improved on and, once again, the company has scored a new triumph for Atlanta musical and amusement history to record.
(The Atlanta Constitution, July 14, 1925)