The Irene Dunne Site
Municipal Opera Company At Best In Closing Opera
New Laurels Are Won By Louise Hunter - Irene Dunne And Other Stars Make Hits. by Ralph T. Jones
Once again for the sixth and last production of Atlanta´s first summer season of light opera, dainty Louise Hunter demonstrated that at least 50 percent of the success of these productions has been due to her work, when she sang and danced her way through Victor Herbert´s "Sweethearts."
If ever there was a girl blessed with all the attributes of personality, charm, beauty and voice to carry her at one sweep to the heights of musical comedy stardom, it is Miss Hunter. Her name belongs in the brightest lights on Broadway and if it isn´t there next season, some manager is overlooking a sure-thing bet.
As "Sylvia," in this week´s production at the auditorium, she gives a performance that ought to assure a repetition of summer opera next year, and for many more to come.
Tuneful Opera
The Victor Herbert opera, with the famous Smiths, Harry B. and Robert B. responsible for book and lyrics, proved a tuneful, frolicsome, beautiful thing and the opera association in the production has taken advantage of every opportunity for effect, both through performers, the chorus and ballet, the costuming, scenery and lighting. Director Lewis Morton and Conductor Paul Eisler seem to have kept their finest inspirations for the final opera of the series.
Irene Dunne, as "Liane," continues the work she has so generously given all summer to make the season an outstanding success. Whenever Miss Dunne comes back to Atlanta - you know she played a the Atlanta a year ago in the title role of "Irene" - there are hundreds of people who will flock to see her because of their memories of her work at the auditorium for the past six weeks.
And Louise Wright, another one of the trio of sopranos, again scores tremendously as "Marie," the leader of the "White Goslings."
Anne Yago fills a character role once more - and sings divinely in her one solo number, the "Irish Love Song."
Thomas Conkey Pleases
Thomas Conkey, the romantic baritone, has again the type of character he seems to have been molded to fit. The heir to the throne, you know, who loves the simple - but lovely, heroine. Dudley Marwick and Charles Schenck have two excellent comedy roles, with William McLeod again featured in a "silly ass" Englishman type.
Rober Pitkin, the indefatigable comedian, follows his customary program of extracting every ounce of humor out of his part. He is the comedy villain, who holds the secret to the real parentage of the heroine - a part which, by the exigencies of the plot, requires him to work as a laundress and chase soap all over the stage.
George Meader, the tenor, again demonstrates the range of his splendid voice, and Richard Bennett and Leonard White fill two small roles satisfactorily.
Special attention must be paid to the half dozen ballet numbers who as the "White Goslings" contributed a lot to the success of the performance. They were exeptionally important in the song with Miss Hunter "Mother Goose" and the number with Miss Dunne "Wooden Shoe," in the first act, and with Mr. Meader in "Game Of Love," in the last act.
Quartet Scores
Any you must not forget to reserve a lot of your applause for the comedy "Monks´Quartet," near the close of the second act, sung by Pitkin, Marwick, Schenck and McLeod.
All in all, "Sweethearts" was an excellent selection for the final opera on the list, because it will leave an excellent taste on the musical palates of Atlanta and make the appetite for light opera compelling when next summer rolls around.
And, if the gods are sufficiently benevolent, let us pray that when light opera does come back, it brings back to us Louise Hunter.
(The Atlanta Constitution, July 21th, 1925)