The Kan-Kan (-garoo) Dance.
I was curious to see how Alexander "the (Getting) Great" would comport himself as the hero of light farce, associated as he has always hitherto been with heroes of romance and high comedy. The theatre-going public and his admirers—the terms are synonymous—may breathe again. Alexander is surprisingly good as Dr. Bill, and the serious earnestness with which he invests the part intensifies the drollery of the complications. And to think that the adapter of this gay and festive piece should be none other than the sentimental troubadour, song-writer and composer, author of a Lyceum Tragedy and other similar trifles, Mr. Hamilton Aïdé!! "Sir," in future will Hamilton Aïdé say, when being interviewed by a Manager, "I will now read you my Five Act Tragedy entitled——" "Hang your tragedies!" will the Manager exclaim, "Give me a farce like 'Dr. Bill,' my boy!" And once more will the poet put his pride and his tragedy in one pocket, and all the money which the Comic Muse will give him in the other. I back the argumentum ad pocketum against the Tragic Muse.
How capitally it is played! Miss Brough excellent; and so also is Mr. Chevalier, who entirely loses his own identity in his make-up, and is not to be recognised at all, save for a few mannerisms. Charming housemaid is pretty Miss Marie Linden; and the idiotic youth, George Webster, played by Mr. Benjamin Webster,—two Websters rolled into one,—is very funny. But they're all as good as they can be. I congratulate Alexander the (Getting) Great, who, for pecuniary reasons, I should like to be, were I not
Diogenes Out of the Tub.