The Count of Luxembourg

Performed at Daly's Theatre, London.
A musical play by Basil Hood, music by Franz Lehar.
Opened 20th May, 1911 - ran for 240 performances.

Starring: Lily Elsie.

Editorial and Photos all as published in 'The Play Pictorial' No. 108 (1911).

Review		Review of the play.
Frocks & Frills		Description of costumes.
Scenes from the Play		A selection of scenes the play

REVIEW

MY DEAR FINDON, You have asked me to write for you some of my experiences as an adaptor of Viennese musical plays; and in particular to describe for you the difficulties (to which, with your permission, I may add the pleasures) I have met with in preparing such a piece as "Der Graf von Luxemburg" for performance on the English stage.

It has become quite clear to me, during the last few years, that most people do not know, and possibly do not care, what the process of adaptation means. Probably the few who have given the matter a thought presume that the English version of a Continental libretto is a translation of the original work. For more than one reason a translation would not suit or satisfy the taste of our English audiences; not - as is often suggested to me - because native improprieties would prove too startling for our British Mrs. Grundy, but because our audiences desire different methods of construction and treatment from those which our Continental cousins consider sufficient in the "book" of a light opera.

Here, then, is an initial difficulty for the English adaptor. Given a stage story told in one manner, to tell it again in another manner; and, while preserving the essential situations, to arrive at and develop them by ways very different, in many instances, from those used in the original work; and, throughout this process to continue to pay proper regard to the introduction of the existing music, while considering the requirements of new musical numbers which the altered structure may demand.

To come from general statements to particular, in the case of "The Count of Luxembourg" there are not, I think, thirty lines of dialogue in the English adaptation which are actually translated from the German; the action of the play has been constructed in two acts, instead of the original three; while the entire part of Brissard, played by Mr. W. H. Berry, has been invented and introduced, and, as a consequence, new situations and scenes have arisen which do not exist in the original play. Three of four minor characters also have been created to help the construction of the new effects, such as the opening of Act I, and the dialogue scene towards the end of Act II, where Angele and the Count each discovers the identity of the other, through the jealous interference of Monsieur de Tresac. This particular episode was in the original treated musically, with a full stage, being the subject of the Finale of Act II; and in doing away with the third act it became necessary, of course, to sacrifice this Finale and to approach and develop the dramatic moments of the recognition by different methods, in spoken dialogue. These instances may serve to show how far an adaptation may differ from its original, what alterations and additions may be necessary for the framework and development of the new libretto; and it is exceedingly gratifying to the English author responsible for them that in the case of "Luxembourg" both the Viennese author and composer have been, and are, thoroughly in accord with all the alterations which have been made in order to prepare the version for the stage of Daly's Theatre. Their sympathetic attitude and charmingly expressed appreciation have been a constant pleasure during the progress of a difficult but interesting work.

I suppose it would be impossible for an English playwright to put a Viennese libretto into English form without finding his own imagination stimulated to produce original work in his treatment of the subject; and when, as has been my own experience with my friends Dr. A. M. Wilmer and Herr Franz Lehar (the author and composer of "Der Graf von Luxemburg") his suggestions are received with encouragement and enthusiasm, the result is true collaboration in the most pleasant circumstances possible.

Among such circumstances I may incidentally mention several delightful visits to Austria for the purpose of holding friendly consultations with my collaborators; very pleasant memories remain with me of many meetings in Vienna, Innsbruck and Ischl, when we have discussed and settled the thousand and one points which must arise in the preparation of a big musical production. Most pleasant places! Most charming fellow-workers! May we often come together for our business and pleasure!

But your letter to me reminds me that I am invited to enlarge upon the "difficulties" of my work and not the delights thereof; and I have said little of the technical details, which harass an adaptor. Would your readers care for more? Would they not rather, as theatregoers, accept the main issue - the play as produced - without too closely enquiring into the origin of all its details? However, to sum up very briefly the points on which you have asked me to touch, I may say that the difficulties one meets with in this class of dramatic work come chiefly as a natural consequence of the difference in taste or point of view of Continental and English audiences: that, from the English point of view, the Viennese libretto generally lacks comic characters and situations, the construction and dialogue seem to us a little rough or crude, and the third act (a Viennese operetta is usually in three acts) is to our taste as a rule so trivial in subject and treatment that it is necessary to construct and write an entirely new act, or to cut it away altogether, as we have done in "Luxembourg".

These matters give difficulties to the English playwright; but when he is generously assisted by the goodwill and understanding of the original authors such difficulties are not hardships; and I can assure you and your readers that thrice fortunate in the most astute and generous directorship of Mr. George Edwardes, the sympathetic support of his brilliant stage manager, Mr. Edward Royce, and the zeal and artistic excellence or the Daly Theatre Company, the lot of the English adaptor of "Der Graf von Luxemburg" is not an unhappy one.

Yours very sincerely, BASIL HOOD.

The central idea of the plot of "The Count of Luxembourg" is that the Grand Duke cannot marry Angela - with whom he is infatuated - unless she bears a title. He therefore induces the spendthrift, Count Red, to marry a lady whose face he is not to see, and to agree to a divorce in three months. For this the Count receives the sum of £20,000. Later on, the young couple meet and the Grand Duke is hoist with his own petard.

FROCKS & FRILLS

THE production of the "Count of Luxembourg" adds yet one more to the brilliant successes of Mr. George Edwardes and his excellent company at Daly's.

The first scene is in Brissard's Studio in Paris, at the time of the Carnival, and the merry throngs in their bright and fantastic dresses add to the brightness of the ensemble.

Some of the costumes are most charming. Amongst the brilliant crowd of Masqueraders, a group of flower-girls looked particularly picturesque. The blending of the mauve and green and chene ribbons on the short skirts with borders of flowers, and the quaint Pagoda hats with the tiny bunches of blossoms all round and the hanging ribbons, made a very pleasing contrast to some of the conventional figures.

Miss Gladys Guy, as the model and fiancee of the ever amusing Brissard, is always merry and bright. She wears in this act a dainty little frock of pale blue, opening at the side over graceful underskirts of ninon and lace insertions. A subtle leather belt confines the waist and the skirt is ornamented by little groups of buttons. Her hair hangs in one long plait, tied with a velvet bow.

Miss Lily Elsie looks as usual, absolutely fascinating as the young actress, Angele Didier. At first, I could only watch her pretty movements, and try and grasp the details of the elegant wrap which almost concealed the dress.

This long loose coat of palest mauve, was inlet in quaint panel effect in front and at the back with embroidered silvery lace, bordered round the sleeves and edges with narrow brown fur. It was only on her second entry as the bride, who was united to the bridegroom without either having seen the other, that I could get a glimpse of the glittering and beautiful gown.

This was in Miss Lily Elsie's favourite blue. Most elaborately embroidered in silver and white, the lower part was a cascade of silver bugle fringes and little crescents of pink and blue flowers peeping in and out round the hem of the skirt. There seemed to be two or three transparent skirts, the overdress, just giving a tantalising glimpse where it opened at the side. The effect of the mauve coat over the blue was delightful. A lovely hat with pale blue ospreys standing up all round the back completed the picture.

A large pillow muff of alternate pink satin and brown fur, was carried when Miss Elsie first appeared and the touch of pink against the blue was most effective.

The Reception Hall at the Grand Duke Rutzinov's is a most realistic setting.

Miss Lily Elsie in a wonderful creation of blue and silver, the corsage forming an original little bolero coatee, with square tabs. Graceful scarf draperies from the shoulder on the right side attached to the bracelet on the arm, and weighted at the ends with silver fringes.

This gown is also fashioned in the long graceful tunic lines, showing delicate lace at intervals with every movement. A large bouquet of Parma violets strikes a pretty contrast of colour.

Yet another creation that suits Miss Elsie to perfection is the Russian dress, in which she appears in this same act.

The colouring of this is superb. In a deep blue purple, with magnificent embroidery, this gown is made in straight tunic form, intersected with narrow bands of Russian sables. There seems to be not only the one shade of blue in this gown, but the effect made from several tones combined. But the whole is a gorgeous picture.

Juliette also is charming in her pretty ball-dress of white and silver with embroidered key borders and a single pink rose at her waist.

Some of the gowns worn by the guests at these splendid receptions are very handsome, jewelled effects figure of a tall and elegant guest, with wide jewelled bands of embroidery outlining the princess robe.

Dainty Doris Stocker looked sweet in a pink ninon embroidered in coloured flowers, the bodice trimmed silver embroidery.

Another handsome gown was of white Russian net jewelled in coloured stones in diamond shape over a foundation of white satin.

White and pink flowers cut out and outlined with silver bugles were the motifs of another elegant dress.

Very pretty also were the four little girls that helped the Grand Duke Rutzinov in his fetching little scene, Blue and white double tunics, with fichu draped corsages.

The Russian Dancers too in their characteristic dresses made a pleasing variation.

Miss May Marton looked also charmingly quaint in her pearl and lace headdress, which sparkled also with rich coloured gems.

And Miss Gladys Homfrey as Countess Kokozeff who arrives in tune to capture the Grand Duke and reunite the bride and bridegroom. This great lady is ablaze with jewels and over her lovely blue gown she wears a mauve transparent long coat embroidered and jewelled and edged marabout

RITA DETMOLD

SCENES FROM THE PLAY

Click any image for a larger view
Angele hidden from Count Rene	Angele (Lily Elsie)	Medley	The Grand Duke and the Count	Grand Duke and Ladies
Angele and Count parted by screen	The Marriage of Convenience	Angele	The Grand Duke salutes his anticipated bride	Finale of Act I
Medley - The Duke's plan goes awry	Medley	The Grand Duke is deceived	The lovers together