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Ce spectacle était avant tout un véhicule pour Chauncey Olcott. La pièce était plutôt une comédie avec des chansons. La banalité de la pièce n’a pas échappé à la critique…
Version 1
Voice of McConnell (The) (1918-12-Manhattan Opera House-Broadway)
Type de série: OriginalThéâtre: Manhattan Opera House (New York - Etats-Unis) Durée : 3 semaines Nombre : 30 représentationsPremière Preview : mercredi 25 décembre 1918Première : mercredi 25 décembre 1918Dernière : samedi 18 janvier 1919Mise en scène : Sam Forrest • George M. Cohan • Chorégraphie : Producteur : George M. Cohan • Sam H. Harris • Avec : Constance Beaumar (Miss Collinsby), Alice Chapin (Mrs. Dwight McNamara), Roy Cochrane (Hendricks), Harold De Becker (Douglas Graham), Bert DunlapEdward Fielding (J. Austin Severard), Agnes Gildea (Miss Hemingway), Fletcher Harvey (Mr. Jackson), Mae Jennings (Miss Drake), Gilda Leary (Evelyn McNamara), Edna Leslie (Miss Giles), Elsie Lyding (Susan), Wilda Maria Moore (Miss Embree), Edward O'Connor (Barry), Chauncey Olcott (Tom O'Connell), Ruth Price (Miss Copeland), Arthur Shields (Bell Boy), Richard Tabor (Harry McNamara), David V. Wall (Mr. Sullivan), H. P. Woodley (Waiter)Presse : "The trick of tailoring a comedy to the talents of Chauncey Olcott never has been more deftly turned than Mr. George M. Cohan's (…). It is a mere shell of a play, no more weight than a feather, but for Olcott it is the perfect vehicle. Last night's audience, keenly in sympathy with the star from the beginning, greeted the play enthusiastically, and it is certain to draw Olcott fans by the thousands." (New York Times 26 décembre 1918)
(…) There is no more story than is necessary to hold the acts together, yet the play is so excellently contrived that it is excellent entertainment throughout. (…) Mr. Cohan's sure touch is unmistakable at every turn. There is the brisk movement which is part and parcel of every Cohan play, even when nothing is happening; there is the happy turn of line, and there is the unfailing skill from which the maximum is extracted from every trivial incident. Technically the play is almost perfect, a whole textbook for the aspiring playwright.
Il s'agit d'une farce au sujet d’un célèbre ténor irlandais qui, après ses débuts à New York, est devenu la fureur de la société et est devenu un bienfaiteur déjouant une tentative d’escroquerie.
Aucun dossier informatif complémentaire concernant Voice of McConnell (The)
Version 1
Voice of McConnell (The) (1918-12-Manhattan Opera House-Broadway)
Type de série: OriginalThéâtre: Manhattan Opera House (New York - Etats-Unis) Durée : 3 semaines Nombre : 30 représentationsPremière Preview : mercredi 25 décembre 1918Première : mercredi 25 décembre 1918Dernière : samedi 18 janvier 1919Mise en scène : Sam Forrest • George M. Cohan • Chorégraphie : Producteur : George M. Cohan • Sam H. Harris • Avec : Constance Beaumar (Miss Collinsby), Alice Chapin (Mrs. Dwight McNamara), Roy Cochrane (Hendricks), Harold De Becker (Douglas Graham), Bert DunlapEdward Fielding (J. Austin Severard), Agnes Gildea (Miss Hemingway), Fletcher Harvey (Mr. Jackson), Mae Jennings (Miss Drake), Gilda Leary (Evelyn McNamara), Edna Leslie (Miss Giles), Elsie Lyding (Susan), Wilda Maria Moore (Miss Embree), Edward O'Connor (Barry), Chauncey Olcott (Tom O'Connell), Ruth Price (Miss Copeland), Arthur Shields (Bell Boy), Richard Tabor (Harry McNamara), David V. Wall (Mr. Sullivan), H. P. Woodley (Waiter)Presse : "The trick of tailoring a comedy to the talents of Chauncey Olcott never has been more deftly turned than Mr. George M. Cohan's (…). It is a mere shell of a play, no more weight than a feather, but for Olcott it is the perfect vehicle. Last night's audience, keenly in sympathy with the star from the beginning, greeted the play enthusiastically, and it is certain to draw Olcott fans by the thousands." (New York Times 26 décembre 1918)
(…) There is no more story than is necessary to hold the acts together, yet the play is so excellently contrived that it is excellent entertainment throughout. (…) Mr. Cohan's sure touch is unmistakable at every turn. There is the brisk movement which is part and parcel of every Cohan play, even when nothing is happening; there is the happy turn of line, and there is the unfailing skill from which the maximum is extracted from every trivial incident. Technically the play is almost perfect, a whole textbook for the aspiring playwright.
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