The Southwestern Historical Quarterly, Volume 62, July 1958 - April, 1959 Page: 452
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Southwestern Historical Quarterly
entitled the author to be called the American Aristophanes.10 The
Sea of Ice (February io), off to a slow start, became popular as
it moved along, and had a successful run of a whole week. Scenic
artist Sala outdid any of his previous accomplishments in the
pictorial representations for this drama. The iceberg scene and
the portrayal of the aurora borealis left the crowds gasping as this
wild story unfolded before them, revealing its unexpected and
unlikely turns of incident. Herndon gave an exquisite perform-
ance of Aminidab Sleek in The Serious Family (February g9).
Playgoers seemed unaware of the fine qualities of this excellent
comedy and did not therefore turn out in force to attend the play.
Miss Ingersoll portrayed the demure Mrs. Charles Towers with
quiet grace, and Richmond acted the role of the dashing Murphy
Maguire with the liveliness and ease of a man of the world.
Before the month was out, the season had run into Lent, and
that religious period's harmful effect on attendance at the theatre
was felt at the box office. Charles J. Mathews' petite comedy,
Who Killed Cock Robin (February 29), was a pleasing novelty
of the period; Antony and Cleopatra, lively little French burletta,
a favorite of Lola Montez, well-known comedienne of the day,
was on the same bill. Performances worthy of note during March
included a play of Drummond's own composition, Lillian Gwyne
(March 2-3), Marie Stuart (March i 1), which Miss Miles had
given both in London and Glasgow with success, and Edwin
Forrest's native Indian play, Metamora. The Schiller drama, Miss
Miles's benefit selection, drew a full attendance.
With the arrival of the New Orleans Opera Company on March
30o, many music-lovers had hopes of a yearly opera season's being
established in the city. The company, with Madame Zelda Seguin
as the star, opened with Lucia di Lammermoor. Madame Seguin,
a young singer of national reputation, impressed her listeners as
chaste, neat, and talented, with a cultured voice of great sweet-
ness. In the mad aria she exhibited a high order of dramatic
power. The sextette was admirably given, and Messrs. Pecot,
Lechavelier, and Tholer were found pleasing in their roles. Chairs
loIf America has ever had an Aristophanes, John Brougham was his name. His
Pocahontas and Columbus are almost classics. They rank among the best, if they
are not the best, burlesques in any living language.-Laurence Hutton, Curiosities
of the American Stage (New York, 1891), 164.
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Texas State Historical Association. The Southwestern Historical Quarterly, Volume 62, July 1958 - April, 1959, periodical, 1959; Austin, Texas. (texashistory.unt.edu/ark:/67531/metapth101173/m1/549/: accessed September 24, 2018), University of North Texas Libraries, The Portal to Texas History, texashistory.unt.edu; crediting Texas State Historical Association.