THE LADY PROM LOUISIANA.

Press, Volume LXI, Issue 18363, 22 April 1925, Page 10

THE LADY PROM LOUISIANA.

EDNA THOMAS'S FIRST CONCERT.

As many as the Choral Hall would hold assembled last night at *he first appearance of Miss Edna Thomas, "the Ladv from Louisiana." We knew, of course, that many good things and sweet were grown in Louisiana, but we never encountered, to say it in few words, as charming a product of its soil. The stern resolution not to be infected by the ecstatic, comments of other critics still holds good, but she makes it hard to judge her in coolly measured terms. For in her are blended all those qualities which capture the heart of an audience forthwith and are so rarely found together. Graceful and gracious in appearance, in spite of the balloon-shaped attire that recalls the age of patches and patchouli and perhaps a greater vanity than ours, she is far from affectation. ' Few words pass her lips before vou realise that she is, in language and bearing, simplicity personified, whose warm emotional currents flow straight to her hearers. Deep earnestness prevails, but gives way to a happy smile, or to a humorous twinkle of the eye. She makes 'apparently no attempt at posing as a singer; yet she sings to you in a voice always modulated to the aptest illustration' of her words, always pure and sweet, never straining for effect, not a concert singer, yet one who sings to vou alone in the intimate companionship of a good friend. And so she speaks, explaining, commenting, giving way to her feelings;, for she is deeply affected herself when she describes the fate of the negro-slave. Memories are naturally recalled of the time when the Christy Minstrels first brought it home to us what slavery meant in its naked ugliness. _ How buoyant must have been the spirit of a race, who could laugh amidst their tears and 'put their trust into Divine help and mercy and a happy after life. Miss Thomas has collected a large number of the plantation-songs, both spirituals and Creole negro songs. In her opening speech she rightly attributed the reason for their popularity to the human touch, which pervaded them all. Distinguishing the "spirituals" is that strange mixture of piety and light-hearted quaintness, with just a touch of abject misery behind it all. Miss Thomas sang them in profusion, and a more perfect interpretation could hardly be imagined. She is so very much in earnest, so full of enthusiasm for hinv mission, and reads so deeply the secrets of the negro soul. There was one among the spirituals out-rivalling all others, "Mammy, is Massa Gwinna Sell Us?" the intensity of pain conveyed being almost unbearable, a truly wonderful test of pathos and tragedy. While the "spirituals" may be readily credited to the inventive faculties of the negro himself, the creole negro songs show decidedly French influences in their superior composition. The quaint negro-French adds to their charm, most of all when spoken •. by mouth of Miss Thomas. Some were admirably accompanied by the harp, !'Ai Suzette" and "Toueoutu" being amongst the most fancied of the series; and the remainder with the support of the piano, at which presided an accom l panist,'Miss Constance Piper, whose like could not easily be found. Her eyes never leave the singer's ■ face; every tone- is exactly- adjusted to her leader's inflection. With every reason she was specially honoured after, her delighting. play, in "JVt'sieu Banjo.". . Another', quite original ■-• feature of Miss Thomas's recital was the intrbduc-, tion of a number of negro street calls.. Not mere yells, or raucous cries, but more or less harmonious' vocal advertisements, samples of the old cakew'oinan, the chimney-sweep, and tho blackberry man. And of all, Miss Thomas gives some apt explanation and an able reproduction. Associated with Miss Thomas is Miss Lucile Lawrence, . a harpist of exceptional accomplishment indeed; her execution is splendid; in dazzling sweeps and showers, as in sonorous melody, she excels equally and sho had to play encore after encore to satisfy the demand.

WitD some attempt at harmony even in dress, the two ladies associated with the Lady from Louisiana also wore dresses intended to match.. They differed in substance. To the blindness of the male eye they suggested a chicken-coop aspect. But the lady expert of "The Press" will doubtless resent with indignation the wicked comparison. The audience hung on every note and word of the fair recitalist of negro art.