Sheriff of Nottingham.
Little John.
Robin Hood.
Will Scarlet.
Friar Tuck.
Allan a Dale.
Guy of Gisborne.
Dame Durden.
Giles, }
Geoffrey, } gamekeepers.
Yussuf, a slave merchant.
Sir H. Vere de Vere, }
Sir Hugh Montford, } Knights of St. George.
Amina, a snake-charmer.
Lady Vivian.
Maid Marian.
[Huntsmen, men at arms, Saracen warriors, mummers, Crusaders, etc.]
The scene is laid in England and Palestine; time of Richard the First.
The story of "Maid Marian" introduces most of the familiar characters in
"Robin Hood" and some new ones, and the scene alternates between Sherwood
Forest and Palestine. It is intended as a sequel to the latter opera. The
plot begins at the point where Maid Marian and Robin Hood were betrothed.
Robin has joined the Crusaders and left Marian on the eve of the wedding.
He also leaves a letter for Marian in Little John's charge, directing her
in case of trouble to apply to him for help. This letter is stolen by the
Sheriff of Nottingham, who substitutes for it a forged missive calculated
to make her believe that Robin is false. The first act closes with the
arrival of Little John and the forest outlaws, who leave for the holy
war. Marian joins them to seek for Robin.
The second act opens in the camp of the Crusaders, near the city of Acre.
Maid Marian has been captured by the Saracens and sold into slavery, but
is rescued by Robin Hood. Then the Sheriff of Nottingham and Guy of
Gisborne, the latter still intent upon marrying Marian, appear in the
disguise of merchants and betray the camp into the hands of the Saracens.
Dame Durden's encounter with the Sheriff and Friar Tuck's antics as an
odalisque add merriment to the story.
In the last act all the principals are back in England and the scene
opens with a Christmas revel in Huntington Castle. Robin thwarts all the
schemes of the Sheriff, comes into his rights, and is reunited to Maid
Marian.
While the story lacks in interest as compared with that of "Robin Hood,"
the music gains in dramatic power and seriousness of purpose, and at the
same time is full of life and vivacity. The overture is notable for being
in genuine concert form,--the first instance of the kind in comic opera
for many years past,--and thus naturally sets the pace, as it were, for
the opera, and gives the clew to its musical contents. The most
noticeable numbers in the first act are the Cellarer's Toast, "The Cellar
is dark and the Cellar is deep," a rollicking song for Scarlet, Friar
Tuck, and chorus; the charmingly melodious "Song of the Falcon," "Let one
who will go hunt the Deer," for Maid Marian; the Sheriff's song, "I am
the Sheriff Mild and Good," which is always popular; and a delightful
madrigal, the quintette "Love may come and Love may go." The second act
contains many pleasing and characteristic songs, among them "The Monk and
the Magpie," sung by Scarlet and chorus; the "Song of the Outlaw," a
spirited ballad by Robin Hood; the Sheriff's serenade, a popular tune,
"When a Man is in Love"; "The Snake Charmer's Song," by Maid Marian; and
the vigorous "Song of the Crusader" by Robin; but the two most effective
numbers are a graceful song, "Tell me again, Sweetheart," sung by Allan a
Dale, and the duet in waltz manner, "True Love is not for a Day," by
Robin and Marian. The third act is largely choral, the introductory
Christmas carolling and dance rhythms being especially effective, but it
contains one of the best solo numbers in the work, the dainty song with
chorus, "Under the Mistletoe Bough." The music throughout is dramatic,
strong, and well written. While the opera has not been as popular as its
predecessor, yet the music is of a higher order, and occasionally
approaches grand opera in its breadth and earnestness.
Rob Roy.
[Romantic comic opera, in three acts; text by Harry B. Smith. First
produced at the Herald Square Theatre, New York, October 29, 1894.]