0NE of the most ambitious numbers in vaudeville this season is that of the SIX NOSSES
in the scenic spectacle IN OLD SEVILLE, a colorful and very pleasing ad. The setting is decidedly Spanish and picturesque, and the singing and dancing men and women in their bright-hued, muchspangled costumes, dancing gracefully with the rhythmic motion and beguiling sound of castanets, which make the Southern countries' dancing so charming, form a picture never to be forgotten.
The scene represents a gala day in the old Spanish city, and is so full of dash and vim that the audience cannot help entering into the spirit of the scene. It is pronounced the most consistent musical production before the public.
An act gorgeous in scenery, elaborate in costumes and a complete reproduction of a gala day "In Old Seville," is that presented by the Six Nosses. Here instruments of that ancient country, from mediaeval times to the present, are played and executed with the most wonderful skill. The pretty girls, handsomely costumed, along with the soft music and blending of colors, present such an attractive stage picture that one can easily imagine himself transported to that ancient city, Seville.
They not only play all sorts of ancient and modern instruments, but introduce some excellent singing and dancing, and the act is acknowledged the biggest hit of its kind in vaudeville.
The Six Musical Nosses are offering to the public the most elaborate and artistic musical act of the season. They occupy a most unique place in their profession, not only from the fact of their being instrumentalists of the highest order, but from the fact of their having been identified with many of the. large Broadway productions, thus. occupying one of the feature places in a company so seldom attained by a musical act.
Their return to vaudeville will be welcomed by the public and managers, and in their new offering, "In Old Seville," they are presenting one of the most decided sensations of the season.
The Six Musical Nosses "in Old Seville," appear in a beautiful Spanish setting, with dreamy lights, while a dashing little diavolo, in Carmencita trappings whirls and supples to the tink-a-ting of mandolins and guitars.
There is a tingling supply of red pepper in this number-not paprica, but the genuine cayenne-and the whole act is one of those hits that deserve to be.
Chicago Inter-Ocean
The musical numbers were made doubly attractive by the accompaniment on trumpets, saxophones, mandolins, brasses and other instruments of The Nosses. (Captain Careless.)
Philadelphia Item:
The introduction of such artists as The Nosses in a light opera shows excellent judgment on the part of Messrs. Nixon & ,Zimmerman. ("Rosalie.')
Washington Post
Many bright spots were due to the appearance of The Nosses, whose thrilling brass work in the Grenadier March, with the entire chorus, was one of the most stirring numbers seen here. (The Earl and The Girl.)
St. Louis Republic
The Nosses fit the show like a glove, and would be greatly missed. (The Seminary Girl.)
Amy Leslie, in the Chicago News, says:
The Nosses are emphatically, an attraction. (Captain Careless.)
New York Telegram
The addition of The Nosses has been a decided improvement. (The Babes and The Baron.)
Detroit Free Press
The opening of the second act, with The Nosses playing the accompaniment on Spanish instruments, was one of the prettiest things a musical comedy has ever presented here. (Captain Careless.)
Cleveland Leader
The audience could not get enough of The Nosses,
whose work in the ensemble numbers was responsible for the success
of the performance. (Captain Careless)