POLLARD'S OPERA CO.

Auckland Star, Volume XXX, Issue 138, 13 June 1899, Page 5

POLLARD'S OPERA CO.

'LA POUPEE.'

Decidedly there was a distinct feeling- of satisfaction amongst the enormjous audience which gathered at the Opera House last night Avhen people realised that in assisting at the debut of La Poupee they.Avere returning to legitimate comic opera, after a somewhat prolonged flirtation with musical comedy. Net that Aye have a Avord to say against those sparkling and charming young people the 'I?rench Maid' and tha 'Gay Parisienne,' 'The Gaiety Girl,' and all the other frolicsome persons who have amused us so frequently and so heartily since they came first into the theatrical world som» .years ago. To do so would be base ingratitude. But, as is not infrequent after a flirtation, specially if it has been a warm one, aa-© were already beginning to think regretfsdly of our old love—comic opera; so that when so charming a representative Avas announced—a sister of 'Olivette' and 'La MascotW —we ware more than half Milling to return to our allegiance, even before Aye had seen her, and to swear (as is also customary) that comic opera Avas mot merady the first, but the only .girl we ever really loved. And \vhen we were introduced last evening, and found how winsome and charming a daughter Pera, Audran had noAv to present to. us, our subjection was complete. Before the evening was half over, long ere we had made acquaintance with half her charms (and she has all the old ones, besides a pile of n.«w) "** wertt more deeply in love than ever, and 'La Poupee,' latest and best creation in comic opera, was enthroned firmly in our hearts, there to abide till— -tui— W ell, till some still more.charming yening thing chanoes in «»r way, which" will jtnost certainly not be soon. j

To adopt a more staid and seriously critical tone, let us say that from every point of vieAV 'La Poupee' is a capital comic opera, worthy of the composer of 'La Mascotte,' and that the adaptor of the libretto from> tha French has dene his work wisely •and well. . The opera opens in a subdued kind of way, that is original and artistic, heightening as it does by contrast the brilliant effect of the sparkling second scene. The monks are discovered at home, so to say, and we are made acquainted with their plaint of hard times in some most excellent numbers, one of the most beautiful, 'So Timid Am I,' giving the oharaoter of the novice hero, Launcelot (MiCarter), while when it has been decided that the monastery can only be saved by Launcelot marrying a doll, thus deceiving the uncle, who promises him 100,000 francs on his wedding day, Mr Fitts has a fine opportunity to score Avith the bass solo 'Go Face the World.' But the finest thing in tbe first scene is the orchestral accompaniments, which are extraordinarily rich, and yet of the most delightful delicacy. This will be specially noticed in the final chorus of the scene, where the angelus is ringing, and the monks are ■wishing Launcelot God-speed on his journey. The stage is darkened for a second, and then the fall merit of the 'shading' of the first scene is apparent, for it gives an immense additional piquancy to this wonderous tableau to which we are introduced, the brilliant and fantastic Avorkshopof Hilarius, inventor and maker of life-size dolls. 7 •

It is a really capital scene, anS'.so completely original in conception that it gains "an , additional attraction, Avhile the details are really excellently carried out. Here, amid dolls and mechanical toys of every description, are we introduced to 'No. 84,' the masterpiece of Hilarius, in brief, La Poupee. The plot now advances rapidly. Aleaia, daughter of Hilarius, and who so exactly resembles La Poupee that her father once attempted to oil his daughter and give La Poupee cough mixture, 'whioh ologged her works,' is introduced to us. She is already in love with Launcelot, having seen him •in church, and in a temper at being denied seeing him again breaks-the doll, and has to take its place herself. Prom this point the fun grows in a swift crescendo till the close cf the opera. The complexities and humorous situations which arise do not need to be now detailed, they can well be imagined, and, moreover, the plot Avas told in yesterday's iesue. But, as may ba conceived, from this moment Alesia, in the character of La Poupee, takes command *t the opera, and, he it said, of the audience. From the manner in which Miss May Beatty threw, herself into the slavey part in the 'Gay Parisienne,' and the delicate grace she displayed in 'In Town,' and several other pieces, the present scribe has long looked on this young lady as

*»"*a«Bt Iw±ei_ted of the many young girl Pollard* whom he ha* watched grow up from children into firsteiaas artiste. _hj% it must be confessed that ia her performance of the doll Miss May Beatty has excelled al work ever done by any individual member of Mr Pollard's combination. • This is a bold saying, and high praise, but it is justified. It ia a simply marvellous Btudy, and the amount of work thrown into it can only be vaguely surmised, even by one temi-conY«rsant wth stag* business. Take, for inatanoe, the management of the eyes. The strain of keeping- them at the staring point of a doU as Miss Beatty does must b« frightfu. . The illusion is really perfect, and it i* our honest conviction that no artist Trith four times Mitt. Beatty's experience and a greater reputation could have played it better. In every detail and particular her performance was a sterling one, and we are glad to have tha opportunity of congratulating her on having created the part in a manner whioh must moritably have an important influence on her future in tho profession in whioh she is evidently destined to take so prominent a position. Having said this mu-h it is neither necessary nor desirable to go into details, but as regards her songs all are excellent, and the favourites vfill probably be 'A Poor Little Dummy Am V and 'With Careless Eye,' and tho trio, 'She's Charming.'

After La Poupee herself tho most important part is probabljr Hilarius, and for this Mr Percy isTsast. No doubt this actor wiU make more of the role in time, but his performance last night was somewhat disappointing. Hi* one piece of 'business' Avas te threw Ma eoat-tailg over his head. and violently perambulate tha stage. It wae humorous enough at first, but w« had rather too much of it. The tendency wa* to over-act and overburlesque the part, hut no doubt thhs will coon wear off. A very long series of burlesque parts is no doubt responsible. The rest of the cast ars all very satisfactory, and tho stage management (in the hands of. Mr Cecil Lawrence) is of the most admirable character. Mr Carter has been well schooled and drilled, and has improved so rapidly that there are f«w traces of amateurism uoav left in his acting. Somebody has obviously spent a lot of pains on him, and Tery profitably,, too.

The opera goes with immense verve from «tart to finish, and unless taste has been hopelessly debased of late years by mueio which is purely catchy, 'La Poupee' must score an immense success. There are. some very beautiful spectacular effects, indeed, the finale to the first act -will compare more than favourably with any production in this respect. But the main attraction will certainly be the complete freshness and originality ot the opera in story and in music. It is completely new, for aa everyou* knows this was the first New Zealand production, and so thorough a change from the multitudinous 'girl' musical comedies, all _t which had so strong a family waemblanoe, that it is bound to attend, enthuaiastio attention. Such at all events is our opinion. The drecKee are of quite unusual richness, and the production is one that must i&Te tranches), deeply «» *** treasury of t__* management. "La ■wjßl "be repeated until further aotice.