"MERRIE ENGLAND."

Auckland Star, Volume LIII, Issue 89, 15 April 1922, Page 3

"MERRIE ENGLAND."

KEW OPERA'S SUCCESS.

It is so many rears since we have had a really new comic opera in this country, educated up on Gilbert and Sullivan compositions which have become almost a fetish, that despite their success in Australia with "Merrie England" Messrs. Williamson, Ltd.. might be excused for having had some trepidation about the New Zealand reception of the play, which was produced for the first time in Auckland at His Majesty's Theatre on Thursday night. The Auckland playgoer may be "queer" in his opera taste—he has been told often enough that he is a dainty person toplease—but the theatre public certainly did appreciate the refreshing experience vouchsaied on this occasion of some special preliminary care and consideration, including a full-dress rehearsal, in the preparation of its first-night fare, and responded with a large attendance and ready recognition of a fine play.

Something quite different from the rollicking comedy and lyrics of Arthur Jones and Gilbert and Sullivan this "Merrie England" production, which aims to bring together in music, song and action the legendary glories of Elizabethan England and the romantic folktales of Robin Hood to display the national spirit of those spacious days. In romance touched with dignity, and embroidered entertainingly with the picturesque foibles of the times in freedom of dress and limitation of mind, the engrossing twin love stories of queen and simple maid were unfolded in a series of scenes whose power to hold the audience were undeniably effective. The book's clever and spirited play of words, in keeping with the spirit, of the period, supplanted the Gilbertian quip of old favourites for adventitious humour, but the keynote throughout was a romantic dignity and grace of action, embellished with lovely lyrics, and marching on. with sprightly interludes of comedy, to a majestic and picturesque finale. When the finale of the first of the two acts was reached the audience had been completely captured, and was especially appreciative of the solos and part-songs, which place the music of the opera in a high! rank. The love songs, whether merry, cynical or sad, have a fine lyric quality, the comedy numbers though few are crisp and catchy, and in "The Yeomen of England" the composer has touched the heights of a national ballad.

rihorn of its music the play would still be a passable romantic comedy, but the lyrics are its shining jewels, and realisation of this by the management is apparent in the orchestra the Gilbert and Sullivan chorus, and the fine voices selected in the leads of the east. Miss Patti Russell, as Bessie Thockmorton, the Queen's successful rival for the affections of Raleigh, acted with grace, while her singing was one of the features of the evening, her place in this respect being challenged only by Mr. H. HowettWorster, who played to the life the role of the saturnine and cynical Essex, and whose baritone voice won him special ovations for the solos "The Yeomen of England " and "When Cupid First This Old World Trod." A personable and courtly Raleigh, Mr. Charles Mettam, carried through the tenor songs with more than credit, his best number being the solo "Jack Should Have A Jill." Mr. Charles Workman had charge of the humour in tbe part of a strolling player, with a penchant for saving his skin by his wit. His comedy was artistically coordinated to the requirements of the role, and his first lieutenant, Mr. Victor Prince, used make-up and facial expression to abet Mr. Workman in giving spirited effect to the author's comedy, while keeping it in balance with the general dignity of notion. Their song contributions also were excellent, a particularly sprightly number by Mr. Workman (with chorus and dance) in "Neptune's Lonely Throne" earning a double encore. Miss Ethel Morrison, ns Elizabeth, gave a proper lead of dignity to the action, and in her only sons; number, "Peaceful England." displayed a pleasing contralto voice. Tiliss Byrl Walkely, as a maid of the woods, acted and sang with spirit, and Mr. John Ralston (Robin Hoodl contributed a robust figure and voice to the play, in which the other parts were adequately filled. It need only be mentioned that the chorus was that which made a reputation in the Gilbert and Sullivan opera season here lest year, and that M. Slapoffski had charge of the orchestra to indicate that these departments played their parts fully in contributing to the success that "Merrie England" achieved on its first night here.

"Merrie England*' will be staged each night until next Friday.