"LA MASCOTTE."

Auckland Star, Volume LVIII, Issue 221, 19 September 1927, Page 5

"LA MASCOTTE."

SPARKLING PERFORMANCE.

TRIUMPH for the amateurs.

There may have been occasions when some of the old-timers really began to wonder whether the music of their vouth was actually so very much superior to jiggetty jazz seems to obsess the youth of to-day. The world seemed to have so utterly forsaken melody for discord, rhythm for convulsions, that the older folk must have begun to wonder whether they may not have been worshipping false gods. But, no! "La Mascotte" confirms their allegiance to the music of the past, and gives the lie (direct to the black-faced jazz band with its Chinese clamour and its maddening monotony. When the Auckland Ama° teur Operatic Society decided to produce Audran's charming work, some of us who knew the difficulties and remembered some of the famous productions of the days that are gone, wondered whether they were not tempting fate. Saturday night's opening performance, however, completely vindicated the society's temerity. It was a complete triumph, and if the ten nights' season does not prove a record it will be very surprising.

"La Mascotte" is full of most melodious airs, the choruses are exhilarating, and the humour is of the kind that never grows old; it hss a philosophical basis, and in this it differs emphatically from the "slap-stick" crudities that pass undef the name in most modern work. As in the case of the Gilbert and Sullivan operas, "La Mascotte" tells a distinct story, and is not a mer jumble of tunes and dances strung together with more or less inconsequential dialogue. Opening on Rocco's farm with its rustic folk, the scene shifts to the Court, and the contrast between the manners of the bucolics and the courtiers provides much amusement. The charming Bettina ("La Mascotte") is in love with Pippo, but is, snapped up by Duke Laurent, and Rocco follows her to Court, because as her power as a mascotte will depart if she marries the man she loves, the main thing is to keep her and Pippo apart. But "love laughs at locksmiths," and in the end there is a happy wedding, and Bettina is content to lose her magic power in gaining a greater.

Excellent scenery and rich dressing for ■which Mr. Gus. Lindvall and Mr. W. J. Crowther were responsible, give the show an excellent 6tart, and the players complete the triqmph. Principals are exceptionally good for amateurs, and the chorus could hold its own -with the average professional troupe that comes round this way; while in freshness and enthusiasm they surpass it. Theile are some wonderfully fine choruses in the piece 6uch as "Now the Merry Vintage," "The Bell, the Bell"' and the veTy effective finale "Now All Is Safely Over." In these the chorus sang with a verve and volume that was really fine. Contrary to the usual run of amateurs the company was admirably drilled, thanks to Mr. Reginald Long (the producer) and Captain H. J. Redmond (the stage manager), everybody knowing his or her place, and the whole piece going with a swing and precision that was most satisfactory. An uncommonly high standard was reached by the principals. True, there was that occasional touch of amateurism in the acting which is inseparable from such a production, but the average was remarkably good. There are some very pleasing voices in the caste. Mrs. Simson (better remembered as Miss Jean Robertson), made a very attractive Bettina, singing sweetly and acting with naturalness. She very lovely airs, and the music with Pippo, especially the pretty "Glou, Glou," was most satisfying. Mr. Ernest Snell made an admirable Pippo and sang his numbers very effectively, particularly his solo, "Mine Own, Mine Own!" Another good voice is heard in that of Mr. Birrell O'Malley, who took the part of Prince Fritellini, his piece de resistance being the well-known "Serenata." The humour of "Le Hascotte" is really humorous. How well one remembers Rocco "down on his luck!" Mr. G. C. Lyttelton was really droll in the part of the old farmer who became chamberlain when Bettina was taken to court. The fun is broad and most laughable. He was ably abetted by Mr. Dan Flood, who let himself go as that rather absurd person, Duke Laurent, thehardup noble who abducted Bettina. In the part of the flirting Fiametta, Mi&s Beryl A. Poulton was lively and amusing, her best item being "The Attractive Girl," which she sings with a soldier chorus. Other smaller parts are taken by Mr. J. N. Gordon (the inn keeper), Mr. A. J. Petterson (a sergeant)., Mr. F. W. Martin (a peasant), Misses Ethel Rae and Dorothy Richardson (two peasant girls), and Misses Miri Bragato, Jean Macindoe, Eileen Brodie and Doreen D'Authreau (pages). Miss Bettina Edwards dances gracefully the incidental solos and she was also responsible for the ballets, which were most effective.

It would be impossible to say too much for the excellent work of the veteran conductor, Mr. Colin Muston, whose vigorous personality and sound musicianship is so largely responsible for the very high standard that has been reached by the amateurs. Of the others that helped in a memorable performance one should notice Messrs. Crosher and Son, for the perfect lighting; Miss Fleming, the costumiere; Miss C. Ince, the wardrobe mistress and Mr. Stewart Bannatyne, for the decorations of the Salterello ballet, while Mr. B. Chatfield, who had charge of the front of the house, as usual had his department running as smoothly as a professional "advance." The opera is limited to ten nights and there should i be very few vacant seats during the J season.