WILLIAMSON'S OPERA COMPANY

Press, Volume LXX, Issue 21320, 13 November 1934, Page 7

WILLIAMSON'S OPERA COMPANY

"WALTZES FROM VIENNA"

Life, colour, and tuneful music abound in "Waltzes From Vienna," the second musical play of the J. C. Williamson company, ijow being shown at th# Theatre Royal, and which has one more night to run. The honours in the acting are well divided. Miss Sylvia Welling, who is possessed of a most pleasant speaking voice and a very true singing voice, has a smaller part in this play than in "The Dubarry." She gave additional proof of her undoubted powers as an actress by her success as the Countess Olga Baranskaja, a part demanding a fairly staid demeanour, the exercise of charm and persuasiveness, with more than a hint of subtlety in it, and a good stage presence; all of these requirements Miss Welling fulfilled, easily and with grace.

As Resi, Miss Jean Duncan was delightful. In solos and in duets with John Dudley (the young Johann Strauss), her voice was finely controlled, and at times proved capable of power. Her acting was good, and very attractive in its mingling of the serious and the •fciy. It is difficult to praise too highly the settings, lighting, and costumes of "Waltzes From Vienna." From the nature of the story, and from the type of music, some lavishness was expected but the art displayed was magnificent. Ivy Kirby and the ballet had a wonderful background for their expositions of the dancer's art; the success of the p3ay, depending as it did so much on the dancing and the music, was due largely to their success. Some individual scenes stand out: the ballet at the begnning of the second act, the spectacular "Love and War" scene with the front of the stage alight with splendid soldiers* uniforms, and through a screen at the back the brilliant soaring lights of the fireworks dsplay. The final scene demands an appreciation of its own. The skilful diplomacy of the Countess Olga has temporarily removed the elder Johann Strauss, the idol of Vienna, when he is due to play and conduct at a concert. The opportunity to wield his father's baton and to have a waltz of his own composition played is given to his son, whose musical ambitions have been thwarted by his father. The final scene opens with the orchestra on the stage, and the players, now the audience, pass up the central aisle of the theatre, and take their seats on the stage. The young Johann Strauss conducts, and the waltz played is the famed "Blue Danube." Resi, who from the box witnesses this triumph of her lover, breaks into song, the audience joins in, and as the curtain descends the elder Strauss arrives to join in the tributes to his son.