OLD THEATRICAL FAVOURITES

Press, Volume LXXII, Issue 21792, 26 May 1936, Page 8

OLD THEATRICAL FAVOURITES

ro in asms m m mass. Sir,— tfeoe tat take a fashionable host that nUHhfir *ekes his parting guest by the nSdLand With bis arms outstretched as tae wotaii fig. grasps In the comer. Welennw esnr. wniles. and farewell goes out Ibe letter of Mr Selwyn Bruce detailing Gilbert and Sullivan performances over many years has earned, I am sure, the sincere gratitude of all your elderly readers. His dates and performers’' names furnish a very condde and valuable record. One could wish that Mr Bruce had offered some comment upon the different casts. The utter futilitv of any professional artist hoping for recollection was never so forcibly brought home to me as at today’s matinee of “lolanthe, ’ when the mhm» of Howard Vernon was mentioned publicly by his widow in an endeavour to sell a book containing records of these operas. The name elicited apoiause from one solitary memory. This admirer persisted in his lonely effort for some time, much to the astonishment of the large audience. The delineations of all the leading parts at present played by Mr Mcnzies were almost without exception first entrusted to Howard Vernon < whose name appears in one of the original performances at the “Savoy” under Gilbert’s direction).

During the whole time these operas were clayed. both in Australia and New Zealand, Howard Vernon’s conceptions and interpretations of these parts were the accepted standard of grim humour as defined by Gilbert himself. In Vernon’s hands the dialogue carried the character right home to his audience. I know that first impressions are frequently apt to influence one's judgment but making all allowance for this. I am certain that anyone remembering that long, spare, almost athletic figure, the quaint wonderful dancing, deer, distinct articulation, the grim and appropriate working of the face during delivery of dialogue by Howard Vernon will find it hard to accept any other Interpretation, however clever. Here let me say, as an old playgoer, in view of certain criticism (heard in Dunedin), that Mr Menzies’s (Highland pronunciation, Ease) playing of the Lord Chancelwas to roe a sheer delight. His by-play, dancing, singing, sly humour, and artistry quite dissipated any preconceived expectations; indeed, the whole performance of “lolanthe” was one of the finest I have ever witnessed. not even excepting those at the Savcy and in English provinces. It would be bard to fault even one member of the cast. lam still thrilled with Strephon and Phyllis. Speaking with 50 years’ singing experience, I find it hard to remember such effortless production as displayed by these two members of the cast. The same remarks apply to the tenor. The chorus for precision and general vocal excellence, was an object-lesson of what such things should be. The two leaders of basses and tenors must be of great service to the talented and brilliant conductor, whose beautifullycontrolled orchestra of exceptional players showed what a high pitch of perfection may be attained by discipline and practice. It is evident that the work of Leon Caron is still the model.

Not having seen any other performarces by the present company, I am offering an honest opinion of “lolanthe” eniy.—Yours, etc.. FARQUHAR YOUNG. May 25. 1936.