“THE BEGGAR’S OPERA”

Dominion, Volume 18, Issue 58, 3 December 1923, Page 5

“THE BEGGAR’S OPERA”

FAMOUS MUSICAL JOKE OF OTHER DAYS

“The Beggar’s Opera,” a play with music, in three acta, by John Gay. Cast—

Peachuni Reginald Roberta I'pckit George Willoughby Jfacheath Hilton Osborne FHch Charles Mettam The Beggar Harry Schofield Mr?. 1 eachuni Kily Malyon Polly Peaehum Paulino Bindley Lucy liockit Beryl Walkely Diana Trapes Molly Tyrell Jenny Diver Ida McGill J? Tft wer Stanley Allen Turnkey Gordon Ramsay

There was no questioning the unfeigned delight with _ which that quaint work “The Beggar's Opera" was received at the Grand Opera .House on 'Saturday evening by a very large audience which revelled in its manifold absurdities and charming music. The genuine wit and raciness of the dialogue and the ridculous situations made a general appeal, to judge by the volumes of laughter and applause with which Mr. Gay’s merry burlesque created. This, of course, was accentuated in the case of those who realised that “The Beggar’s Opera” was written in 1728 by Gay. wit and poet, in a spirit of satirical raillery directed at the vogue for a certain class of sickly romantic Italian opera which held London in thrall at the time, and which it absolutely ridiculed out of town. The opera—if it can be so dignified—is educative. too, in the sense that it discloses in the quaintest possible way the rode, but sharp, wit and manners' of its day, and awakens one’s sense te the rare beauty of the music of English medieval composers. There is, too, a world of humour in the manner in which the acting two centuries ago is parodied—the stilted gestures and attitudes, which, though absurd in the light of the more natural school, gave glimpses of a grace and courtesy in bearing, curiously at odds with the license of the times. Captain Mncheath, the highwayman, round whom the T>lot revolves, is given the airs of a grand seifpieur, as distinct from the vulgar. habits of the disrenutaWc gang of thieves, cut-purses, and nickpockets with whom he is associated, as a jibe at the glorification given to heroes in grand opera; wh'lst the satirical allusions to the honesty rf all nefarious cal'ings compared with those of lawyers and politicians makes nretty play ’ for the witty author who set all London by the ears. Nothing, it seems, was so re siwtable as an entire lack of resnectabilitv. nor so chaste as the wildest wanton. * Pleasure in the nerformance was enhanced hr the entire adequacy of the presentation. Tim cast was efficient to the smallest mrt. and the work was approached and sustained in the right spirit bv all concerned, including a very sound little siring and wood-wind orchestra under Mr. Gustav SlapofMci. i Whet _ there is of plot may bo dismissed in a few words. A. ragged b(vcar provides a kind of prologue, in which ha relates that he has written an onern of excellent entertainment in which there is not Un honest man nor a, chaste woman, nnd yet it is the most natural opera in the world. Proceeding to chatter further he is hustled off the stage bv one Filch, who turns to Mr. Slonoffski. the conductor, and asks him “to nlay un the overture,” and the orchestra'. fnllv revealed to the audience and attired in the costumes of the neried, with candle lights for their music-stands, duly play a sweet measure of music. The plnv opens with Peachum.. on informer and receiver of stolen goods, conning over his nefarious affairs, with l>is wife. She discloses thaV her daughter • Polly and Captain Macheatli are not altogether indifferent to one another, and on the lady learning from Filch that they are married. Polly Is taxed with the offence, and admits the soft impeachment. This folly the Peochums consider a sad breach as Polly married would not be nearly such on asset as Polly single. Immorality they could condone, but marriage never! ,$o disturbed is Peaehum nt this turn in pis family’s affairs that die detides to inform on Macheatli and so pet him hanged, arguing with Pnllv ihnt no woman would ever get married, were it not with the prospect of becoming a “comfortable” widow. Peachum carries out his intention, and Mncheath. whilst sporting with his lady friends, is arrested and thrown into Newgate, where, in an interestirffc scene. Polly and Lucy Lockit (the gaoler’s daughter) quar1 rel as to which is the captain’s wife. Mncheath makes his escape with Lucy’s aid. but is rearrested, and condemned to be hanged, but the beggar is appealed to for a happy ending, and orders a reprieve, and all ends merrily to the gay lilt of a country dance, with a dozen or so of Macheath’s wives as participants. Mr. Hilton Osborne, a bright voting English actor, plays Mncheath with an a’r of debonnair superiority that is distinctly attractive nnd quite traditional. He cuts a graceful figure, and nttitndinisies with immense dignity and reserve If he has a fault it is his manner of speaking his lines too rapidly. Mr. Osborne is aided by a strong vibrant baritone voice, well suited to the music. Of his solos. "Aly Heart Was So Free.” “If the Heart of a Man,” “Youth’s the Season,” and the prison soliloquy were outstanding. Miss Pauline Bindley made Polly a demure little miss instead of an artful minx, and on those lines succeeded. Her chief charm lay in the ease and manner in which she <Vrolled the many beautiful numbers aPotied to her role, notably "Virg’Us Are Like the Fair Flower” (Purcell). “O. Ponder Well,” “Cease Your Fnnn'no-.” Her duet (with Mr. Osborne), "O What Pain to Part,” and two with Lucy were also instinct with musical beauty in its best serfse. Miss Eily Malyon. as Mrs. Peaehum, senses the spirit of the burlesque more accurately and effectively than anyone in the cast. Her make-up, gestures, grimaces, attitudes, and keen sense of comedy stood out in bold relief as the finished nerformance of a consunimate artist. Mr. Beg. Foberts lost his identity comnletelv in his very excellent characterisat'On of Peaehum. and Mr. George Willoughby was also in the picture as Ixickit. Miss Beryl Walkely, a charming mezzo, 'sang the music of Lucy with esnecial grace, and Miss Ida McGill made a spirited .Tennv Diver. Filch was well acted and sung br Mr. Charles Mettam. and Mr. Harry Schofield was clearspoken as the Beggar. The male chorus—a double quartet, who an near nt the opening of the tavern scene (Act IT), is a stimulating feature and the chorus “Fill Every Glass” (solo by Mr. Mettam ns Mat of the Afint) was a most stimulating number, as was also "Let Us Take the Road” (in which a Handelian air is effectively used). The opera is enlivened by a gavotte (to entrancing music), a mock ballot of prisoners in chains, and a country dance. There is a good deal of cn’tracte music, which would he enjoyed to a greater extent if the audience were more subdued. “The Beggar’s Onera” was produced bv Air. George Highland, whilst the musical direction of Mr. Slapoffski left little to be desired.