“LILAC TIME”

Dominion, Volume 19, Issue 255, 12 July 1926, Page 4

“LILAC TIME”

A CHARMING MUSICAL PLAY “Lilac Time,” a musical play ■ founaeu on the romance and music of Franz Schubert. Arranged by H. Berta and G. H. Clutsam. Libretto by Dr. A. M. Willner and H. Reichardt. English version and lyrics by Adrian Ross. Cast: Franz Schubert John Ralston Baron Franz von Seliobe^. Flemnling r-nn'cl Hm-ry ‘ Ratcliffe JAiann Michael Vogl .... Fj ank Count Scliariitorff ArHufr Stta-nff Christian Veit A Mo lv^Tvroll // h Eileen Dunne Adele Crane Flam'n'ietta' Marini Byrl Andreas Braun Edmund Shuras Fe.dinand Binder .... William I’erryman Vnvntnv Herbert C. V alton Sclrnni Colin Bell , ?n A ■” Rosie Evessen Grimm”.’. Katiiie Towers ifrs Weber Lilyan Nightingale Mrs. weoer ■> Dot I)uval &1’ squirrel Any time during the past six or seven years those returning from the Old World or America have spread the news oi the manifold charms at the musical play “Lilac Time,” which was performed before a packed theatre at the Grand Opera House ou Saturday evening by Williamson’s Royal Comic Opera Company. Whilst such advance reports are just as often as not exaggerated one way or the other, this cannot be said of “Lilac Time,” which is the most fascinating and musically delightful work seen in New Zealand for many years. Almost every note of the music, though “adapted” here and there, is from the prolific and melody-steeped pen of that genius in the world ot song, Franz Schubert. It was indeed the happiest of thoughts to embalm a great deal of Schubert’s cherished music in a romantic opera in which the person of Schubert is the central figure, and its accomplishment is not far removed from a stroke of genius Probably that is the reason why this extremely beautiful play has succeeded in capturing the world. From the opening bars ofthe overture an excerpt from the great unfinished Symphony”—to the end the music held the audience fascinated by its intrinsic loveliness. Whilst the play itself is excellent, with nice tender touches of romance as well as a full measure of appropriate comedy, and tne characterisation sound, it is the music that dominates and thrills. There are haunting passages from the symphonies, flashes of the “Marche Militaire, ’ the “Moment Musical,” and the Cradle cone, whilst such numbers as ‘‘Hark, Hark, the Lark,” and the “Serenade are sung completely as Schubert wrote them, in settings that seem to be created for their enhancement. It will be remembered that in the case of “Hark, Hark, the Lark,” the music to Shakespeare’s tripping lines was first scrawled by Schubert on the back of a menu card in a restaurant. In the play the menu card incident is introduced, and it is Franz himself who sings the beautiful song. On the other band, the “Serenade’ ’is given the full bloom of romance by being sung in the. blaze of a nineteenth century drawing-room, with its gilt furniture and crystal candelabra, at the nuptial celebrations if the Misses Veit, with the two brides, attended by their bridesmaids, sitting in stiff array, with all attention on the singer, whilst Schubert plavs the accompaniment at the grand piano; but immediately afterwards Papa Veit calls for the dance, and the company trip it gaily to the rhythmic chime of the merrv “Moment Musical.” The play opens in a Viennese pension, where Schubert resides. The fact that there a pair of trousers being upside down from a line outside his door tells his friends that lie is without funds, but they have brought supper with them, and as one of them is Baron Franz von Schober (a poet), there is plenty of money for a very good supper indeed, which is interrupted by the advent of the three charming daughters of Christian Veit (a court glassmaker). Two of these daughters have beaux, but the third, Lili, Jias none, and so plays chaperon. They have repaired to the garden of the pension to coo and woo, and the only way of escape is past the merry al fresco supper party. As by this time the wine has warmed these gentlemen up, they cannot allow three pretty girls, in primrose gowns to pass, but the girls would have run the gauntlet but that they see their male parent watching out for them at the entrance. Baron Franz takes the matter in hand. He manages to secrete the girls in the garden once more, and induces, old Viet to drink brandified wine until he is able to see what very fine fellows are the suitors (a postmaster and a saddler), to his Tilli and Willi, and, in his cups, is persuaded to accept them as sons-in-law. But still there is Lili, the most beautiful of the trio, and a rbapsodist where music is concerned. She is immensely interested in Schubert, and the trick of the Baron in forcing her to become a pupil of the great song-writer brings them into very dost contact, and Induces a mutual tenderness that does not culminate owing to Schubert’s incurable shyness. At length Schubert requests the Baron to woo the maiden for him, and writes a fine song for the occasion. The Baron who is involved with a fiery Italian singer, Marini, at first revolts at the idea, but does so at length, and with such effect that Li! : falls in love with him, so that poor Schubert is left outside, a rather pitiful figure of self-abnegation and chronic shyness. Lili has been led to believe that Schubertt is really a wastrel. Marini, who gives this impression, is referring to the Baron, so that when the end comes, it is just a bit disappointing to find that the clearance of this imputation does not alter the situation. Lili still clings to her Baron, and Schubert resigns himself to a life devoted to music.

The performance is sound throughout. It is seldom that we are treated to a performance in which there is such unanimity iu fitness of personality to the character. Mr. John Ralston has been seen in many parts before, but never before has he succeeded in giving such a clear, faithful, and altogether winning performance as he does as Franz Schubert. His make-up and figure aie traditional and convincing; but what is most remarkable in this fine bit of characterisation is the innate modesty and smiling docility of the dear man. His gentleness and amiability pervade the scene. Mr. Ralston never strives for an effort, and yet his very reticence in manner and humble demeanour seem to make him always the outstanding figure. Moreover, he sings the music as it should be sung, without strain, without fighting for top-notes or broad effects, but flooding the beautiful music aud glorious lyrics with a sweet expressiveness that brings out every shade of meaning. This was at once apparent in “Hark, Hark the Lark, in his solo part in the quintet, “Under the Lilac Bough,” m the duet, “The Kiss and the Rhyme of it,” the solo, “The Light Out of Heaven,” and Hie duet, "Flower Dust.” Another notaole performance was that of Mr. Claude Flemming as Baron Franz von Schober, a very robust poet and squire of dames, and the very antithesis to Schubert. Mr. Flemming makes a lusty lover and a fine vigorous singer, and his

work all through was of a high order of merit; and such was his method and appearance that none could blame the fickle Lili for switching . so decisively from the humble song writer to this fine swashbuckling blade of the period. Flemming sang the “Serenade” very well indeed, and was rewarded with an encore. Fie was also heard to advantage in the pretty romantic duct (with Miss Crane), “When the Lilac Blossom Uncloses." Mr. Arthur Stigant was entrusted with most of the comedy as Christian Veit, and a very unctious and delightful portrait he gave as the giddy father of three charming daughters. Mr. Stigant is always laughter-compelling when the wine-cup passes (as is remembered in “The Boy”), and his mummery in the first act is extremely amusing. His quaint duet with Miss Molly. Tyrrel, “The Yodel Song,” was also in the character. Miss Adele Crane made a very charming Lili, simulating that air of early Victorian innocence and sweetness to a nicety, and wearing the high.-waisted gown and pantalettes of the period with a grace there was no denying. Miss Crane has a sunny little soprano voice that was quite equal to every demand. Miss Linda Foy and Eileen Dunne played the other two sisters Veit, very nicely. Miss Bryl Walkely has made immense strides in her profession since she- first appeared in Wellington in the Gilbert-Sullivan repertoire. She was entrusted with the most difficult of the female roles—that of the spitfire Marini, who is as mild as milk one moment, and a raging volcano the next, the victim of a violent temper fed by stupid little jealousies and hatreds. Miss Wakeley was effective in every word, every syllable; the only regret we have is that the part did not offer her any singing chances. Of the minor parts, Air. Herbert Walton was very amusing as the dapper Novotny, of the police force. Mr. Sid. Sterling was polished as tlie Danish Ambassador, and. Messrs. Herbert Browne, Harry Ratcliffe, and Frank Leighton were excellent as Schubert's bosom friends. Mr. Edmund Sherras nnd Williams Perryman were in the picture as the postmaster and -saddler lovers of the Veit sisters. Miss Molly Tyrrel was also satisfactory in the role of Mrs. Veit. The production, which is up to the highest Williamson standard, embodies many artistic touches that display the fine cunning of Air. Dion Boncicault. Mr. Harry Burton controls an efficient orchestra.