THE POLLARD SEASON. "THE GAy PARISIENNE."

Evening Post, Volume LVI, Issue 76, 27 September 1898, Page 5

THE POLLARD SEASON. "THE GAy PARISIENNE."

Six weeks ago " The Gay Parisienne " was but an " unrehearsed incident " in the Pollard rapertoire. It was presented to a Wellington audience at the Opera House last night as one of the most complete performances in the already long list to the credit of the energetic company and its enterprising manager. True, last night's production cannot be said to come exactly within the category of a first night experience, for it has, as the saying goes, been already " tried on the dog." But the completeness of the performance proves convincingly two things — the aptitude of Mr. Pollard's young people for a class of entertainment in which they have not had a particularly wide experience, for comic opera is not musical comedy; and the comprehensive character of the coaching of Mr. J. B. Watson, who was " loaned " to Mr Pollard by " The Firm " for the occasion, and who has the piece at his finger-ends, having chaperoned its original production both in London and Australia. He has fulfilled his mission admirably. Coming out of the heated theatre into the cool night air with a happy feeling of relaxation, and a physical frame aching from excessive laughter, one is apt to ask oneself, "What is it all about?" The best answer to hand would probably be that it is a variety mixture, of the kind which someone has described as being " everything by turns and nothing long." The poor plot is tossed here and j there, like a wisp of straw in a thresher, until it is shred into a thousand fragments i and becomes as dust, and the eye cannot follow it. Yet throughout the threshing process, which lasts just upon three hours* there is something to interest and amuse — scraps of corned3 r , both in its lightest and broadest vein ; a fair seasoning of sheer burlesque ; a little sentiment ; a dash of art in colour schemes of dress and scenery, and chippy, catchy music, iugeuiousty illustrative of its surroundings. With all this, what more does an audience want, if it understands that it is looking upon up-to-date musical corned}' and not comic opera ? Individually "The Gay Parisienne," otherwise Julie Bon Bon, is what one would colloquially call a " bit of a tart," with her seductive French ways, and her utter contempt for propriety as it presents itself to the mind of the ordinary English matron. But with all her dasuing and daring behaviour, her high kicking, whisking of skirts, and disclosure of neatty-turned ankle, Miss Gertie Campion, Mr. Pollard's new leadiug lady, does not once overstep the mark, bub gives a bright and bewitching performance of a character which might very easily be made vulgar. As a dancer Miss Campion is as nimble as a will-o'-the-wisp, and she made capital and effective use of her small but sweet voice. Mam'selle Julie was, in fact, quite a success. Then she had as a worthy helpmate Mr. W. S. Percy — an effervescent Frenchman, M. Auguste Pompier, conveniently known as her " brother," a burlesque character so skilfully handled that these two virtually held the attention of the house when they were on the stage together. But theu there were others bidding for laughter, and got it, as, for instance, Mr. Quealy, who almost effectually sank his individuality in the character of a gasconading military martinet, Major Fossdyke, of the Battersea Butterfly Shooters, who has one exceedingly quaint and laughable dramatic bit in the second act with Miss May Beatty, who plays a grotesque slavey part with much vim faid humour. Mr. Alt". Stephens got a lot of good fun out of the part of Ebenezer Honeycomb, the giddy elderly benedict, whose goir^ astray in Paris is the cause of all t> \e complications ; Miss Maud Beatty looked exceedingly well, and was properly prim and severe, but rather too sing - songy, as Mrs. Honeycomb ; Miss Marion Mitchell, as her daughter Nora, made love as opportunity offered to Tom Everleigh (Mr. Fitts), who was good only b} r " fits and starts " dramatically, but wholly in his music ; and other members filled, a lot of other subsidiary characters. There were many musical numbera which scored instant successes, notably the "Battersea Butterfly Shooters," suug by Mr. Quealy and chorus ; the " Cock -a - doodle -do '* quartet; "Sister Mary's Top Note," by Miss May Beattie; a coon song " Susie-oo, 3*by Miss Campion; a love song by Mr. Fitts ; and a grotesque one by Mr. Percy. " The Parisienne " will appear again this evening, and laughter will be her attendant, while she fills the bill.