TAIT MUSICAL COMEDY COMPANY

Evening Post, Volume XCIV, Issue 40, 16 August 1917, Page 3

TAIT MUSICAL COMEDY COMPANY

Japan ii exploited for "The White Chrysanthemum." To "V«ry Good Eddie" it is utterly dissimilar: It is not hampered by a plot. The story is of the flimsiest nature, and may, in places, fail to cohere; but that is a matter of no importance beside the lavish mounting of the piece. As it was put on at the Grand Opera House last night it reflected, first of all, the highest credit upon its producer. Considered as a spectacle, it gave manifest pleasure. The opening of the first scene (in dim blueish green twilight) was very effective with its procession of Japanese pedestrians, banner bearers, hawkers, country folk, and tea-house girls. The costumes worn were generally most gorgeous.

The elastic character of "The White Chrysanthemum" enabled the insertion at pleasure of song or etory, sentimental or comic (not necessarily relevant) at any stage of the performance. Mr. Barry Lupino appeared as a lowcomedy purser of a steam yacht. He again showed himself to be a complete master of his craft last night. Mr. Andrew Higginson, as a comic "swell," made the utmost of his part; Mr. Frank Greene, as usual, put his best into his love songs; the Messrs. i Bristowe, Donaghey, and Pope, as three Japanese policemen, furnished an acceptable comedy trio. Messrs. Arthur Sharpies, Fred. Monument, John Beck, and Chester Harris hadn't much to do, but each gave proof enough of being able to do better, given sufficient scope. Miss Lilian Tucker was the principal soprano, and was allotted numbers which admirably suited her. Miss Emily Fitzroy, who, as "Mrs. Eddie," scored such a success in the preceding production, played a comic Chinese female cook. The other ladi«s had but little to do beyond looking well—which they did—dancing gracefully and vocally supporting the principals. "The White Chrysanthemum" will be repeated this evening.