THE POLLARD OPERA COMPANY.

Evening Star, Issue 11608, 19 June 1902, Page 6

THE POLLARD OPERA COMPANY.

Until last night but few Dunedin residents had hoard ‘The Messenger Boy,’ not many hare eren yet seal the score, and it jrmy be a surprise to learn that nine persons take credit for a share in the making of this Gaiety musical play. As to the lyrics, twelve are by Adrian Boss, four by Percy Qreeubank, and two by, Leslie Mayne; as to the music, Ivan Caryll is the composer of nine numbers and Lionel Monckton twelve; Paul A. Rubens is responsible for the words and music of one song and the words of one duet; Augustus Barratt prov.ded the music of Rosa’s song: and the title-page declares that the play is by James T. Tanner and Alfred Murray, •who presumably are responsible for the cementing together of the several individual products and the planning of the dramatic action. We mention these matters not only as a matter of justice to the parties concerned, but as a peculiarity. The wonder is that so many cooks have not spoiled the broth. As a rule, the most pronounced stage successes are those which ccme from a naastcr mind. Gilbert and Sullivan’s topsyturveydoms were the exception. In regard to ‘The Messenger Boy’ we certainly find no such spoiling as might be supposed to result from a superabundance of kitchen oversight. If everybody has brought his contr.buting ingredient, someone has wisely tasted of the contents throughout the boiling, and the broth comes out with a distinct flavor. So far as the early serving is concerned, at any rate. Possibly it would have to be admitted, if ail the truth were told, that the residue is somewhat thin and watery. In other words, the body is all in the first act. In the second act the piece runs out to nothing. This, however, is not a fatal objection- ‘ Florodora ’ and other pieces of the class exhibit the same defect and survive, and, to be candid, we would sooner have ‘ The Messenger Boy ’ as it is—strong and distinct and full of theme up to a certain point and then dying ao*n —man find it a continuous hotchpotch of consistent mediocrity. One fault or the other seems to be inseparable from these musical comedies. The model one has yet to be produced. Early in ‘The Messenger Boy’ the discriminating section of the large audience that assembled at the Princess’s Theatre last night had their interest aroused to a high piich, and were commencing to think that at last the perfection of nonsense stagework had been discovered. That hope was rudely d.smissed as the piece progressed. Nevertheless, we thank the person or persons responsible for the promise ‘of the opening scenes. They lift ‘The Messenger Boy’ to an eminent position amongst its contemporaries, and justify us in returning a prompt affirmative reply to any who may rely on us for guidance as to whether the performance is worthy of patronage. Those who stand off and merely think about going will miss a good example of stage motive, the nearest approach to a comprehensible plot and the moat forcible expositions of character acting that we have had since the days when music-hall business started to invade the stage proper. These remarks apply entirely to the first act, the merit of which ensures forgiveness for the inanities of the second act. As to the story itself, not much need be said. This may seem like a contradiction of what we have already written. But the paradox will be readily understood by those who were present, last night. The •fact is that the story is simple and short., of no particular value in itself, excepting as affording opportunities for excellent “ business ” on the part of the leading principals. Therein lies the real strength of ‘The Messenger Boy.’ The music is in a large degree only of an incidental and illustrative nature; much of it, belonging to the “ Tra-in-la” order, could be played almost as well by the kettledrums as by the strings, and the songs do not strike the ear’s fancy very strongly on a first hearing. How limited the vocal solo opportunities are may be judged by the fact that Mr Carter, one of the chief singers of the company, has not a note to sing all the evening. But though the narrative is meagre and the music several degrees below the Offenbach standard, we still argue the merits of ‘ The Messenger Boy,’ relying chiefly on the reason already advanced—namely, the strength of the parts and the smartness of the business thereto belonging, and for a second ground we would mention the efficient manner in which the play is staged. The management deserve great credit for the completeness of the preparation. The dresses are showy and clean, they fit and are well made, and in ensemble make pretty pictures. The scenery by Mr Leader Wrliams is distinctly I creditable. The Cairo background might [ perhaps bo improved by toning down the somewhat intense blue when there is time to go over the canvas again, but the street I section of the scene is admirably finished, and the view of Brindisi Harbor is quite the best thing that has been painted here for many a long year. In regard to mechanical effects and properties, also, the I production is remarkably well off,, many masters of defail, as for instance the “ puff puff ” of the tiny steam launch, being noted as proving the thoroughness of the stage arrangements. The orchestra, too. had their music off by heart, which is important whe,n playing the catchy kind of composi t ; ons that they have in front of them. And, above all, the company as a body deserve credit for the evidences of diligent rehearsal. Everv member of this large corps dramatique has his place and knows it, and the action generally, the leading up io and the perfecting of the tableaux in particular, never for an instant found the company or any individual member thereof showing the leest sign of confusion or flurry. Concerning the presentstion as a whole, we were much pleased, and by vood luck wo can quote the opinion of a gentleman present who saw ‘The MessengerBov ’ in London, and savg that the Dunedin production is highly creditable. And what is the piece about? Well, the first scene is the interior of the Hotel de Luxe, or the Thames Embankment. In the playbills and programmes this is printed as tb Hotel de Luke—a carious misprint of small consequence to colonials. Here we sc© Mr ; Pyke, a money-lender, at a charity ba*aar, j trying to ingratiate himself with Ladv I Punchestowu in order to. secure favor w' f ' her step-daughter Nora. Mr Carter is Mr Pyke, and he plays the part capital: though we wish he had something to sing His get-up seem* to remind us of someon we once knew, and this unstudied resem blanoe gives point to the part. Pyke’* scheme is the buying up of Lady Ptmchestown’s hill*, which he makes capital of by

presto ting to her ladyship Ho .has also come into possession of. a bill backed by Clive Radnor, his mol for Nora’s band, and intends to send this bill to Lord Puncbestown in Egypt as evidence of Radnor's unfitness for alliance with the family. To make sure that this involving bill shall not go astray he entrusts it to a messenger called up for the purpose from a neighbors ing agency, and Tommy Bang receives orders to go right through at *& hasatds and disregard any messages he may get en route even though carrying Pyke’a own signature, this precaution being taken to frustrate any counterplot. Nora, who is in love with Radnor, plumbs the conspiracy, and starts off for Egypt to try and gut there before the messenger so as to let Puncbestown know the truth. Pyke at the same time finds that the bill he has sent by Tommy is not Radnor's, bat one of Lady Punchestown’s millinery accounts, so he also starts for Egypt, intending to personally intercept Tommy. Thus the principals all reach Cairo. The happenings in that city of contradictions and mysteries are somewhat mixed. It is at this stage that the story as a story runs • dry. But eventually the party prepare to return by way of Paris, and that is where we leave them when the curtain falls. There is a good deal of more or Less irrelevant detail in the play, but all helping towards the general success. Hooker Pasha, for instance, is a strong character, and Mr Ralston does it justice by his capital enunciation. Hooker is a renegade Englishman. The things that be has left behind him include a wire, and she is much in evidence. Miss Alice Edgar personates this deserted wife. She is Mrs Bang, Tommy’s mother, and when Tommy starts off for Egypt she goes too, having an idea through the illustrated papers that Hooker Pasha and Mr Bang are identical. It turns out that she is right, and Hooker's design to marry six or eight more wives in the rare matrimonial market of the East, referred to in the play as the place where wise men used to come from and where wise women now go to, is subjected to abrupt interference. Miss Edgar plays this part splendidly. It suits her, and in its elaboration we get a glimpse of the real Londoner, not the poor counterfeit often presented on the stage. Her songs, also, are piquant, particularly ‘La the wash,’ wherein we are told that A girl without a shilling Can’t go in for fancy frilling, And she’d fourteen rows in the wash. Mrs Bang is decidedly one of the attractions of the play. Miss Buttel acts Nora nicely, with taste, and she looks the part, her white dress being most becoming. Unfortunately this young lady seemed to have a cold, and it interfered with her top notes in the song ‘When the boys come home.’ To Miss Ne.lie Wilson, who appears in every play the company produce, and is really one of the hardest-worked of the principals, praise is due for her acting in the waQdng part of Lady Puncbestown. Miss Alice Pollard, cast as the step-daughter, is as cheerful and lively as is her wont, and her song ‘ Maisie ’ is about the best of the vocal numbers from a musical point of view, also somewhat chippy, as may bo gathered from the verse in which it is related that Other girls in kissing Go fooling round and missing, But Maisie gets right there. —a ditty that secured the noisiest encore of the evening 1 . Miss Osborne has but little separate work; still she has a chance, and makes the most of it, with the introduced song ‘Sometimes I think you do not love me.’ Mr O’Sullivan, as Hooker Pasha’s agent, Mr O’Connor as Radnor, Mr Qnealy as an eccentric American sea captain, Mr G. Young as a German caricature, and Mr Stephens a a a monkeyish travesty upon the French, are all of considerable value to the general success, special mention being deserved by Mr O’Connor for his singing of a. new song composed by Mr Clarence Vaughan ; and then we have, lost, but not least, Mr Percy as Tommy and Miss Campion as his girl Rosa. They are up to all sorts of pranks, including some really excellent character studies, right through the piece, and their duet, in tie course of which Miss Campion personates a bookmaker and Mr Percy a countryman, is inimitably droll. Tommy is really one of Mr Percy’s bfet parts, and having said that, anything more would be superfluous, his ability being proverbial. Our final observation is that the piece would stand a little catting down, and if that is undertaken the superfluous big D’s may as well go. The word has ceased to have any jocular value, and its use is not considered polite. ‘The Messenger Boy’ will be repeated this evening. • -1,,,