ROYAL COMIC OPERA COMPANY.

Evening Star, Issue 12162, 5 April 1904, Page 6

ROYAL COMIC OPERA COMPANY.

'A COUNTRY GIRL.'

SHOWY, AMUSING, AND NEW.

It was in December of 1892 that Mr J. C. Williamson's Royal Comic Opera Company paid the* previous visit to.Dunedin. In that season lhey produced 'The Gondoliers,' 'Maxjorie,' 'The Old Guard,' 'Pepita,' 'Dorothy,' 'The Yeomen of the Guard,' 'The Mikado,' and ' Charity Begins at Home.' The company now sent over by Mr Williamson introduces a large number of-perfonnera who are new here, but continuity is preserved by the inclusion of three of the principals who" belonged to the 1892 combination—viz., Miss Florence Young and Mr George Lauri in parts,. and Mr Henry Bracy promoted from the first tenor role to that of supervisor at the back and representative of the proprietor. Miss Young and Mr Lanri were verv cordiallv greeted as old friends when making their first entry last night, and a similar welcome was bestowed upon the veteran conductor, M. Leon Caron, as he walked in to take his seat. In each case the performance was stack up for a moment or two to allow the vast audience, representing all classes of Dunedin plavgocrs, and large enough to fill His Majesty's Theatre in every part,,to pay their respects to these old favorites. Each has done excellent work on previous occasions, and Bunedm. never forgets obligations thus incurred. If oportunity had been given to see Mr Bracv, he too would have found plenty of friends in the house ready to give him a welcoming clap. This experienced artist was, however, more usefully employed behind the scenes. We» have often listened with pleasure to his singing and willingly written in praise of his general value as a performer; but last night, though corporally in eclipse, he surpassed all his previous efforts by perfectly controlling the stage management and making ' A Country Girl' conspicuous amongst modern comic operas for smoothness and smartness. There never was a first night so absolutely free from hitch or mistake. A moment's consideration wffl show the supreme importance of such a success in this department With the sole exception of the Gilbert and Sullivan series, modern comic operas are more or less lame in libretto, somewhat barren in acting opportunity, and at the best only entertaining in regard to the music. The world at Large has ceased to expect in these works any approach to the musical forms of real opera, and inconsequence as to plot is no longer considered a defect. It took playgoers some time to become reconciled to tills new order of things, but nowadays everybody understands that the story, the music, 'and tie dialogue are not intended to be separately subjected to critical analysis, but rather are to be judged by their valuo as contributing to effective ensemble. Thus it is that the stage manager becomes the king of the company. If he can find the means to put on an unbroken series of pretty pictures and make sure that the ears of the patrons are pleased with music that suffices for the moment, he can mate a success of almost any composition taken in hand. If he fails in either respect,,there is no forgiveness even though on reflection the work itself discloses merit. Judged by this standard—which in- passing we may remark is not altogether indefensible, since, to employ one illustration • that suggests itself offhand, we do not stipulate for pattern in the cloud forms that give a painter his light and shade—'A Country Girl,' as played by Mr Williamson's company, may be described as a great sucesss. It is essentially a pretty opera. The first act is laid in a Devonshire village. For this a remarkably beautiful scene has been prepared, and the foreground of a cottage and a lodge entrance is a triumph of stage work. At the outset there is a peculiarly effective chorus, breaking into valse time, ' Under the harvest moon,' sung by a strong party, mostly of girls dressed in lighttinted frocks, who look very nice and can really sing. Then there enters Granfer Mummery, a lively and somewhat amatory old party, represented by Mr Maurice Dudley, who is capitally made up and sings acceptably a verse commencing ' Young Jan he were an 'arrester.' This song might, we think, be extended; but last night the audience let Mr Dudley go, being eager for the leading principals. Next to appear are Sir Joseph Verity (Mr Reginald Roberts) and friends of his who have been out shooting, and whilst they are gossiping "Nan comes on. Nan is a person of some consequence in the play, being the beauty of the village, accustomed to general homage, and it would be hard 'to find for this familiar character a better exponent that Miss Evelyn Scott, this young lady possessing the advantages of good looks and wiitiness, besides which she knows how to sing, as proved by her rendering of the wing 'Johnny came from London town,' the burden of which is that the young sparks need not start fooling with Nan unless they mean business as defined by her in ' A kiss,"a hug, and the parson.' The crowd retire, leaving on the stage only an old nurse who is busy on her sampler. Miss A. Potter is the nurse, and the audience took to tier at once, this subordinate part being very nicely sustained. Whilst stitching she is surprised by the appearance of Marjory Joy. Marjory is " the country girl," but not recognised immediately as such, for she is "dressed up to the nines," as the saying goes, and has to explain this to the nurse. The fact is that Marjory has been five years in London, and has there become a great singer, and her idea is to return to her old hon»e, resume her brae print gown and sunbonnet, and thus welcome back her old sweetheart Geoffrey Challoner, who in the interval has gained a commission in the navy and is now coming back to see his father. Miss Florence Young is cast as Marjory, and ably sustains the part. That her voice has not deteriorated since we heard it seven years, ago was abundantly proved straight off by her capable rendering of 'The cooing song.' a somewhat exacting composition and the first important item in the serious music of the opera. She sang it charmingly, and the song also demonstrated the orchestra's marked ability, the accompaniment being a delicious treat. By the time that Geoffrey comes on Marjory has prepared for the reception by dressing in the old frock that he used to see her wear, and she expects an affectionate welcome from him. To her mortification Geoffrey receives her in a restrained, manner. The truth is that in his absence liis father has ruined himself by speculating in a tin mine, and Geoffrey is a poor man. Under these altered circumstances he feels that he cannot honorably continue his courting of Marjory, and he allows her to think that he has ceased to bve- her. Unluckily, this innocent deception is supported by what goes on under Marjory's very eyes! Nan, out of pure mischief, makes Geoffrey kiss her, just to show that they are good friends, as of old; and there appears also an Eastern princess, who voyaged to England in Geoffrey's ship and fell in love with him on the way, and at last forces him to choose between showing her some .attention or becoming positively rude to her. This part of the play.is cleverly constructed, and the position becomes most interesting to all but poor Geoffrey, who, really beside himself with love of Marjory, is compelled to make it appear that he would just as soon have either of his other admirers. The second act is laid in the hall of the Department of Fine Arts, the Minister Laving given a ball there to bring together a lot of influential people in order to help his friend Geoffrey to win the election to the House of Commons which is to enable him to retrieve his fortunes. This ball scene is one of the most splendid ever seen on the colonial stage. -The two grand staircases and the balcony are set up most expensively, and lighted with a number of elaborite chandeliers, and the appointments of the scene generally out-Williamson Williamson. From this point, however, the story shortens up very quiekly. Marjory is at the ball, and there meets Geoffrey, not as Marjory, but under her stage name of Miss Montague, and she steadily refuses to be identified as Marjory vntil Geoffrey has fully proved to her that his seeming indifference was all a • pretence. This being demonstrated to her satisfaction, Marjory aivrl Geoffrey forget all their treacles in mutual happiness. Here is, of course, a great deal more in the story than above reikted, but it would occupy columns of space to mention everything. As to the characters mentioned, Miss Evelyn Scott's work, all through was marked by sprigbtiiness and refinement, and she made a de-

tided bit with the rong ' Molly the Msm* chioness.' Mr TTjiidi Jackson, cast at Geoffrey, also d credit. He refrained from neeoie-s and inappropriate romping, and vocaJly be filled the part well, his light baritone voice being dhj, tinctry pleasing in 'A sailor's life' and even more successful in ; My Kttie girt.* As for Miss Florence Young, all present were highly delighted with her improvement as an actress, and she sings as weß as ever. In addition, there axe several important parts that were all capably sum tained. Miss Celia Ghiloni, appearing aa the Princess, created a favorable impresh sion at the outset, the well preserved contrast between the Princess's serenity air tiie lady whose will is law and her ragei on finding herself rejected proving: Miss: Ghiloni to be a clever actress, whilst heri singing was in places of a highly dramatia order. Miss Maod Chetwynd, too, claims notice, and special thanks, for her taster fnl sketch of Madame Sophie, a dressmaker who compels an customer to introduce her to high society. " Mis 3 Chetwynd also dances neatly, and her singing voice suits the requirements of Sophie'* part. Miss Belle Gross had very Kttfq to do, but that little was exalted by sheer merit into consequence. It was to. play the part of a captivating widow, and we may say at once that we have never* seen. the familiar role sustained with mom cleverness. Then coming to the men, Mr George Lanri made perpetaal fun in hi» impersonation of Geoffrey's servant Barry. This popular actor was in great form, and bis touch-and-go jocularity was mostly worthy pf his high reputation. But on* amendment is necessary in his business * he might with advantage re-write the lines about the buttons. Otherwise, all that Ml Lanri said and cad was really most comical. Perhaps his greatest success was in the lecture on "Man," given whilst as* snming the part of an elderly maiden of somewhat playful habits. It kept the boose in roars of laughter. Mr Claude Bantock also fonnd ample scope for his eccentric comedy work. He was cast as Mr Rafkes, who has been a captrre in Bhong, a place in the Himalayan district. Rafkes confesses that though nominally a prisoner he has reafly. had a. very good time, and in several scogs all of which were doohry encored he narrated fats singular experiences with irresistible effect. Others that deserve mention aze Mr Arthur Hunter as Sir Joseph Verity, and Mr Reginald Roberts as young Verily, and it would be unpawkmabie to forget a word of praise for Miss May HMas, the solo dancer of the company, who at onoa gained favor with the audience. Hie incidental dances were uncommonly striking and picturesque, and the orchestra, numbering fifteen, may jnstJy be deemed the best instrumental combmafaon ever heard in Dunedrn in connection with a coxnio opera company. Their pitying was alone well worth going to heax. 'A Conntry Girl' will be repeated thi» and the three folhroingievenings, for Saturday night 'Ma Mie Rosette' being annotnjeed.