ROYAL COMIC OPERA

Evening Star, Issue 17086, 3 July 1919, Page 6

ROYAL COMIC OPERA

'THE PINK LADY.' If His Majesty's were twice its size- it would have tilled last night. The public havo unlimited faith in this Williamson Company, and special interest was aroused ih tile presentation of 'The. Pink Lady.' which is an adaptation from the French farce ' The Satyr.' 1 It turns out to be. a very lively work, purely French in idea Mid development, calling for rapidity of action and that completeness of stage management which, counterfeits spontaneity ; and this demand, was mat in. splendid style, the movement being at high speed all through and without any jolting save for one or two necessary intrusions by the prompter. We do not remember any piece of the sort being more smoothly played under pressure. This was a strong point in the performance. We may also be sure of a genoral backing from the audience in stating that the "company as a whole spoke with rare clearness, evidently rn<!Ogii.iehig that the occasion cast a special duly on them in that respect. All present must have boon pleased with the manner in -whiqh the piece -was prepared. Only one question arose in the mind of the audience. 11 .was as to the pronunciation of "satyr." The word occurs frequently, and it -was invariably given as _" say tor," for which wo know no authority, unless its exeusers plead, some perverted American custom. This, however, is our only suggestion of a fault in the study. The story is that of a mix-up in domesticarrangements, origino.ting in the. endeavor of a' larky young man named Lucien Gavidol to hide from hte fiancee the fact that he is flirting with the pink lady. Th» old way of "handling the theme is entirely departed from. Thoro are no naMy situations, and the playwright has skilfully avoided tlio other and more suggestive extreme of pretending that the characters are direct from .Bds-n. No one can take any objection to the tone of ' The Pink Lady.' ' It is as comic as can be, and fulfils the desires of t-hoso who contend that you <-an have wit, without uneleanuoss. The heavy burden of the talking part falls on Gartde-1. Mr Reginald Roberts, now out of the doctor's hands, reappeared in this part, and earned unlimited thanks for delivering the word* in a tripping style that would nave been approved of even by Charles Mathews, if that famous old English exponent of stage accelerando were still alive. Good anting was also exhibited by Mr Phil Smith, as a steady middle-aged" dealer, strong on respectability, who is tempted, through his cupidity, to simulate a social satyr and rush open-armed at all the pretty women ; and the stage work of Mr Leslie Holland, Mr John Ralston, Mr Percy Claridge. Miss Olive Godwin, Miks Addis Leonard, and others was really clever; whilst Mies Gladys Moncrieff, 'as the. pink lady, flitted through all the t'hief scones as_ a vision of loveliness and mischief, and Miss Florence Young found in the part of the ■countess who was kissed against her will an opportunity for her very best work. The quintet of the second act, in which Miss young -was the prevailing influence, •was doubly encored, and may be classed as an exceedingly clever paraphrase of Italian grand opera. The quartet ' The Intriguers ' was another feature, and wo must also mention the duel between Messrs Balston and Roberts and the "nymphs and satyrs dance " led by Mr Mackinnou and Miss Baird as items that very much pleased the .audience. It is a pity that the company have had to abbreviate their visit to Dunedin. Good business could have been assured for at least another yeek.