CINDERELLA

Gisborne Times, Volume LXIII, Issue 10064, 31 July 1925, Page 5

CINDERELLA

JUVENILE OPERETTA

FINE PERFORMANCE BY MISSES MILLAR AND GALLICHAN’S , PUPILS.

The over-popular juvenile operetta “Cinderella” presented by the pupils of Misses Millar and Gallichan, opened a three nights’ season in the Opera House last evening most auspiciously. The pretty nursery story ot the unwanted and, ill-treated gin whose life has been spent amidst the ashes of the fireplace and the squalor of the kitchen . and dishes, who is transformed into a beautifully dressed maiden for the Prince’s Ball, who captures the heart of the Prince of the land, and then disappears at the stroke of the midnight hour leaving only a silver slipper as a clue to her identity, and finally-the Prince’s discovery -that it was Cinderella who had entranced him; .was the framework on which the excellent acting, songs and ensembles were suspended. The* performance generally was of a high standard and reflected much credit on those responsible for the production, which showed that the performers generally had developed technique and gave full expression to the respective pans. The costuming of the characters was an outstanding feature of the operetta. Not only the principals but the minors were beautifully robed, this evoking much commendation and expressions of delight from the audience. The scenery was excellent, and the various scenes were well in keeping with the splendor that 'the story conveyed. Tho central character, Cinderella, was generally well portrayed by Nellie Millard. In acting the part of the much abused but pretty kitchen kitchen maid, whose daily grind was dishes— everlasting dishes and cleaning, always, at the heck and call of her’ cruel stepmother and sisters, Charity and Patience, she displayed marked ability, hut her spoken lines were somewhat inclined to be affectatious and not clear to the audience, while her singing did not convey; a true expression of her thoughts. She did well in the scenes where her stepmother and step-sisters cliessed foi the Prince’s Ball, showdng expressions of fear, and rushing first to one and then tho other to attend to their evening demand. With tho entrv of her father, the Baron, she sang a pretty duet “I gaze upon the Happy Past” but in her solo “Some Day” she gave fuller and more sympathetic expression of fier thoughts. Then with the appearance of her- " Fairy Godmother comes the realisation of Cinderella’s dreams—she is transformed into a beautifully-gowned lady ready for the ball. Her costume and ’headdress certainly were beautiful, and she played the part very graciously. The carriage conveying her to the ball was also a fine piece ot work. And then the ball and the sensation she /evoked there,, (for the Prince was captivated by her beauty and laid his heart and his kingdom at her feet, so to speak. Her duet in this act with the Prince Hs the Midnight Hour” was very prettily rendered, and then with tho witching hour to the call of the fames, Cinderella disappears, leaving only a silver shoe. Once again Cinderella is seen in the kitchen where she is found to the disgust of her stepmother and step-sisters to be the owner of the missing shoe, and then tho happy union takes place. Her solo ‘Once More in Lowly Garb and finally with her Princely lover “Happy the Love” were singularly p retty numbers sung with much more expression and effect than hei earlier numbers As the step sisters, Charity and Patience, Maureen Keaney and Peggy Lange were well _ cast. From the 5 start both infused vivacious and infectious humor into their acting by their gesticulations, manner of speech and facial expression that kept the audience in merry mood. Their duet “At the Prince’s Ball Tonight” and the two with the stepmother, well played by Alicia Gave, “When to the Prince you are I resented” were highly amusing and during the ball at the Court then argumentative discussion about being “wallflowers” kept the house m a ’'state of merriment. In the final scene Charity and Patience were perhaps seen in their most amusing roles, particularly in trying on the silver shoe of Cinderella and their expressions of disgust and amazement when the “kit-chenmaid slipped on the shoe quite easily. As the Prince Jbsephine Warren, splendidly robed, played her part exceedingly vrell, mtusing plenty of liio into her singing particularly in the Court ball scene where she sang “When Trumpets Pealed” forcefully and deeply regretfully “Vanished as Mist” as Cinderella disappears from Court. At his reunion with the little kitchenmaid she sang very sweetly and impressively “0 What is Outward Show’*—a splendid performance The Fairy Queen who effected Cinderella’s tr an A 1 ruination and happy reunion was well portrayed by Minnie McDonald, and although her vocal attainments were not of a particularly high order, her spoken lines were of singular clearness and purity. The henpecked Baron, Cinderella’s father, was well characterised by -Nina Murphy as was the part of the Courtier taken by Elsa Scott, who sang “Will it Fit You Gentle Lady” very sweetly. The singing of the chorus was par* ticularly good in tone and quality and their numbers “Hail to Our PrinceV, Natal Day.” “Conceited, “M'errv Sno\* While Fairies We ~ “Lo in Transformation” “Cinderella’s Carriage) Waits”, “Go Forth in Beauty”. “Good Health* to He Prince”, “ ’Tis Midnight Hour , “Long Live the Prince” and' the finale “0 Take her Prince” were exceptionally well rendered. The choius was prettily costumed in the scenes wherein the Fairy Queen creates the transformation of Cinderella, and tho dance of the fairies was very charmingly executed, evoking much applause from the audience. bio chorus consisted of: Daisy Hadwen, I). Reidy, Joy Shaw, D. Green, 1 ■ Tate, J. and N. Warren, O. Patterson, K. and 11. Grogeii. G. Adams, M. Sutton, L. Brown, B. Albrecht. D. Grieve, J. Wallis, R. and K. Bickford, Elsa Scott,.- May Witty, C. Edwards, L. Irwin, D. Goldsmith, C. Mitchell, M. Duncan, B. Dennis, R. O’Connor, R, Davidson, M. V hittore. C. Nossitter, E. Vincent, C. McConnell v R. Fisken, D. and A. J lack ley, D. Baylyn, 1. Robertson. J. Silver wood,' R. Richardson, D. Colin, L. Barkwith, E. Attwood, IPhillips, K. Hogan. During the Scene at the Princeis Ball, a quartette, N. Warren, B. Dennis, E. Scott and i>. Grieve, with a, chorus of pages,, sang very sweetly “Oh, She’s Charming’/, while fide gossiping chorus ; “I Know tis Very Wrong to Quiz” in which the soloists were B. Dennis, O, McConnell and G Adams, .was also a very popular number. Prettily costumed in the dress of Old England; Ettsa Scott and Ngaio Warren sang the duet < Vnuxhall Way” very sweetly, tlieir voices blending excellently and the piquancy of their acting and singing earned them a warm ovation from the house. The dance of the'Court ladies, Roma Risken. Joyce Silverwood. Edna Vincent, Rene Gvogen. Kathleen Bickford, May Witty, Mary Duncan, and Edna Davidson, and tho Pages, Buntv Dennis. Elsa Sfcott, Ciishla Mae-. Sonnell, Gladys Adams. Dorothy Baylvs, Jean Warren, Ngaio Warren and Daphne Grieve in costume,, was prettily executed,. as. were,also.ithe >solo dance “Bri.llante’of.. Maureen -Kea'dav .find ..sorig- dnnce- : ; Crinoline’ ’ by - "-TJna ■ Fisken hAs mid-' ' (Continued at foot of next column'.)

night drew near-little Peggy Tate appeared as a little fairy and very sweetly sang “Follow the Fairies” as a beckoning and warning to Cin derejla, her efforts being warmly applauded by the house. , The whole performance was well stage managed by Mr .T. Nieol, and n. well-balanced orchestra under the baton of. Mr J. Vita kept the-operetta 'cVninrf'wirfv. n swing .seldom' ..seen- in juvenile--^productions;->-I*'•. : :^rf‘Gipdferella , h;h will he ; , repeated‘night; -’ v . rf" t > . - ‘ '