H.M.S. PINAFORE

Hawera Star, Volume L, 19 December 1930, Page 5

H.M.S. PINAFORE

' HIGH SCHOOL GIRLS’ PERFORMANCE. A. CHARMING PRODUCTION. There is a wealth of humour and clever dialogue, with witty and. sarcastic allusions to customs and practices common to the time_wnen Gilbert wrote the libretto of H.M.S. Pinafore that shows clearly the cleverness and orisinal mind of the author. And when to that is added the wonderful music written by Arthur Sullivan for the recitatives, arias and choruses that abound in the opera, the fact can well he realised that there is s.till no comic opera written which has such an universal appeal as those in which these two collaborated. The charm the words and music was brought out in a, marked and effective style by the young girl artists, soloists and chorus, of the Hawera High School at the Opera Houso last night. They showed an astonishing realisation of the points intended by the writer, of the. libretto and of the carefree solos and choruses. They delighted a packed audience bv the way they captured the spirit of the delightful music. Throutfhout they sang with a marked abandon and a keen appreciation of the words and music and gave a performance that drew from the listeners enthusiastic applause. The principals, too, showed a, dramatic ability that added much to the effectiveness of their work. It was an ambitious effort, hut they fully justified themselves in their venture in the great realm of comic opera... The characters of the play are typical of various ranks in the navy and of the life .surrounding the shins of Britain’s first line of de- : fence, in the days when it was written, and in a lesser degree nowadays. All were extremely well depicted and their very human touches well brought out. As the pompous First Lord, Sir Joseph Porter, K. 0.8., Nancy Gray, in a difficult, pourtrayal of character, did very well. She made the points of the words of the songs and dialogue well, and altogether filled the part very cleverly. Her best .solo was, “When I was a Lad,” with its delightful satire on the ways of promotion in “the Queen’s Navee,”- and she 00-operated well in the duets and trios with the captain, and Josephine. Peggy Morris, as the gallant captain of the Pinafore, looked the part to the life and strutted round as though on ; her own quarterdeck. She showed a I full appreciation of the character and made her points exceedingly well. Her • best songs were the opening salutation to the crew, “My Gallant Grew, Good Morning,” and throughout she jyas effective in the concerted numbers, he! duets with Mrs Cripps and Deadeye, “Things are not What They Seem,” and/ “Kind Captain,” being especially good and reflecting much credit on all three young singers. Olga Hancock’s fresh, clear voice was well suitod to the part of Ralph, the A.B. who proves to be the rightful captain. She had a number of delightful arias and recitatives and sang them all very nicely indeed. “The Nightingale Sigh’d,” and “A British Tar” were outstanding. Her voice blended capitally with the other soloists in the concerted numbers, the duets with Josephine, “Refrain Audacious' Tar” and “Fair Lady Have Your way” being specially attractive. Elsie Twaddle had a, very good part in the character of Josephine, the captain’s daughter, and throughout she showed unusual ability in acting, combined with delightful singing. She had a heavy part and she carried it through most creditably, “Sorry Her Lot” and “A. Simple Sailor” were her best solos and .she fully sharped the honours in the duet with Ralph and in the most effective trio, “Never Mind the Why and Wherefore.” A delightful example of characterisation is that of Mrs Cripps, Little Buttercup, in many ways the best known in the opera, and it was very ably sustained by Pearl Gane, who showed marked appreciation of the part. , Her opening song, “I’m Called Little Buttercup,” established her in the favour of the audience and throughout she held, her listeners. Hers was a very good performance, in solo as well as concerted work. j One of the most difficult characters to portray well is that of the pessimistic and unpopular seaman, Dick Deadeye, and in this Jean Robb' scored a complete success. She spoke her lines extremely well and brought out the pathos of his physical defects very cleverly. Her duet with the captain, “Kind Captain,” was, too, a splendid effort.

Aj.s the boatswain Audrey Harding •sang and acted nicely, lier duets, “But Tell Me,” with Litle Buttercup, and “A British Tar,” with Ralph, being excellent numbers.

Joyce Goodwin had the part of the midshipmite to fill and she did it verv well.

The lilt of the various arias and clioruses is evident from the* very open- •')!' the overture and one catches the spirit and atmosphere of the opera at once and it never fails to attract at anv point in the whole work. It is delightful the way the music leads so natnrally an deasily into the first chorus, and that is a charm all through the Gilbert and Sullivan operas. Perhaps one of the greatest charms in the whole of the music is the wonderful series of choruses written for the recitatives, and there is nothing better in any similar wort.

The chorus included the following: Ladies. First Lord’s sisters, his cousins and his aunts;—Olive Arclibold, Gwen Bernard, Helen Collins, Sylvia Davy, Ola Dillon, Enid Evans. Millie Goldstone, Muriel Grant. Alison Hunter, Vivien Jones, Rose Mardhant, Ola McAnerin, Molly McKinnon. Zara Morris, Joan Murray, Joan Nelson, Iris Nicholas. Zita Nicholas, Aimee Small, Winnie Trim, Alison Watts. Betty Woods, Peggv Yearbury, Audrey McLaren. Sailors: Merle Adamson, Vera Allan, May Allen. Frances Best. Ruth Bray, Doreen Brown, Peggy Brant. Edna Cameron, Coma Camnhpll. Monda Collins, Jovce Crutch, Phyllis Death, Lorna Elmes, Joyce

England, Elizabeth Evans, Yerena rind later, Barbara Foy, Rose George, Hazel Hollard, Leila Hurliman, Lesley Hotter, June Johnston, Jocelyn Lennon, V a cine Lord, Cla re McDonald, Amy Manners, Esme Manners, Gwen Masters, Ron a Meharry, Reta Me-. Neill, Lily Mortimer, Thelma Mullins, Jean Murray, Patricia Murray, Doreen Nairn,, Rita Nicholas, Patricia Nowell, Mary O’Dea, Jesse Oliver, Hazel Phillips," Ngaira Prince, Peggy Robertson, PHivllis Schwieters, Mavis Smith, Bessie" Seed, Norma Taylor, Jean Thomas, Pattie Tonkin, Frances Thomson, Vivienne Westwood, Joan Whitehead, Barbara Woods. Frances Wills, Mabel Wyatt, Tui Wyatt,’ Margaiet Young. They all entered fully into the delightful choral numbers and sang with a marked appreciation of the sense of the words and the beauty of the music. They created a most favourable impression. The orchestra, composed of members of the school institution—Rita Hawkins (piano), Doris Hawkins and Betty Pinsen (violins), J. Henson (flute), D. Rawson (clarinet)—assisted by Mrs W. A. Quin (bass), Miss A. Dolan (’cello), Fox (oboe), and H. E. Robinson (drums), had a heavy task and performed with much credit, though their accompaniments at times might have been more subdued. Generally they gave a capital performance and helped in no small degree to the success achieved. The orchestral arrangements were directed by Mr Fox. Mr A. Gray, who directed the production and who the chorus and orchestra , had his forces well j under control. The young singers showed in no uncertain way the effect of his careful training. The dressing and staging of the •opera were features of the performance and to Mjss B/Earl, under whose control was the scheme of costuming, to Miss H Garnett, who was responsible for the effects, and Mr J. C. Findlater, stage manager, the performance •owes not a little for its success. Special scenery, smacking unmistakably of the sea and of the navy, was prepared in Mr S. Reece’s studio and it formed a most appropriate background. At the interval Mr R. S. Sage, chairman of the High School Board, came on the stage and congratulated all concerned on the excellent york done, thanking everyone who had in any way done part of the work which had combined in such an excellent presentation of the opera.