“THE DUBARRY”

Hawke's Bay Tribune, Volume XXIV, Issue 236, 18 September 1934, Page 6

“THE DUBARRY”

HASTINGS PERFORMANCE A Brilliant Production THEATRE PACKED LAST NIGHT An excellent reception by an audience which tilled every seat in the house, and which was so large that even every chair m the boxes was occupied, was given to the J.C. Williamson Company’s performance of “The Dubarry’’ at the Hastings Municipal Tliea'tre last evening. In more than one way the play was outstanding, notably in the uncommonly gorgeous and beautiful dressing, in the size and quality of the orchestra, in the beauty of the ensembles, and most certainly in the ballet dancing, which last must have seemed all too little for an audience to whom it was quite evidently the most appealing item of the evening. La Camargo (Ivy Kirby;, and her coips de ballet of sixteen girls, danced in a moonlight scene in the gardens ol the Palace Lueiennes, where Louis XV. had installed his new favourite, the Dubarry, and nothing more sprightly, inure delicate, or more ell-like could be imagined. It was the very essence ot imaginative ballet dancing, and every moment of it was a delight. Such dancing is all too rarely seen, and the audience gave it the applause that so beautiful a performance deserved. Hie play lends itself to colourful dressing in a way that a more modern theme lacks, and the utmost advantage was taken of the opportunities for displaying all the rich costuming of the period. Flowered brocades and silks and satins, knee breeches and crinolines, powdered wigs and powdereU hair, and all the appurtenances of au age that was rich in beauty, gave the play an appearance of rare loveliness, and there was not one scene in which that loveliness was lacking. Miss Sylvia Welling, in the part of the Dubarry, gave a satisfying performance. She has a good voice and a more than common share of that indefinable feminine quality that Mr George Wallace has described as “if.” The change which takes place in her character during her transition from the fife of a little milliner to the power behind, or quite openly beside, the throne of Louis XV.. was wonderfully portrayed, and her vivacity in acting, and the quality of her singing, won much applause. As the kittenish and saucy milliner, or as the sincerely loving mistress of Rene Lavallery, or as the disillusioned mistress of the Count Dubarry, or in her character as Jjouis’s favourite and co-ruler of the Court and of France, she was equally good, aud equally convincing. John Dudley as Rene Lavallery was given the leading vocal part, and the fine rich quality of his voice, and the sincerity of his acting, made him one of the favourites of the evening. The comic relief in the play was in the hands of Jean Gibson (Margot) and Cecil Kellaway (the Marquis de la Marche). Margot is another little milliner who has found as her “protector” a member of the nobility, and she becomes a thorn in his side; but only to the extent of causing a tickle now and again, and never to the extent of causing him pain. And the marquis remains doting aud indulgent. Margot played and sang her part with much liveliness, and her noble lover acted up to her most adequately. Leslie Holland gave a very satisfying performance in the role of the Count Du Barry, and other leading characters were Madame Labille (Lorna Forbes), Madame Sauterelle (Lorna Forbes). Le Due de Choiscul, La Mareehale de France (Jean Dunean, who gave » particularly good performance), Comt® Lainmond (Clifford Cowley), and Louis XV. (Richard Parry). As has already been said, the orchestra was one of the leading features of the play, and it is worth saying again. It is a long time since a touring company brought with it so large and so good an orchestra, and Mr Leo Packer and his two dozen or so instrumentalists were by no means the least to be praised for the success of th® evening. The stage management was superb, and scene followed scene without the slightest delay. To-night the company will present the Strauss comic opera “Waltzes from Vienna,” and is sure of an equally warm reception.