THEATRE ROYAL.

Lyttelton Times, Volume LXI, Issue 7223, 24 April 1884, Page 5

THEATRE ROYAL.

“ La Mascotte.”

We are positively being overwhelmed with operatic novelties. No sooner has Mr Dunning’s large company left a vacant place upon the boards of the Theatre Royal than Mr Williamson steps into his predecessor’s shoes, and fills the stage with another company quite as large, full of well-known faces among the principals, and pledged to perform works just as new and of established popularity in other parts of the world. The first of these novelties with which the now almost pampered taste—as far as comic opera goes of the Christchurch public is to be further whetted is Audran’s “La Mascotte,” which was performed for the first time last night, at the Theatre Royal. Mr Williamson has long since established a name among us as one who will provide good fare for his patrons, and has done so once again. The company is numerous, the chorus well-trained and magnificently dressed, the scenery beautiful. Among the soloists are Mias Nellie Stewart, Miss Fanny Liddiard, the pert drummer-boy of evergreen “Tambour Major’’ fame, Mr Howard Vernon, and Mr Woodfield—a quartette which ensures good musical and dramatic representation of the principal parts. It would be gratifying to be able to report that such a strong and efficient company had attracted a really large audience to their first performance. Unfortunately, this cannot be done. The house last night was by no means full. Those who were present cannot, however, bo accused of anything like coldness towards such of the company as had won their favours on previous occasions, and the old acquaintances in each case as -they appeared, met with an exceedingly hearty reception. Nor were they inclined to be sparing of applause during the progress of the piece, as several encores, and a “ call ” at the end of the first act, testified very plainly. As to “ La Mascotte ” itself, and Audran’s music, plot in comic opera, more especially French comic opera, is a thing that must not be searched for too closely—that is to say, in the way in which a plot, connected, easily u: • ;• f. > d, and of dramatic interest, is loo.ii.ii lor in ordinary play, or in serious grand opera. The French librettist has nevertheless turned to such account an old Gallic superstition, prevalent, we believe, in Poitou, regarding the possession of a luck-child, and—as the comic-opera king says—" directions for use" of the same, as to afford a considerable fund of amusement. The telling of the story is delayed sometimes by a great deal of quite unnecessary talk, and a huge collection of some of the stupidest attempts at plays upon words which have ever been heard in the Theatre Royal—and that means a good deal. But the plot makes itself clearly understood in spite of those drawbacks. The King (Mr Wallace) is the great obscurer in this way, and seems, like Bob Acres’ pistol, to go off of his own head on every conceivable occasion, and not because Messrs Reece and Ramie have

given him permit loll ft Less word - distortion would be a decided improvement! at pi’usont it amounts to gratuitous dislocation and compound fracture of docent English. M. Audvan’s music! is, for the most part, very pretty and bright, though, perhaps, lacking the sparkle of Lecocq’s, and tho flowing melody of I’lan.motto’s. There arc, however, some very original numbers, the famous ««Glow Glou ” duet, a saltarclle, and some lively choruses, which fully account tor tho groat popularity tho opera I»afl everywhere enjoyed. Miss Nellie Stewart played tho part of tho u Mascotto, #> and, whero Bho was still the happy hoydon of the farmhouse, played with great roguishtu&H and vivacity, throwing herself into tho spirit of tho thing with all her heart. She has a nice, light, wcll-oultiviitod soprano voice, and uses it easily and effectively, the consequence being a most pleasing combination of tho two great and important branches of an operatic artist’s art. She thoroughly carried her audience with her and was loudly applauded, besides being encored with Mr Vernon in tho " Glou, Glou ” duet. Mr Vernon did not seem to play with all his old accustomed spirit last night, though, as the part of Pippo is not altogether one of those in which ho most shines, this may easily be accounted for. He appears, on the other hand, to sing with less effort than of yore, and his voice has, if anything, gained during his absence. Miss Fanny Liddiavd looked as graceful and charming as ever, and did what she had to do as Piametta excellently well, ns, it might safely have been foretold, she would do. Mr, WoodflelJ, who has a singularly pure and pleasing real tenor voice, and whose vocalisation is very much above the average, may certainly be set down as an important addition to Mr Williamson’s cast. His first appearance in the part of Frittelini last night was very successful. Mr John Wallace and Mr Edwin Kelly kept up the clowning and joking, and punning—especially the latter —only too well, Mr Kelly showing at intervals that he could sing more than fairly. A word for the superb costumes, the scenery, and orchestra, may he reserved for a future notice.