AMUSEMENTS.

Lyttelton Times, Volume CXIV, Issue 13888, 24 October 1905, Page 6

AMUSEMENTS.

“ ELIZABETH.” When Miss O’Neil was last in Christchurch, it was generally admitted that her representation : of “Elizabeth” was h-er justification. Last night, at the Theatre Royal, in the presence of a good audience, sb© more than justified this estimate. Giacommeti’s version of English history, at any rate as translated dramatically, is possibly not in strict accordance with the accepted history of to-day, but the play still follows the fortunes of the great Queen with quite sufficient fidelity to permit of a little dramatic license occasionally in tho interests of effect. Tho character of the time is at least excellently preserved. Contemporary criticism was not far wrong when it characterised Elizabeth as one of _ Miss O’Neil s strongest representations. She possesses still the initial advantage of a stage presence singularly suited to the presentation of the historic acceptation of Elizabeth. Miss O’Neil is a postmistress in the art of majestic posing, and her intermediate experience has only strengthened her in this respect. Costumed with brilliancy and histone accuracy, she succeeded in fixing an impression of, in many respects, Britain’s most picturesque sovereign much more vividly than any effort of literature could hope to do. Her characterisation, too, was masterly. As a Queen, an eagle; as a_ woman, now a butterfly and now a viper,” was Burleigh’s description of his Queen’s character. This was the keynote of Miss O’Neil’s interpretation. Vain, jealous, cruel, proud, loving, intensely egotistical, and yet wonderfully human, the character lived in Miss 0 B oil s interpretation as no other character she has yet played has lived. Her voice, with its singularly elusive quality, seemed, too, to fit the passionate, querulous woman, the complexity of whose ©motions has set even the historians quarrelling. The open, unrestrained passion m the scene where Essex throws defiance at her until, she strikes him across the fac© with her glove; the stifled emotion where love strives with pride as she signs his death warrant; and the stern, determined self-contain-ment of the Queen, haunted by bloody horrors on her death-bed, were each depicted with a nicety of discernment and a fidelity of genius grown almost brutal. Miss O’Neil’s performance, m a word, was masterly. Mr John Glendinning, as the Earl of Essex, played a fine sturdy part with such tempered force and judgment as to .quite absorb the audience, especially in Ins scene whore he defies Ins Queen. His representation of the character of the unfortunate Earl was commendably akin to that of the historian. The lesser characters in an interesting play were capitally sustained, and, as usual, the play was well-mounted and well-staged. OPERA HOUSE. A good audience greeted the continuance of Messrs Feller and Son’s successful change of programme at the Opera House last night, and the present company has already created a very favourable impression. Mr Will Lochrane and Mbs Stella Ranger again received very hearty tokens of appreciation, and Ajax, whose last appearances are announced, was as successful as ever. The other members of the company helped to make up a capital programme. M THE GONDOLIERS.” Although another company has recently played a series of revivals of Gilbert and Sullivan’s opera through the colony, this in no measure detracts from the coming production of “ The Gondoliers” by the Christchurch Amateur Opera Company. It rather points , to the fact that the time is considered 1 ripe for such a venture. “ The Gondoliers” is so essentially the type of the work of the great collaborators that the success of the professional company’s season should augur well for the prospects of the amateur one. Locally rapid strides are being made by those engaged in producing tho opera, and if vigorous rehearsing counts for anything, it will at least be put on as complete as possible. Hi© cast is a very strong one, and lias been well trained by Mr T. Pollard and Mr E. Sbhatz, whilst the orchestra, under Herr Zimmermann, is doing excellent work. The box plan for the first- performance, which will take place at the Theatre Reyal on Thursday, is now open at the Dresden Music Warehouse, where seats can be reserved. THE SCOTTISH NIGHTINGALE. At the Canterbury Hall this evening, Miss Jessie Maclaehlan, the acknowledged prima donna of Scotland, whose recent appearances in Christchurch were productive of such unwonted en- ; thusiasm, will give the first of her two farewell concerts. The songs of Scotland, almost without exception, are not ■ mere jingles of pleasant sounding ' words, but relate incidents in the his- ! tory of the country or its people, and ! unless singers are thoroughly aequaint- | ed with the circumstances' under which they were composed, they are liable to misinterpret the writer’s meaning. Such occurs in the popular song “Loch Lomond.” This is almost always sung in a jovial, rollicking style. A reference to its history, however, shows that the song is pathetically sad. Miss Maclaehlan, whose intense love for Scottish song developed in early childhood, has made a special study of the intentions of the authors, and her rendering of some of the popular gems of the Highlands is quite a revelation. Lovers of Scottish song (and these are by no means confined te tho natives of the “land of the mountain and the flood ”) will be pleased to have another opportunity of listening te Caledonia’s nightingale, and already Miss Maclachlan is assured of a genuine “Highland welcome/’ The selection of songs is a diversified one, English, Irish and

Scotch finding a place on the programme. Mr J. M’Linden will give a number of selections on the ’cello, and Mr R. Buchanan tell play tho accompaniments.