“ROSE MARIE”

Manawatu Standard, Volume XLVIII, 23 January 1928, Page 3

“ROSE MARIE”

SPECTACULAR TRIUMPH. NOTABLE MUSICAL PLAY AT OPERA HOUSE. The light opera “Rose Alarie” did an unusual thing in London. It broke a record of nearly three hundred years’ standing at Drury Lane by being’thc first stage presentation to run over a year at England’s accepted national theatre. And as the light opera of life inutile Canadian Rockies entranced the usually conservative Londoners as no other musical play had done before normal times, so did it entrance and break all stago records for the principal States the Commonwealth. Similarly to tho Australian theatregoers, New Zealanders had waited for months for this spectacular triumph (so it has proved) and for Palmerston North and district theatregoers Saturday evening marked the delightful consummation of long anticipation. Beautiful “Rose Marie,” spectacular “Rose Alarie” ; how delightful are the stage pictures that unfold in the story of the little French Canadian girl and the unique characters typical of thoso found, in adventurous, primitive Saskatchewan. The dancing and the acting, the scenery and the mounting (regardless of expense), these are of first importance; the music "is of secondary consideration; yet, what there is of it is tuneful and refreshingly acceptable in spite of its being so obviously popular. The Williamson firm organised a special company for tho opera, with the result that every character tits its interpreter like tho proverbial glove, and every principal with the exception of one was in the original Australian presentation. 'J ho exception is Alubei Lambeth, who has tho role of Ethel’ Brander. Ethel Brander has formerly been Jean Robertson, Doris Johnston and Eileen Ogden. And when one considers that Jean Robertson was Moscovitoll’s leading lady, and Doris Johnston starred in the unusual Fhilpott play, "The Farmer's Wife,” one realises what the superb strength of tiie cast is. _ A finer ensemble both in regard to principals und chorus has not been seen on the Palmerston North stage for years—the year of 1914 and “Gipsy Love” and

"Paul Jones,” with such remarkable artists as the late Florence Young, Phil Smith, Reginald Roberts, Leslie Holland, Minnie Love, Ethel Cadman and Derek Hudson. When one draws comparisons with such people it is indeed high praise for the newer players. A great point in “Rose Alarie” that must appeal to theatregoers is the simple love theme running through the piece, the kind of stago story one expects to be set in tho semi-lawlessness of the long, lone stretches of the Canadian north, where life in ail its complexity is met; with tho bold, bad young man who is finally switched back to tho patch of rectitude by a girl who, listening to the stories her brother and another tell her, almost loses him. Again, there is a half breed girl who loves all men who give her money anti pretty clothes, anil who participates in the killing of a very inconvenient husband: and the usual family of mischief makers who are to be found in every settlement of the kind in creation.

Harriet Bonnet, an American girl minus tho uusal American stage voice, is Rose Alarie. Fresh and beautiful is she, a remarkable combination of a fair complexion, black hair and blue eyes, the type that one could picture standing against an orangecovered slono wall in a quaint Italian garden. Aliss Bonnet acts gracefully and attorns luo roic witn a delighltul little accent that at times is unintelligible. But site cannot sing remarkably well —in fact none oi' those called on to vocalise, witli the exception ot Reginald Dandy, sing well —although she was quite effective in Lie beautiful, Haunting "Indian Love Call,” the repetition of which one never tired, and in “i’retty Things” and "Lak Jeom.” Reginald Dandy as Jim Kenyon, a manly and likeable chap, is the most satisfactory juvenile lead we have had in years. Coming to Australia with the revue actress Lee White, lie soon found himself chosen for the role of Rose Alaric’s lover. In a clear, strong tenor voice ho sang tho song that is so widelyknown and vocalised good, bad and indifferently by all and sundry. What a great artist is Stephanie Destc. But for the fact that one knows she is a Belgian girl and has acted in America in “Hamlet” with the celebrated John Barrymore, one would declare her to bo of the Indian race to which the half-breed girl Wanda, she so admirably portrays, traced her ancestry. Her make-up was a revelation. She leads the 30 odd girls in the now famous Totem dance, acts well in the murder scene, and in acrobatic dancing is unique. A turn, a twist, a backward sway and Stephanie Deste's head was on tho iloor, and so were her feet; and her lithe, muscular body formed a semi-circle. Then a laugh, a gleam of her beautiful white teeth and she moved sideways and frontward; and away she fled with her antique earrings shaking, a hundred tiny lights winking from the straps of her costume, to dance the “Wanda” waltz. Her fan of tawny yellow and orange feathers is a most exquisite thing and so huge that it covers the whole of her body. Aliss Deste has endowed Wanda with the movements of a serpent and tho marvellous way in which site retained her role has aroused a good deal of interest. Yvonne Barnard, the alleged Lady Jane, ranks with Aliss Deste for tier outstanding work, but though handicapped at times by the author her power ot making bricks without straw and her dashing personality soon found her established in popular favour. An old Pollard girl is she, and a credit to the famous light, opera graduation school of other days.

The comedy side of the play as provided by Frederick Bentley is a strongfeature. A comedian of the pocket edition type his skill and resource keep his audience simmering with merriment. James ilughest, a good Australian actor, presented a gallant, boisterous figure as Sergeant Malone of the famous Canadian North-west Mounted Police; Lou Vernon, who is well-remmbered in Palmerston North, put in some clever work as a Canadian trapper, and the veteran George Bryant was fine in the character study ot Black Eagle. Noel Allan, a Napier boy of great promise, who has played lead opposite Marie Burke, has a thankless role as Hawley, and the same applies to Mabel Lambeth as Ethel Brander. The chorus are exceptional in their movemei is and dancing, an(j the sensational Totem dance will never be forgotten if seen from the auditorium. The scene in the Canadian Rockic is a perfect gem, and the dressing is a superb and constant source of delight to the eye. The Williamson firm has surpassed itself. ‘‘Rose Marie” will be finally presented this evening.