Dramatic And Musical

Free Lance, Volume III, Issue 138, 21 February 1903, Page 7

Dramatic And Musical

By Footlight.

A LARGE and curious audience witnessed, with unqualified satisfaction, the production of ' Tapu," by the Polterd Opera, Company, at the Opera House on Monday night. They were curious because it was the birth of a new and original comic opera. They were curious especially because the work departed from the beaten track, and dealt with Maori life and Maori customs, and because the composer was known, to have taken special pains to work Maori colour into his> music. And, above all, there was a peculiar fascination in the fact that the author (Mr. Arthur Adams) and the composer (Mr. Alfred Hill) are New Zealandeirs, and several years ago were both settled in Wellington, and were widely known throughout the community. It was, therefore, peculiarly fitting that "Tapu," their joint work, should first, see the light of day in Wellington, and that Mr. Alfred Hill should be present to conduct his own music. . • • The opera fully realised public hopes and anticipations. From the musical point of view, it is far superior to the average run of opera bouff e and musical comedy or extravaganza. From overture to finale, it is marked by great artistic skill, taste, and versatility. It is replete with both sweet and sparkling melody and studded with capitally harmonised concerted numbers. The orchestration all through is very fine, and Mr. Hill has achieved a striking and gratifying success in his efforts to give adequate musical illustration and expression to the Maori phases of his subJ eet - Mr. Arthur Adams's fine poetic fancy, and his aptitude for smooth and telling versification are reflected in the numerous lyrics which enrich the opera. These form the staple of the pretty ballads, duets, trios, quartettes, and so forth that Mr. Hill has set to dulcet airs and charming harmonies. The dialogue of the libretto is unequal to the lyrical portion. It is not brisk and lively enough, and there is one short passage offending against good taste which it would be wise to delete. On tne programme Mr. J. C. Will'amson is conjoined with Mr. Adams as author, and, no doubt, his assistance was of value in shaping the plot and elaborating effective scenes and situations. » • * The scenery, painted by Mr. John Brunton, makes a very picturesque and appropriate background for the opera. Of course, the. painter, as well as the poet., claims and exercises a certain amount of license. What does it matter if in the first, act the mountain which does duty as Tarawera possesses the familiar outlines of Egmont? The pah of the Ngatimainiapotos, shown in the foreground, looks quite natural amid a luxuriant growth of palms, ferns, etc. And, if the Ngatimaniapotos are located m the Tarawera district and are credited with strong cannibalistic proclivities in these advanced days, it does not lessen one whit the enjoyment furnished by the work. The second act contains a first-class pictorial representation of the famous Pink Terrace, and the effect is heightened by clouds of steam rising apparently from the cauldrons. • • • Mr. Tom Pollard and his clever company deserve high praise for the thoroughly bright and capable manner in which the opera is presented. The costumes are gay and attractive, the stage business was decidedly good, and the dances, poi and haka, were executed with a force of realism that produced quite a furore in the house. Mr. CharUo Parata was in the dress circle and the fervour and vigour with which he appluded the haka, with, its characteristic chorus of "Ku mate, ku mate and the facial grimaces and bodily contortions of the performers, showed that he recognised it as a faithful imitation of the original article. As Maoris, Messrs. Ralston and Albert will take a lot of rubbing: out. * * * I am afraid I have not space sufficient to outline the plot or even to enumerate the gems of melody that so richV adorn this very attractive oDera. Suffice it to say that the principals have parts that they make the most of. Miss Nellie Wilcon scores heavily in the role of a middle-aged Maori prophetess, who

lemmdsone strongly of Katisha. Like her and Lady Jane in "Patience, Makutu is chasing around for a husband, and her plaintive serio-comic song, "-Nobody Takes the Chances " w on, the first encore of the evening on Monday. In a subsequent trio, with Miss Buttel and Mr D. O'Connor, Miss. Wilson brings down the house with a Maori pas seul, in which her posturing and grimaces are up to the best Maori standard. * * * The most prominent figure on the male side of the cast is the inimitable Percy, who, on this occasion, impersonates, under the thinly disguised name of George Wright, a well-known politician of the Commonwealth, whom the librettist sends across to New Zealand as a delegate to persuade us into federation. Of course, Percy hits his character off to the life, and anyone who has seen the "Bulletin" caricatures of the original will recognise how r realistic the imitation is. All the characteristic details are present , even "the dry dog" is brought in to give point to the picture. Percy keeps the fun going while he is on the stao-e, and the fact that the Maoris design him for the cooking pot to furnish forth a wedding breakfast lends itself to broad humour. He has several good songs, the most effective being that in which he describes the politician soendin^ his "happy holiday hilarious" in addressing his constituents'. • • • Miss Gertie Campion (Fay Chrysaha) and Mr. D. O'Connor (John Smith) have leading parts as two operatic stars whose civilian dress has been sedzed by distrustful creditors while they were on the backblocks sta.o-e, and who, therefore, in their fancy dress, find refuge in the Maori pah. Smith is mistaken for the Commonwealth delegate, and is honoured accordingly- He also captures the fancy of Mara, a Maori maiden, whose lover (Tonga), in jealous retajiation, makes love to Chrysalia. This affords scope for some capital lyric numbers, amongst which may be mentioned a lovers' quartette, and a quarrel duet between Mara and Fay, which reminds one of "La Fille de Madame Angot." # Miss Campion makes a. decided "hit" in her part., and sings her numbers very tastefully. "I Wonder" is a haunting little ballad, and she sings it sweetly. She also scores in the dainty air, "She was a Simple Serenade," and the halfplaantive song, "Is it all a Blunder?" There is, too, a fine duet between Miss Campion and Mr. O'Connor, in the style of grand opera. Mr. O'Connor is raither stilted in action, but sings, with good effect. His song, "The New Woman," was promptly encored, and his share in the concerted numbers (among which may be mentioned a duet, with Percy) was executed very merit on ouslv. * * * Miss Connie' Buttel, as Mara, the Maori maiden beloved of Tonga, (Mr. Aylmer) played and sang very acceptably. Her principal &010 is the captivating ballad, "A Woman's Wistful Heart," and she joins with Mr. Aylmer in two capital duets, "Misery Me," and ' There's No Love Like the Old Love." Mr. Aylmer sustained the role of Tonga, the young Maori chief, creditably, but an obv ous cold handicapped his singing. His best effort was the ballad, "0 Mara, Your Heart is a Garden." Mr. J. Ralston made a striking figure as Taniwha, the principal chief, and led the haka as if native and to the manner born. His fine baritone voice was well suited in the song "The> Terrible Law of Tapu," for which he received a very hearty encore. In fact, encores were the order of the evening, and extended the performance unduly. * • * The subsidiary parts, lady cyclists in rational costume, Maori braves, and Maori maidens, were all vivaciously played, and the action of the piece \yas smoothness itself. The poi dance, with its pretty crooning air and the haka, were amongst the best things m the opera, and were cheered to the echo. They are both in the first act, but on Tuesday night an extra haka was introduced into the second act as 1 well, and livened up the action. The performance was also shortened with advantage. » * ♦ Mr. Alfred Hill, who conducted, has reason to be gratified at the success with which his opera was presented. He is also entitled to the cordial felicitations of his fellow T -colonists upon the production of an opera which New Zealand may be proud of, and which will, undoubtedly, enhance and extend his own reputation as a musical composer of great original talent. The season closes on Saturday night. * • * Dixs Gaiety Comipanv, at the Theatre Royal, is pursuing itsi mirthfully melodious way, undeterred bv the numerous counter-attractions in the gay Empire City A varied bill of excellent quality fills the Royal as it has been filled any time these two years. Those large, peimanentlv black, but ever-<rreen, indiairubber melodists. Pope and Savles, are at present concentrating their lung

power far a parting burst, and the jolly Afro-Americans have been serving up "hot stuff" much relished by lovers of the grotesque. « ♦ • Ainoldi, the youthful juggler, with his finished display of jugglery, has maintained the reputation he has achieved as a master of momentum, his act in which Jie juggles with a hat, umbrella, and portmanteau being greeted with the premier applause during the entertainment. * » * Miss Emmie Smith, the cheerful and pretty songstress, has been appearing in striking costumes and tuneful ballads. Miss Smith is also very successful in her coon, items. Miss Ethel Clifford, with the flute-like voice, will be remembered for her melodious singing and her modest mien. "Going, Going, Gone " a pathetic ballad, is among her best things. * # # Then, there are Rosie Devella, the dashing girl in the khaki stockings, and the w ondrous complexion songstress and danseuse, whose spice of diablerie adds vim to the show, and Fred. Rivenhall, w ho has the appearance of being strung on wire®, like a lengthy marionette. Fred's forte is in saying songs to music, and flipping a long le? at the same time. Sayles is responsible 1 for a scientific exposition of what may be done with a drum-major's staff at a "camp meeting," and Mr. Charles Howard's sacred song "Vesper Bells," is mainly remarkable for its impressive moral. "A Garden Party" winds up a show in which there are no hitches. ■* * The Thornton Comedy Company opens at the; Opera House' on Tuesday next, 24th February, with "Facing the Music." Thus 'mad and merry entertainment" set London laughing, and la.ugh.-producing qualities, and the opingained universal kudos at Home for its ion of the press of the Federal States is summed up in the expression of one Aush traiiam paper, "A laugh, from the jump." The company lso plays "A Little Ray of Sunshine," and the old favourites, "The Private Secretary," "Charley's Aunt," "Sweet Lavender," and "The Strange Adventures of Miss Brown." • • ♦ There is a rare gathering of theatrical managers in Wellington this week ; in fact, the wonder is that the weather stands the strain so well. For instance H. P. Lyons the oldest ai<?ent on the road, who is making things: easy for the Frank Thornton Company • Percy Dix, the purveyor of gaiety for the million , Tom Pollard ,who> just now is strictly taipu ; Geo. Barnes, managing for Melba and Musgrove , Pete Hughes, in charge of "The Circus Girl" for J. C. Williamson; and Fred. C. Parker, who is preparing the way for the advent of Fite-Gerald Bros.' big circus, on Sunday next. (Continued on page 20.)