ABBOTT'S OPERA HOUSE.

New Zealand Herald, Volume XXIV, Issue 8036, 25 August 1887, Page 5

ABBOTT'S OPERA HOUSE.

SIGNOR AND SIGNORA. MAJERONI. After 'an absence from the stage of the legitimate exponents of the dramatic art for some months, the lovers of the art looked forward to a rioh treat last night, when Signor and Signora Majeroni with a well selected support came forward in a new play, and one which has been received with the utmost favour in the adjoining colonies. "Jealousy," the play produced last night, is a translation from the French. The French situations are maintained, and something of the vendetta spirit of the Corsican Brothers is imported, but the drama possesses some of the finest opportunities for individual displays of high-class art, and emotional and concentrated passion that have been witnessed in New Zealand. "Jealousy" is essentially built on French lines, although the mise en scene is laid in Italy. Carlo, the Marquis de St. Elia, a student reared in his ancestral home, is wedded to Diana, .nieco of the Duke Riario. Both passionately loved, but the Duchess displaying a liking for fashionable life excited the jealousy of her husband. Thus becoming aroused, he arranged a quarrel with the man whom he suspected and shot him in a duel, and then punished his wife by compelling her to bear the honours of his house and pretend the most devoted attachment, when in truth both their hearts were breaking. This is necessarily a bald statement of the plot, but it iB all that is necessary to designate the roles of Signor Majeroni as the Marquis of St. Elia, and of Signora Majeroni as Diana, for between those two the whole of the interest of the drama rested. The elegant manner in which the play was staged is worthy of more than passing notice, and was indeed a feature of the production. The opening scene was a somewhat old-fashioned drawingroom scene in St. Elia's castle, in which the Marchioness St. Ella (Mrs. Gordon) and the hero are introduced. The salient points of both characters, the doting mother and the studious son, are pourtrayed with startling fidelity. Th* introduction of "Diana" (Signora Majeroni) is dramatic, and yet stagy, but afforded & good opportunity for by-play between her worldlyminded uncle Duke Riaroi (Mr. A. K. Lawrence) and the young fiancee. From this point the interest centred. The Marquis and Diana were married. The studious husband indulged his wile to the utmost extent but her manner gave rise to suspicion, a criminating letter was proof strong as holy writ in the mind of her husband, and in a duel he killed the man whom he suspected, and then burst on bis appalled wife with the announcement that her lover was dead. He attributed her grief to regret at the fate of her lover, but he laid down the rigid law that to avert suspicion from her and dishonour to his name they must appear to the world as if they were most devoted to each other. From first to last Signor Majeroni a vast amount of acumen, and a dramatic power which quietly asserts itself before he Is long in the presence of his audience. His awkward bashfulness when first introduced to his bride is almost farcical but never ludicrous. The second act introduces the characters in a new phase. It is the interior of a Milan palace ; the wife is in the ball-room; the husband, feeing neglected, is in conversation with his old friend, General de Lucca (Mr, H. R. Jewett), and his expression in tones of concentrated despair, "Diana loves what shines" is delivered with a truth of self-abnegation and pathos which impressed the audience with the dignity of the character, and the wonderful conception of the artist. In the scene with Count de Rivera (Mr. Henry Hoyte) in the arrangements for the duel, there waß what we should ooucetve to be the delicacy in thoso matters which belonged to the old school. The ready acquiescence of the innocent Count was an admirable set off to the suppressed passion of the jealouß husband. His rifling of his wife's writing desk was a feature which is hardly consonant with the usual acceptance of the code of honour, but in this play it is accepted as a matter of fact and not reprehensible, and perhaps it is French. The terrible agony enforced on the wife by her compulsory obedience to her husband's mandate to appear happy, and the horrible strain on his own nature, loving his wife to adoration, punishing her with all the vendotta principles of his nature, and adoring his mother and loving his friends, afford openings for the most splendid display of histrionio ability, of which both the leaders availed themselves. The parting scene with his mother before the duel afforded Signor Majeroni an opportunity for the display of a class of acting which is uncommon ; and in tho final scene of the second act, between husband and wife, his fierce announcement of the death of Count Rivera, and his injunctions to his wife, were almost Machiavellian, and her emotion, terror, despair, and grief were thrilling in their reality. In the third act there is another magnificent scene between the husband and wife, in which she declares her love for her husband. His better feelings and emotions when looking at his dying wife are strongly portrayed, and the revulsion of feeling shown when be looks on the letter which he thinks condemns her is almost startling. The fourth act and final scenes, in which the usual happy denouement results, are somewhat abrupt, and leave a good deal to the imagination. Our estimate of Signor Majeroni may well be gathered from what we have written. Possessed of a fine physique, good facial expression, a thorough cultivation of artistic character, he appeared thoroughly natural to his audience, and the finesse with which the finer points of the various characteristics were elucidated, showed the genius and the artist. Signora Majeroni in the part of Diana, sustains a most trying role, aud we hardly know in which feature of it to admire her most. The frivolous, pleasure-seeking wife is pretty in its way, but it is in the deeper, emotional features we tbink that her shining abilities as an actress appear, and we are sure that all who witnessed her impersonation last night will wish to see her again. Mr. H. R. Jewitt sustained a role in whioh he revelled,, that of General Alfonso de Luca, a bluff old soldier of the type of General Dumas. Our old friend Mr. Musgrave wan resurreoted as Senator Grimaldi, whose only trouble arose from the vagaries of his cook. Mr. M. F. Kemp played a somewhat minor part, that of Dr. Sorredo, with dignity and effeot, and Mr. Henry Hoyte as the Count de Rivera, made a great deal of a part which in less experienced hands would have been liable to be spoiled or made absurd. The only other part to whiob we can make special reference is that of the Marchioness of St. Elia, mother of Carlo. It was thoroughly sustained in every respect, as the devoted mother, the dignified lady, and the fond and affectionate protectress of the neglected wife. The drama will be repeated to-night, and on Friday night the historical drama, " Elizabeth, Queen of England," will be staged.