"ROSE MARIE"

New Zealand Herald, Volume LXXVI, Issue 23423, 12 August 1939, Page 21

"ROSE MARIE"

SHOW BY AMATEURS ATTRACTIVE FROCKING CHORUS AND BALLET SCENES Wade scope for attractive frocking was fully taken advantage of in "Rose Ma rie," which was presented by the Auckland Amateur Operatic Society in His Majesty's Theatre last night. The garden of a lodge in the Canadian Rockies, backed by n small lake and distant mountains, a novelty shop in Quebec, and a large ballroom, each made an excellent background for the gorgeous spectacle of chorus and ballet. Many charming frocks suitable to the youth and simplicity of Rose Marie were worn by Miss Sybil Phillipps, who took the title role. She made her first appearance in a short, full-skirted white dress, with a scarlet scarf and pockets bound with the same colour', the ensemble being set off to perfection by a chorus of scarlet-coated "Motilities." In the garden scene later, she wore an exquisite creation in white chiffon, the long, flowing skirt being appliqued witli flowers of brilliant hues in a wide panel around the hemline. Another frock worn by Miss Phillipps was of palest green taffetas, made on picture lines, and worn with a modern version of the poke bonnet. The very full, flared skirt of this frock was finished with cut-out embroidery in the form of large flowers. She appeared later in a filmy white bridal gown, and soft lace veil mounted with orange blossom. The skirt was composed of graduated hands, each one being gathered to the hem of the one before, so that the skirt increased in size as it fell. Costumes of Principals One of the frocks worn by the comedienne, Lady Jane, played by Miss Antonia Martinengo, was of mist blue chiffon, relieved at the neckline with cherry. Long trailing ties lined with cherry fell from one shoulder, where they were caught with a brilliant diamante clasp. In another scene she appeared in a black skirt and white tailored coat, which was finished with black lapels, the ensemble being completed by a large, upstanding white hat.

31 iss Bettina Edwards, who played the part of Wanda, wore several striking costumes. In one scene she appeared in an ensemble consisting of a long, snug-fitting skirt of midnight blue, and a Roman striped blouse in shades of orange, yellow and blue. The blue of the skirt was repeated in the lower half of the sleeves, and, when she moved, the skirt revealed godets of the bright material of her blouse. She made her last appearance in a slim-fitting gown of jade green velvet. A trail of brilliants fell from the point of the decollette neckline to catch the fullness which fell from one side of the skirt. The neckline and shoulder straps were outlined with brilliants, while sparkling ornaments twinkled as she; moved. _ As Ethel Grander, Miss Flo White wore frocks cut on sophisticated lines. In one scene she wore a particularly attractive model in phlox pink, cut to model her figure to the knees, where it fell into fullness. With this gown was worn a large matching picture hat. and n black fur cape. Scenes of Grace and Colour Two ballet scenes were presented during the play, the dancer."? looked charming in full fluffy frocks. In the ballroom scene they appeared in long apple green ballet skirts, hooped with mauve, the male parts being taken by dancers in green tights, cyclamen coats and matching Cavalier hats. As the leading dancer, Rowena Jackson's dress was of white, with a hemline of misty blue, and the same shade was repeated in the off-shoulder neckline. She wore a halo coronet of brilliants. The male lead was dressed in shimmering Cavalier costume in dahlia pink satin. Perhaps the most spectacular scene was the totem dance. Clad in brightly patterned costumes consisting of trousers, tightly fitting jackets, and tall, feathered headdress, the members of the chorus were almost exact replicas of the totem poles which stood at one side of the stage. They formed waves of colour as they rose and fell in the dance. Some beautiful frocks were worn in a mannequin parade, one being a creation in black velvet, with a very long train. The skirt parted in front to reveal a shell'pink underskirt, and large cartwheel sleeves of the same colour encircled the shoulders. A picture frock was made in brightly coloured patchwork taffetas, and another gown was of white satin, fully trained, with brilliants outlining the bodice. To dance the gavotte, the ladies of the chorus wore full-skirted frocks of gold satin. As they held their skirts 111 the dance, jade green lining was revealed. giving a charming effect. Their partners wore white trousers and petunia tail coats, with mauve revers and waistcoats.