IMPERIAL OPERA HOUSE.

New Zealand Times, Volume XXXIV, Issue 5557, 20 January 1879, Page 3

IMPERIAL OPERA HOUSE.

THE STEWART FAMILY.

Following so closely on the departure of the Rignold-curn-Darrell dramatic combination that but a single evening intervened between the withdrawal of tho one company from the stage of tho Imperial Opera House and the appearance of tho other at the same place of amusement, the Stewart Family have every reason to congratulate themselves upon the enthusiastic nature of their reception on Saturday night. The downstairs portion of the house could not have been more closely packed, while the dress-circle and the one above it each contained a large number of patrons. Mr. R. Stewart introduced himself and his throe daughters to the Wellington public in an entertainment written by Garnet Walch, the Tasmanian author, entitled “Rainbow Revels.’ It is in all respects what the handbills describe it to be—a medley of mirth, music, mischief, and mimicry. In a variety entertainment such as this there is of course neither plot nor connected narrative; but the author has succeeded in bringing together a most wonderful conglomeration of character, and the various parts fit into each other with all the nicety of the individual portions of a Chiuese puzzle. These parts are sustained by Mr. Stewart and his three daughters, and there is such an ease and finish in everything they dp throughout a long programme that tho fund of amusement, to use a nautical expression, never “ pays out;” and tho entertainment has this characteristic about it, that when it is over an audience could tolerate an immediate and entire repetition with unabated satisfaction and delight.

It requires no apology for breaking through tho rule with regard to ladies, by referring first of all to Mr. Ste.vart himself. He makes our acquaintance as Ccelebs Buskin, Esq., of Liberty Hall, Victoria, a retired actor, who has invited his brother’s three boys, as he supposes the sex of his brother’s progeny is, to spend a few days with him ; but instead of this he is visited by three romping colonial girls, who make themselves known to their paternal uncle attired in some articles which in his absence they have abstracted from bis theatrical wardrobe. After a lively dialogue, and an operatic quartette from “Lucia di Lammermoor” (which was loudly applauded), Mr. Stewart and his daughters assume various disguises, and the medley of mirth, music, mischief, and mimicry really commences. Mr. Stewart’s imitations of celebrated actors, without the powerful auxiliaries of make-up and costume, were not only clever, but less like a copy than the original article itself, so far as voice, gesture, and stage attitudes were concerned. A closer approach to the originals could not be imagined than were Mr. Stewart’s imitations of Charles Kean in Louis XL, Johu Drew (the Irish comedian), Mr. Ooppiu, and Mr. Joe Jefferson as Rip Van Winkle in that scene where, after his sleep of twenty years, he comes down from the Catskills to find his frau no more, and everything about him so metamorphosed by the lapse' of time as to be totally unrecognisable. Mr. Stavvait sang “ Could I live my time over again,” aud was loudly applauded. The next character Mr. Stewart appeared in was that of Toby Tottlepot, a deaf gardener; and the peculiar way in which he hopped about tho stage was in itself irresistible, and the mistakes which his deafness occasioned as to what was said helped to increase the laughter. Mr. Stewart next presented himself as Monsieur Alphonse Napoleon Robespiera Patapon, a son of La Belle France. In this character ho was particularly at home. He not only dressed like a Frenchman but had the appearance of one, and tho mixture of French and broken English to which his tongue gave expression was exceedingly natural. Then attain, as Herr Hans von Sohloggeubocks, a German huntsman, Mr. Stewart was equally successful, and his Barney O’Hoolagan completed a round of characters in which Mr. Stewart showed to greater advantage than any actor who has yet appeared in this city. His drunken scene was the acme of perfection. Miss Docy Stewart secured a host of admirers by the cleverness aud versatility she displayed. As Madame Struttini Vocibella she gave portions of scenes from “Romeo and Juliet” and “Macbeth” with a good deal of dramatic force, aud an evident conception of what such parts as Juliet and Lady Macbeth demand from those appearing in either ; aud the operatic scena “ Ernani Involami” was so well given that she fairly made captive of her audience. Another contrast of character was afforded by her assumption of Sally Moppet, in which her make-up, dialect, and acting were so thoroughly characteristic of Yorkshire as to destroy her identity. Tho scene with Robespierre Patapon, an impressario in search of operatic talent, was intensely amusing. As ■ Norah Murphy the audience had before them a jewel from the Emerald Isle, and the courtship scene between Barney O’Hoolagan and Norah was made very amusing. In this scene, Mr. Stewart and Miss Docy sang an Irish medley duet, and Miss Docy gave scraps of Moore’s Melodies with such a degree of taste, pathos, and expression, as to make her audience wish they had been rendered in their entirety. The Princess Stella was the last character taken by Mias Docy, and she acquitted herself to the fullest satisfaction. The remark about the versatility displayed by Miss Docy will apply with equal force to Miss Nellie Stewart, who perhaps appeared before the audience in a still greater contrast of character than her elder sister. Doffing the walking attire of Miss Constance Buskin, she next appears as Billy Tops, a pretty page in gilt buttons, and makes the scene with Sophoniaba Sereleaf, a gusher of forty, one of the most side-splitting in the entertainment. Then as Tasma Darlington, an Australian belle, she gives a very correct idea of the colonial young lady, and sings “ See how it sparkles,” from “ Girofle-Girofla,” so bewitchin"ly, that she cannot resist the general demands for a repetition. She next assumes the part of the Hon. Percy FitzDaddleton, the latest thing out of a bandbox, as the programmes have it, and in that scene where the Frenchman insists on having satisfaction for a supposed insult, she plays the part of the coxcomb to the very life. As Lotta Schmidt, Miss Nellie opens the second part of the programme with the song and clog dance, “Dat girl mit de vooden shoes,” for which she is most deservedly encored. She next presents herself as Prince Prettypat, aud favors her audience with a guitar solo and song. Again she is encored, and in response she sings Emmett’s “ Lullaby” with a great deal of expression, aud plays her own accompaniment on the guitar. Of Miss Maggie Stewart it may be said that she possesses a good deal of the talent which has been inherited by the Stewart Family. In the programme submitted on Saturday night, she appeared in five different characters—as Miss Beatrix Buskin, Sophouisba Sereleaf, a gusher of forty, Floritina Flyaway, a dasher of twenty, Jessie MacTavish, and Prince Powderpuff. In all of these she acquitted herself with great credit. In the Scotch character she evinced a complete acquaintance with the dialect, aud her song “The Banners of Blue” was highly applauded. The terpsichorean duet, “tho Darling of my Heart,” by the Misses Maggie and Nellie Stewart, was rapturously encored. The operatic quartette from “La Perichole,” which concluded the first part of the programme, was reudorod with good effect, aud all the concerted music met with the unmistakeable approval of the audience, who were most liberal with their applause throughout the evening. Briefly summed up, the entertainment provided by the Stewart Family may justly be pronounced the best of its kind that has ever been within tho reach of the Wellington public. The singing and dancing are both good, the versatile powers of Mr. Stewart and his clever daughters of the most extensive range, the orchestral accompaniments skilfully played, the dressing of the respective parts appropriately neat, the costumes costly, the dialogue racy and provocative of laughter, without the remotest approach to anything like doiiblc entendre, and the whole entertainment conspicuously free from that obtrusive species of vulgarity which renders the majority of variety “shows” objectionable. From beginning to end there is not a single observation calculated to offend the most polite ears ; and with all these good qualities to commend their performances to public favor, there is no doubt that the present season of the Stewarts at the Imperial Opera House will be an unmeasured and genuine success. Tho opening programme 1 will be repeated to-night.