HIS MAJESTY'S THEATRE

Otago Daily Times, Issue 18762, 16 January 1923, Page 7

HIS MAJESTY'S THEATRE

His Majesty’s Theatre was crowded to ■ the doors last evening when the Louis Bennison Company presented _ “The Great Lover,” a romantic comedy in three acts. And the play was worthy of the largoaudience. Hero the foibles, the jealousies, the passions of great temperamental artists were depicted, and whether tho trio of authors have drawn to an extent on their - imagination or, not, or whether they have-’ employed tho arts of exaggeration in theirwriting, tho foot remains that they hard produced a comedy, touching at times on tragedy, which could not fail to grip and hold tie attention of the audience. Hero also we have tho “tragedy which comes to a man who does not deny himself,” but who in tho final issue bravely asserts that “we cannot control our own hearts, 'but we must be honest with ourselves." Jean Paurel is tho groat artist who has achieved a world reputation. He is die volatile Frenchman who has sung in many lands, has been flattered and admired by women and men, has broken hearts and oast them aside, has tasted all the sweets of life and passed by with a careless laugh ail tile sorrows. There then comes the day when the Great Lover is attacked by the greatest passion of ail—for a simple-hearted ingenue who has only reached tho first steps of the ladder of operatic fame—when he discovers, too, that tho voice which has charmed thousands has gone forever, and that the young artist whom tho girl ’ really loves is his own son. The audience., is first introduced to Joan at the manager's office of the Gotham Opera House, New--

York, and it is a distracted manager who has tho task of telling the artists that he or she is cast for this part or tho other, to be met by vociferous protestations, in Italian and broken English, that tliQ parts allotted are not at all worthy of their high standing in the profession. Jean is one of tho chief protesters, but the tactful manager manages to heal a long-stand-, mg breach between him and the Italian Pr ,n ? a donna Giulia Sabattini. and tho cast of the first performance of “Hon Giovanni” is more or less satisfactorily completed.In the second and third acts the piece moves along on smoother lines, and at the last wo have Jean making maybe his first real sacrifice in life and giving up tho girl who conceives it her duty to stifle her love and marry a star who can but live on the memory of his former triumphs. As Jean Paurel, Louis Be mu son made a striking; success. He tilled tho stage, so to speak, on his every appearance. Prom grave to gay—one moment in the depths of despair, the' 1 next with careless abandon making "love with seemingjy noble chivalry or passion—

iJi good fortune op bad—the artistry of the actor was outstanding. It was a magnificent piece of characterisation, and even when everything seemed lost Paurel was the gay lover who could face life’s rebuffs with a smile. As the curtain falls we find him at the telephone,' charming as ever, making an appointment, meet one more female admirer, Mr Bennison, moreover, 'has the stage presence to fit him for such a port, and his fine speaking voice, under splendid control and nicely modulated, as the occasion required, was another advantage which enabled him to, achieve such a magnificent success. He gamed his effects without the semblance of an effort. His, indeed, was the art which concealed art. In the second act, when he is congratulated in his dressing room by the other members of the company, who aie -’ supposed to be playing “Don Giovanni’* behind the scenes, Mr Bennison’s acting., reached a very high level, and ho was most • realistic when, bursting into maniacal fury, his voice gives way, and he has to listen to his understudy singing his part, and . singing it well.. Another outstanding piece ■

of characterisation was given by Mr J. B. Atholwood as the confidential servant of the star. Solicitous in his anxiety for the welfare of Paurel, never obtruding himself, ,; intuitively realising the manner in which his master should be cajoled, led, or advised, Mr Atholwood made his interpreta- ■ tion most convincing by its very natural-., ness. Mr Lou Vernon gave an excellent piece of acting as the young baritone who . understudies the star—his unknown father—and made a manly lover, and Mr Vivian Edwards, as the harassed manager, Mr R. . E. Homans as the Italian conductor, and Sir George Blunt, as the German conductor, ■, were also responsible for sound interpreta- • tions. Miss 1 Marie' Eaton was entrusted with the part of Giulia Sabatiini, and made much of the part of the jealous and violenttempered prima donna who has been cast aside by Paurel, but who is not averse to again fall under the spell of his blandishments. The part of the young soprano beloved by Carlo Slonino Vernon) was , taicen By Miss Marjorie Bennett, and she gave a well-balanced interpretation, acting - throughout with excellent restraint, and investing the part with a warm-hearted sincerity .which contrasted most effectively with the emotional love-making of Paurel. The

rest of the large cast was very capably filled. Needless to aay. the J. C. Williamson proprietary had also seen to it that the staging was on a lavish scale and appropriately arranged. • The final performance of “The Great Lover” will be given this evening, when —© brief season will conclude. The comedy affords opportunity for many characterisations, and is well worth seeing.