HIS MAIESTY'S THEATRE

Otago Daily Times, Issue 19531, 14 July 1925, Page 8

HIS MAIESTY'S THEATRE

MOSCOVITCH IN “THE GREAT LOVER.”

Mr Maurice Moscovitch and his popular company presented “The Groat Lover,” the third piece in their repertoire, to a large and keenly interested audience His Majesty’s Theatre last evening. If “The Merchant of Venice”' was attractive because of its strong familiarity to most “The Great Lover” aroused interest for the exactly opposite reason that to most its story was entirely new. Only report from elsewhere spoke highly of the play as a clever and most amusing comedy-drama of modern stage life. This it certainly is, though the comedy element fades and the dramatic increases as the action proceeds. “The Great Lover” ia decidedly American in its sotting, and this gives opportunity for naturally introducing the clash and contrasts of many races and tongues characteristic of the life of that great land. The central figure of the drama is Jean Paurel, an idol of grand gpera, whose great gifts as a baritone singer attract the romantic and effusive attentions of many women. Not that, they alone are to blame, for it is evident throughout that Jean is an unrestrained sensualist. He gets the nickname of ‘‘The Great Lover” from the frequency of his amours, but there is really nothing great about him, nor about anybody else in the play for that matter. The authors’ apparent suggestion in the last scene that he makes a great sacrifice in parting from Ethel Warren carries no conviction, as one cannot help feeling that the old reprobate cares as little for her as he did for the rest of the women to whom he has lied and that he will quickly console himself, as he actually does, with some other fawning female. There is very little plot about the play, which is concerned chiefly with setting out the sordid, and also something of the humorous side of life behind the scenes of a New York stage among men and women whose artistic gifts bring them popular farmc. The first scene vividly depicts the trials of a theatrical manager in handling tempcrmental prima donnas, German and Italian conductors, singers of different nationalities, press agents, and stage managers. The clash of tempers, the babel of foreign languages mixed with bad American and every now and then the sound of a chorus rehearsal floating in through an open door was ns amusing as it was realistic. The second scene develops the clash of jealous artists, the intrigue of old and new lovers around Paurel, and closes with a tumultous scene ’ between Paurel and Madame Sabattini as a result of which Paurel loses his voice and his young rival, suddenly called upon to fill the gap, wins triumphant success. The third scene develops the love-making between Paurel and Ethel Warren, who is supposed to be really in love with Carlo Sonino though engaged to Paurel, but after a visit from Carlo’s mother, with whom he had had an affair in his early youth, he relinquishes Ethel to Caro and the curtain falls on him at the telephone making an appointment with one of the society butterflies who has been haunting his dressing room between acts. Such is a brief indication of the nature of the drama. One could well imagine that in the hands of ordinary artists it would be hardly worth playing, but Mr Moscovitch, as Jeal Paurel, gave a memorable performance, which lifted the whole drama and made the presentation a memorable one. Unpleasant though tho part is, it certainly gives to a great actor scope to show his powers in many different directions. Mr Moscovitoh’s Paurel may be justly spoken of aa ‘‘a creation.” In his hands tho part lived every moment. It is an exceedingly heavy part, too, but Mr Moscovitch met its every demand with the consummate ease and absence of effort that marks the groat artist. His face and his whole body are often more eloquent than words. He thoroughly knows the value of a pause, and can' hold breathless interest apparently quite unconsciously. He understands a climax, too, and for all his evil past no one could quite withhold sympathy from the fallen star when, at the close of the second act, he is listening in his dressing room, to tho crowded audience shouting their plaudits of the young man who had taken his place. There is genuine pathos in his exclamation to his old servant: “The king is dead! Long live the king!” Though there are many characters in the play, there is none to compare in any way with tho central figure in importance. Miss Jean Robertson has the part of Ethel Warren, the rising young soprano, who is supposed to be in love with Carlo Sonino, but who has no objection to receiving the advances of old Paurel at tho same time. She -made a satisfactory study of a part that did not. give much scone. There was more in tho part of Sabattini, the prima donna and mischief-maker, who is cajoled by a few words of flattery from Paurel into forgetting her ancient grudge against -him. In this part Miss Marie Eaton showed considerable dramatic skill, and her part in several tense scenes with Paurel was very effectively taken. Mr Souper was decidedly amusing as Mr Stapleton, tho harassed manager. Mr Nat Madison, who has already made a favourable impression hero, won further honours for his manly presentation of tho part of Carlo Sonino, the baritone singer and lover of Ethel Warren. Miss Eileen Sparkos, as Bianca Sonino, effectively discharged, in tho closing scone, tho task of exposing old Paurel’s gross and cruel selfishness to him, and she also appeared in tho lessor pari of Madame Beinbricb, a Gorman soprano. Much of the comedy running through the play was happily contributed by Mr Arthur Greenwav in the part of Potter, Paurel’s old ami intimate servant. Others who successfully filled the smaller roles wore Basil Bowen (Dr Mueller), George Blupt (Maestro Corealc), Richard Webster (Famold), H. Mackonzie-Rogan (Hartzag and Dr Stetson), Charles Hawthorne (Ward), Raymond Lawrence (Carl Lossecb), Charles Lawrence (Signor Posansky), Neville Towne (Signor Sparapani and Joseph), Miss Wynne Bronte (Mrs Peter Van Ness), and Miss Isobel Wilford (Mrs Fred Schwyler). An orcbertra, under Miss Florence Mackenzie, contributed some excellent selections of opera music. Tho audience, which was much the largest of the season for a first night, witnessed the olay with the closest attention, arid again and again demonstrated its appreciation of’the masterly handling of the leading part by Mr Moscovitch. “ The Great lover ’’ will bo staged for the last time this evening.