COMIC OPERA.

Otago Daily Times, Issue 19939, 5 November 1926, Page 10

COMIC OPERA.

GILBERT AND SULLIVAN SEASON. “THE PIRATES OF PENZANCE.” “The Pirates of Penzance” was the third piece selected for its Dunedin season by the Gilbert and Sullivan Opera Company, which is now holding such happy sway at His Majesty’s Theatre. The crowded and enthusiastic audience shelved that in Dunedin, as elsewhere, “The Pirates” ranks high on the ladder of popularity of the famous Savoy operas. The piece in indeed wholly delightful in all its aspects, and so capably and effectively was it presented last night that the audience fairly revelled in every moment of it with a cheerful abandon that was good to witness and have part in. “The Pirates of Penzance or The Slave of Duty" was among the earlier of the Gilbert and Sullivan operas, and it followed in 1880 the production of “H.M.S. Pinafore,” which was their first triumphant siicess. It is a brilliant burlesque on the blood and thunder pirate dramas so popular in early Victorian days. A large part of the bubbling humour of the piece arises from the gravity of the music, which is wedded to the most ridiculous situations. The words throughout are delightfully Gilbertian, and the most preposterous sentiments are uttered with an entire seriousness that is irresistible. The satire of the piece effectively strikes at the snobbery of the nouveau riche, the shallowness of the pose of respectability excessive feminine sentimentality, and the solemn conscientiousness of the police constabulary. The first scene, executed with the artistic effect that characterises all the company’s scenery, depicts a pirate lair on the rocky Cornwall . ast. In this charming spot the pirates disport themselves, and thither, too, wanders that most beautiful and extensive band of modest maidens, the daughters of Major General Stanley. It appears that the old general has bought Tremorden Castle and its estate, which contains a ruined chapel. He claims the members of the old family who once owned it and who now lie buried there as his ancestors “by purchase” and calls their escutcheon his own. 'lhe pirate king admits that he does not think very highly o; his own profession, but adds that “contrasted with respectability it is compara tivoly honest.” Frederic, the pirate apprentice leaves the band when his time is served because he learns he was apprenticed to them through an unfortunate mistake, hut his painful conscientiousness drives him to return to them again when he learns that his full period of apprenticeship has not yet been served. The police, on being called on to exterminate the pirates, show considerable apprehension, and when the moment of conflict comes they • surrender somewhat easily. Eventually, however, they capture the pirates through the magio formula “In the name of Queen Victoria, which appeals to their innate loyalty and patriotism. One final turn is given to the situation when it is disclosed that the pirates are really “noblemen who have gone wrong,” and thereupon the way is clear for them to secure the hands and hearts of the general’s lovely daughters. There are comparatively few individual parts in “The Pirates of Penzance” and every one in the cast was most satisfactorily filled last night. To take them as they appear in the programme. Mr Charles Walonn was irresistable as the pompous Major-general, and was heartily enjoyed from the moment of his spectacular entry into the pirate lair singing It is a glorious thing to be a major-general, to his part in the grand finale. His rendering of the rapid and most whimsical J. am the very pattern of a modern majorgeneral” was one of many numbers or which the audience demanded more. Mr Bernard Manning made a satisfying pirate king of haughty and terrible mem, and scored tile first big success of the evening with his singing of the joys of being a pirate king. As Samuel, his lieutenant, Mr Lance Fairfax had considerably loss to do, but he skilfully contributed his quota to the general merriment and harmony. As Frederic, the pirate apprentice, Mr James Hay gave an outstanding performance. His part makes largo demands, and he met them all triumphantly. Frederic’s determination “always to act in accordance with the dictates of his conscience is the keynote to his character and in Gilbert a hands it leads him into many most mirth provoking situations. His fine tenor voice was used to excellent advantage in the many good musical numbers of the part. Another clever and very amusing piece of characterisation was that done by Mr John Ralston as the sergeant of police. He scored heavily with his comedy work at the head of his gallant band of 10, and his singing of the very familiar song of the policeman’s unhappy lot will remain one of the happiest memories of the evening. In response to encore after encore ho sapg the concluding verse, first with broad Irish accent then with Scotch, with the Oxford accent and finally in Cockney. Miss Strella Wilson, as Mabel, one of the general’s daughters, added notably to the laurels she has already gathered here. It is acknowledged that Mabel’s song, “Boor wandering one” provides the most dazzling _ opportunity for brilliant vocalisation in all the operas. She surmounted its difficulties and interpreted its beauties in a manner that called_ forth a great outburst of enthusiasm, leading to a double encore. Her duet with Mr Hay, “Stay, Frederic, stay,” was another very delightful success. Not the least of her charms and claims to popular favour is the groat clarity with which she enunciates her words. Miss Mabel Gibson as Edith, Miss Effie Armstrong as Kate, and Miss Patti Russell as Isabel, all found many opportunities to give pleasure in loading the choruses that are so happy and important a part of the play. Miss Winifred Williamson gave a distinctive and consistent rendering of the part of Ruth, the unhappy piratne maid of-all-work who loves Frederic but whose love is not returned. Whether ir, is in the author’s original intention or not, there was amusing evidence in the final scene that Ruth was going to find solace in the burly arms of the sergeant of police . The various choruses against set a very nigh standard of perfection In the matter, of dresses—no small matter —it would be difficult to conceive anything more utterly artistic. harmonious, and pleasing to the eye than the scone presented hy the general's daughters as they move about the pirate’s lair. The work of the policemen's chorus particularly, in the old favourite, “Tarantara,” was most admirable, and won the heartiest favour of the . udience. The pirate chorus was clocicledlv good, too, though one could have wished that the “cat-like tread” effect had been enhanced by the use of painissimo steps to sot in contrast with the fortissimo. Tho orchestra also, which did much to create and sustain the whole spirit of the piece, met with its full share of appreciation. . “Tho Pirates of Penzance” gives place to-night to tho “Mikado.” which will also be played to-morrow afternoon and evening.