“ROSE MARIE.”

Otago Daily Times, Issue 20355, 12 March 1928, Page 3

“ROSE MARIE.”

an unqualified success. “Rose Marie,” a musical play in two acts and five scenes, by Otto Oscar Hammerstein, Rudolf Friml, and Herbert Stolhart, was presented at His Majesty’s Theatre on Saturday evening by a J. C. Williamson company. Charming music, gorgeous {rocking, and magnificent ballet work are the outstanding features of this romance of the Canadian Rockies. AU that has been written and said about “Rose Marie” does it but scant justice, and a Dunedin first-night audience received it with an enthusiasm that was thoroughly deserved. . Though it is effectively disguised in a Canadian mountain setting, the story ot “ Rose -Marie ” is once more the mucliloved romance of the sweet, little country girl who is courted by the rich and sophisticated visitor from the city, but loves the red-blooded man of the open spaces, who finally makes good and claims her for his own. 'lt has, however, th e virtue of a i exciting plot, in which the hero is falselv accused of murder and hunted by the men of the North-west Mounted Police. Aided by bis beloved Rose Marie, he escapes from th e mountains, leaving her broken-hearted, but happy in the knowledge that he is safe. Accompanied by her brother and her wealthy admirer, she journeys to Quebec, where elaborate preparations are made for her marriage, but at the moment when tbe wedding is about to take place her lover reappears, clears his name, and wins his bride in an exciting and spectacular climax. This is followed by a beautifully-treated closing scene depicting a cabin at the head of a long vallev through which th e liquid Indian love call once more re-echoes. At the close of the first act comes the entrancing “ Totem ” ballet that is the unique and predominating feature of the production. It is performed to the mpsic of <( Totem Tom Tom, ’ one of the weirdest of the Indian melodies that are characteristic of “ Rose Marie,” and on Saturday evening it completely captured the imagination of the audience, holding every onlooker almost breathless during each of its kaleidoscopic effects. The performance ot the big chorus of girls, with their bizarre garb, was a revelation of grace and per feet team work, and the deafening ap plause gave evidence of the effect they had created. For this item the lighting and general stage effects had been arranged with a masterly touch, and the ballet had been drilled to such perfection that it was impossible to detect a single flaw in the rhythm of the difficult movements. Second only to the “ Totem ballet was the pantomime in the Indian hut, lit only by the flickering light of a fire. During the course, the three characters did not utter a sound, but the acting was such that the little drama of an illicit lov e affair disturbed and the death of an Indian husband was easily followed in a setting that could not have been improved. In the second act two magnificent scenes were presented, one being the interior of a novlty shop in Quebec and the other a ballroom. Both gave opportunity for a gorgeous display of feminine fashions, and the ensemble—“ Minuet of the Minute ” —formed a strikingly elaborate and colourful picture, in direct contrast to the panoramic scenes in the Canadian mountains. The nature of the plot and the carious incidents introduced in “ Rose Marie ” give an unusually good opportunity for displaying an extensive wardrobe without incongruity or superfluous dressing, and the constantly-changing costumes provided a feast of colour. The gay uniforms of the North-West Mounted Police lent a touch of brightness that greatly improved the scenes in the Rockies and in the interior of the little mountain hotel, whil e the ceremony prior to the beginning of the interrupted wedding found the ladies in charming period gowns. As Rose Marie La Flamme, Miss Harriet Bcnnet was delightfully and naturally vivacious. She romped through Uie lightest sections of her part with a gaiety that was infectious, and proved from ths -autset that she had thoroughly mastered the patois of the French-Canadian, used by several of the characters. At first she was a little indistinct because of the speed of delivery of her spoken lines, but as the audience became used to the broken accent, it had no difficulty in fol lowing her excited loquaciousness. Her singing voice was a pleasant surprise, being beautifully clear and well-con-trolled. It lacked a little in volume, but was used to the best advantage, and in “ Lak Jeem ” and the lovely “ Indian Love Call”.it was produced with a clear and startlingly flute-like duality. Dooof My Dreams ” was Miss Bonnet’s final solo, a song that was also well treated. One’s recollections turn, however, to the “Indian Love Call,” a charming song charmingly and intimately arranged in part as a duet. Frederic Bentley, the comedian, played the Dart of “ Hardboiled Herman.” and proved himself an artist of rare calibre. His personality is in inverse ratio to his bulk, and he is irresistably funny without being in the slightest degree forced or out of tune with his part. A brighter or more successful little comedian would be difficult to secure, and his jokes and quips are neither old nor hackneyed. Lndoubtedlv the most arresting personality in the company is Miss Stephanie Deste, who is conspicuously successful in the intriguing and unusual part of Wanda, the Indian siren who causes all the trouble between Rose Marie and her lover. Besides being strikingly suited to her part, both in face and form. Miss Deste is that rare combination—an excellent actress and an ex ceptionally good dancer. The nrincipal features of her work were the “Totem Tom Tom,” song and ballet, and we'rd solo dance in the second act. As the leader of the “Totem ” ballet she deserves all possible praise for the Oriental intensity of passion she infused into net .work. The dance with a giant fan was, a curious mixture of graceful, . sinuous movement and concerted posturing, hat the general effect was admiraoic. Reginald Dandy took the part of Jim Kenyon, the hero of the piece and the lover of Rose Marie. He is a handsome ,and manly newcomer to the Australian stage with a good voice marred only by a rather pronounced tremolo. He opened with the haunting song vvjticn ■hears the title of the production, and 'gave it exceedingly well. This song was cunningly introduced by the repetition of snatches of its melody through the first scene, and the attention thus 'focussed on the solo gave Mr Dandy a splendid opportunity and on© which he did not fail to grasp. In the “ Indian Leva Call ’’ liis voice blended well with that of 'Miss Bonnet, and in the final love scenes ,his work both as a singer and ss an ■actor was beyond reproach. As Ladv Jane. Miss Yvonne Banvard played a big light comedy part exceedingly -ve 1 !. and James Highes was bluff, hearty, and very likeable as Sergeant Malone. Other parts were taken bv Mr George Bryant, /■who gave an excellent study of Black 'Eagle. an Indian chief, Lou Vernon win /•was a French-Canadian to the life, Noel 'Allan, who was thoroughly destestahic, and therefore very successful in the part of Edward Hawley, the wealthy suitor, ’ and Mabel Lambeth who made a satisfactory Ethel Brnnder, the woman of . fashion from Quebec. * “Rose Marie.” which fulfilled all expectations, will be repeated this evening.