“WILDFLOWER”

Otago Daily Times, Issue 22211, 14 March 1934, Page 8

“WILDFLOWER”

GAY AND TUNEFUL COMEDY BEST PERFORMANCE OF SEASON It was impossible not to react in the most felicitous fashion to the gaiety, sparkle, and vivacity of the delightful presentation of “Wildfiower” last night by the J. C. '\Villiamson New Comic Opera Company.' Lyrically, musically, and sartorially “ Wiljlflower ” is a delight. It has more than the customary plenitude of choral and terpsichoreau highlights; its humour is swift and infectious, and in the intervals between its action and its vocal gems are heard innumerable tickling tinkles of syncopation which lift the production out of the comparatively remote period into which the company has been dipping for the past week. Add to all this an attractive and colourful background and stage settings which are triumphs of imaginative mounting, and the result is entertainment of a kind which leaves with the audience a feeling of complete satisfaction. The company, and in particular Miss Romola Hansen and Mr Herbert Browne, excelled themselves, and_ all the more so, one is tempted to think, because they found themselves confronted by an audience more than ready to be captivated and demonstrably grateful when they were not disappointed. “ Wildfiower ” is essentially a musical play and an exceedingly bright one at that. Of course, there is a strong thread of romance—about five reels ,of it by Hollywood spinning running right through its well-constructed plot, upon which .all the ear-haunting melodies, tuneful choruses, and charming dances hinge. But the melodies and dances are the play for, better, for worse. Obviously from the, attitude of last night’s house the audience decided on “for better.” It was undoubtedly a conspicuously successful performance. It is an unusual felicity to watch the unflagging zest and infectious cheerfulness with which Miss Romola .Hansen leads her company through performance after performance. She is a charming leading lady, and at the same time an inspiring one. Not only does she look well, sing well, dance well, and smile divinely, but she is the source of these qualities in others as well. She is not only enthusiastic in herself, but in the cause of enthusiasm in all who work with her. Her Nina was a study in vivacity and tempestuous charm, and she found a golden opportunity, probably the best of the season to date, of demonstrating that well-developed dramatic sense which, .allied to a host of other attributes, furnishes an excellent reason for the success that has been hers. Stamping with rage, trying vainly to stir the shy Guido out of his bashfulness, or facing the grim fact that he loves another, she was always convincing and always , attractive. “ Bambalina,” with the vigorous exertion it entails was a feat of endurance, but she was more than equal to it, and she made th& number one of her best. With “ April _ Blossoms,” she captured the imagination of the audience in an instant, and in the second and third acts she went on from triumph to triumph. “You Can’t Blame a Girl for Dreaming” was atmospherically effective, and one of the gems of the show, and Miss Hansen’s undoubted streak of roguishness found engaging expression in “You Can Always Find Another Partner” and “ Of Course I Will.” She made Nina live and sing in a most vigorously lifelike fashion, and in doing so proved herself the pivot of the performance. In fact, she was “Wildflower,” with everyone else merely assisting in the presentation of a delightful characterisation. Mr Herbert Browne did his best evening’s work to date. It was a realistic portrait he drew of the retiring, overmodest Guido, and it needed only his exceedingly competent acting to put the sea] of completion on a performance which could not fail to attract attention had be done nothing more than concentrate on a characteristically artistic rendering of the several delightful lyrics which came his way. “ Wildfiower ” was one of his best, but “ Good-bye Little Rosebud ” was just as good. He proved an ideal partner 1 -for Nina, and must share with her, some, at least, of the laurels due for_the attractive version of the play. Mr Phil Smith found himself on familiar ground in the role of La Roche, “ the legal eagle,” and he made an excellent job. of the part, 1 There were vigour and sparkle in his characterisation, and his audience recognised the merit of his performance. Mr Don Nicol’s Gaby was another diverting study, the young comedian again exhibiting that confidence and exuberance which are, after all, half the battle in comedy roles. He and Miss Marie la Varre were responsible for a lot of irresistible fooling, and capped an attractive evening’s work with “The World’s Worst Women.” Mr Eric Bush’s Alberto was a less satisfying study than usual, but he did as much for his role as it did for him. But he has presented nothing more brilliantly artistic than the specialty dance'with Miss Mona Zeppel, which was one of the attractions of the second act. Mr Charles Albert was quietly competent in the role of Luigi, and Miss Dora Lightfoot gave just the right twist to the rather hateful character of Bianca. ' Both male and female choruses acquitted themselves exceptionally well, and gave excellent expression to the enchanting music of the play, the composition of which strained the energies of no fewer than four authors. The orchestra, under the direction of Mr Harry Burton, was always a help. “Wildfiower” will be presented again this afternoon and this evening.

“A COUNTRY GIRL”

Charmingly contrasted are the scenes in “A Country Girl,” which is to be staged by the J. C. Williamson, Ltd., New Comic Opera Company at His Majesty’s Theatre to-morrow and Friday evenings. In the first act the setting is entirely rural, with its haystacks and its cottages, its village yokels and dainty maidens, the last-merrtioned clad in pink frocks, white ruffled aprons, and linen sunbonnets. In the second act the audience is shown the picturesque interior of the Ministry of Fine Arts. I enod costumes are featured, hoops and panniers, satins and fine laces, powdered wigs and ivory fans. The gentlemen of the company wear in this scene gorgeous green and scarlet uniforms, and the groups, set against a stately background, present a brilliant blaze of colour. "A Country Girl ” has something of the charm of Gilbert and Sullivan opera, and belongs to the day when musical plays savoured ot genuine romance. There is an elfin simplicity about the plot, and a rhythmic charm about tbe melodies that never fail to stir its audiences and set the feet tapping in time to the infectious aiis that will win hearts as long as there are singers and orchestras to do them justice. Frocking, singing, dancing, and buffoonery blend into such a colourful pot-pourri of enjoyment that the dropping of the final curtain leaves a regret behind it. The phenomenally successful revival of “ A Country Girl ” in Sydney and Melbourne last year -disclosed the fact that although novelty may attract on the stage, there i s still a very large public for the shows of yesterday. The revival proved that real music will .always triumph, and “ Under the Deodah, w Try Again, Johnnie,” The Pixies, The Rajah of Bhong,” “ Molly the Marchioness ” "Peace,” and all the other songs of this famous musical comedy recalled and captured the happiest moods. A Country Girl ” east includes the names of those artists who have already delighted playgoers in “The Mercy Widow, The Arcadians,” “ Wildflower, and I lorodora,” among them being Romola Hansen. Herbert Browne, Phil. Smith, Don Nicol, Marie La Varre, Eric Bush Lois Green, Oliver Peacock, Charles Albert, Stella Collier. Mona Zeppel. Dons Hopkins, and Leslie Crane. On Saturday afternoon and evening the company will present their final production, the celebrated and popular comic opera ‘ Katinka. the box plans for the remaining nights of the company’s season in Dunedin are now open at the D.I.C*, and day sale tickets may be obtained at the Rialto.