“FIREFLY”

Otago Daily Times, Issue 26228, 12 August 1946, Page 6

“FIREFLY”

A FINE SUCCESS OPENING AUDIENCES CHARMED Two “ capacity houses,” which left no room for doubt of their appreciation, sent the Dunedin Operatic and Dramatic Society’s production of the gay Otto Hauerbach comedy opera, “ Firefly,” away to a fine start in His Majesty’s Theatre on Saturday. With the collaboration of Rudolf Friml, who was responsible for the musical scpre, Hauerbach wove a small maze of romantic complications into a show of much colour, humour, and tunefulness, and it can be said immediately, and without reservation, that the -Dunedin society has assembled a worthy cast and that Mr Stan Lawson has polished it into a company of stature to justify the excellent receptions of Saturday afternoon and evening. ‘Firefly,” a story which pivots on “the gender of the noun ‘Tony,”’ to quote one of the principal characters in this chapter of virtuous misrepresentations and general double dealing—- “ Tony” in reality being “Nina,” a captivating minx of a street singer—is replete with opportunity. It offers spectacle and comedy in ample measure and scope for good voices, and in all three respects this production will compare excellently with anything in the society’s history of successes. The plot makes for -a series oi cleverly-contrived situations, hisniy decorative settings, and attractive music. Mr Lawson has produced a number of spectacular shows in Dunedin and this latest success serves to prove that his touch* is as deft as ever, his flair for effect as vivid, and his ability to achieve smoothness ana balance throughout his company, just as impressive. He and the audience were fortunate indeed in their Nina, alias “Tony,” and also m their Mrs Vandare, the amorous widow, and it was the good fortune of the company and the audience that he himself played Uncle Jack Thurston. These three set an unusually high standard, and the company played up to it Solo voices that were uniformly fresh, and for that reason if for no other a pleasant contrast with those of some professional companies a chorus of fine tone and balance, ballets that were captivating in design and execution, and settings and imaginative costuming were welded into most satisfying entertainment. The criticism might be offered that one or two of the soprano voices were just a little small for the theatre and that a dash of mobility into individual members ot the chorus in some of the set scenes would help the principals; but these were small blemishes, and it is a commentary on the quality of the production that no more serious fault was to be found. For the most part, the chorus reflected zest and movement, and its singing was all that could be desired. The part of Nina fitted Vincente Major perfectly. Neatness of figure, rare grace of movement, tantalising personality, true and clear voice —Nina had all these qualities, and her performance was altogether charming. She was completely in character from her first appearance as the impish street singer to her final presence as the beautifully gowned opera star, and her mischievousness peeped through everything. Her singing voice quickly became open and confident, and “ Giannina Mia ” and “ When a Maid Comes Knocking at Your Heart," in particular, were delightfully sung. As a dancer, too, Nina was lovely, and nothing in the show was more finished than her “Tommy Atkins” sequence. Phyllis Gribbin, from Auckland, was equally well cast and equally successful as Mrs Oglesby Vandare. An accomplished actress, she made the everhopeful widow a figure of high humour but never one for pity, and she took advantage of the finale to the second act to show that she has a contralto voice of outstanding stage quality. Its Geraldine Vandare, niece of Mrs Vandare, and fiancee of Jack Travers until the ultimate unravelling, Bette Spiro, another guest principal from Auckland, looked and lived the part' of the society darling. She played with a singular wholeness of purpose, and she certainly made her audience understand her young man’s misgivings. Her voice was not always convincing; but she scored a fine success in the “Sympathy" waltz song with Uncle Jack Thurston.

Opposite her, until he found his Nina and she her “Uncle Jack,” Colin McDonald made a promising first appearance for the society. Good appearance and a well-produced voice were vailuable assets to him, and the slight lack of smoothness which was apparent alongside the cultured stage presence of Stan Lawson will be rubbed off by experience. Mr ’Lawson’s performance was no surprise. His “ Uncle Jack" Thurston was a typical inter-pretation—suave-and polished in every particular. With the inert assistance of the overcome Mrs Vandare and the doubtful collaboration of Jenkins, the secretary-cum-factotum, he convulsed the house with a slapstick scene in the third act.

Stan Mee’s Jenkins was a .long, lugubrious figure of fun throughout his frequent spasms of “being so upset.” He was not “ upset ” without reason, the audience would agree, and he made the best of his worries. Harold Davidson handled the difficult role of Herr Franz, the choirmaster, with confidence and more than passing skill. Two more principals who proved highly popular were Arthur Collyns as the valet Pietro, and Kay Mutimer ah Suzette, maid to Mrs Vandare’s daughter.' June Donaldson, as Sybil, daughter of Mrs Vandare, completed a cast of principals which was a credit to the society.

Other parts were played by Ray Johnson, as the organ grinder; Ray Wallace, the policeman; Allan Cocks, captain of the yacht; Maurice Harrison, the flower vendor; Kathleen Coughlan, the pickpocket; and, by no means least, Gordon Roberts, as Corelli. Nina’s guardian. The fact that Rosetta Powell was responsible for the devising and creating of the ballets was sufficient reason to expect something out of the ordinary in this department, and so it proved. The ballet scored a tirumph. In the “Call Me Uncle” sequence and an unusually imaginative treatment of the favourite military theme under the title “Drums on Parade,” there was designing of really expert quality and an evenness of performance which justified the heartiest applause. But there was even better in store in “ The Dance of the Fireflies,” a cleverly lighted scene in which Rita Cook constituted a most spectacular centrepiece, and in “ The Young Idea ” creation. Mr Lawson and Mr Roberts had a hand in this brilliant burlesque, but it was Rita Cook’s antics and her happy little affair with the lieutenant, danced by Beverley Wix, which captured the auidence’s imagination. The ballet was charmingly frocked, and it rivalled the principals in the prominent success of the evening. The work of the chorhs was sufficient tribute to the success of the musical director, Mr James Clark, and a good orchestra provided an effective background.

“ Firefly ” will be presented every night this week. The success of the opening performances was such that it would not be surprising if the public finds a season of one week all too short.