POLLARD'S OPERA COMPANY. "TAPU."

Otago Witness, Issue 2556, 11 March 1903, Page 56

POLLARD'S OPERA COMPANY. " TAPU."

The Pollard Opera Company opened a, short return season at the Princess Theatre on Saturday night to a very large audience. To the performance of " Tapu," the opera presented, attached a quite special interest for the reason that it ia a purely New Zealand production, dealing largely with the Maori race; and having New Zealanders as its joint authors. Mr Alfred Hill, of "Wellington, is responsible for the music, and the libretto is by Mr Arthur H. Adams, with whom Mr J. C. Williamson' is named as having collaborated. Mr Hill himself conducted on Saturday night, ' and the reception accorded the opera was of the most cordial nature. The ' production ''proved an agreeable surprise in many respects, for one may very reasonably ask how there can be anything new or original in comic opera or musical comedy, the later productions in which lines have not compared very well with their older predecessors. " Tapu,' however, makes one or two real claims to originality, and especially in this that the themo is unhackneyed and ifresh (though the same can hardly be said of its treatment) and the music is of an uncommon nature for the most part, admirably adapted to the spirit of the subject, and refreshing in its originality and strength, for it is by no means devoid of a species of agreeable daring. The composer of " Hmemoa" has displayed very considerable resource in all the music of " Tapu," and its variety is pionounced, to be added to which is the fact that it is full of a charming and elusive melody, and is never cheap or merely showy even 'in the bizarre haka music. This is the predominating feature of the composer's work, its truly artistic treatment. Especially the concerted pieces are admirable — one soprano solo only seemed ■unworthy of its place, — andinasmucb>asthe music is certainly the predominating element of " Tapu" its claim to the title of " opera" is established. Some of the composer's work indicates that he would have had a more congenial field in serious opera, as it is in the light departments of patter-song and dances that he appears least at home. However, without doubt the music of " Tapu" is its strong point, and this was evidently the opinion of the audience, numerous encores being demanded. The libretto is distinctly above the average at times, but is not consistently forcible. It lost a deal of effect on Saturday night by the hurried and imperfect enunciation of quite a number of the performers, whiph made tho narrative difficult to follow in the initial stages. Iv his work the librettist has shown moTe wit than humour, his best work being undoubtedly in the lyrics, which are prettily worded and of dainty sentiment. The handling of the subject Is not devoid of all heaviness, and the politics are too obtrusive. Skill v 'has been shown in avoidance of the dangerous pitfall of the burlesque, and the opera 'never falls below a certain degree of dignity. One might have expected a moa hunt to appropriate music, but such was not forthcoming. The scene of " Tapu" is laid in the New Zealand Hot Lakes distiict, and the curtain rises. on a beautiful view of a Maori pa with Tarawera in the background. A bevy of Maori maidens are buay mat-weaving, and to these enters a redoubtable figure, Makutu, prophetess of the tribe, a lady no longer young, who is ( waiting for the husband that does not come,' as she sets forth in tho excellent solo, " Nobody takes the chances." Mara is next introduced, and proves a young Mr.ori belle of romantic disposition and longings for an ideal who should wear " tailor-made blankets." The splendid figure of the gorgeously be-matted and feathered young chieftain Tonga has for the time lost its charm for her. The pair, however, contribute a pretty duet, "Love has little of laughter to give," and then enters the most comical figure in the opera, Mr George Wright, who is visiting New Zealand as a delegate td promote the cause of federation with Australia, and has with him four members of the_Emancipated Women's League. He has lost his way. Mr Wright's get-up is exactly on tho lines of the caricatures of a well-known eye-glassed New South Wales politician, not excluding the familiar "dry dog" that accompanies him on paper. TJ'iifortunately for the delegate the wandering baritone John Smith and prima donna, Chrysalia Fay, of a disbanded opera company come wandering along, and the Maoris mistake Smith for the expected delegate and make much of him — too much for his own comfort, as before he quite finds himself he is claimed by the law of " Tapu" as the husband of the formidable Makutu. Many amusing love passages take pace between Smith and Mara, who thinks she sees her ideal, and between Tonga and Chrysalia, who iB looking ' for a child of nature that is not a sham, and they sing the delightful ouartet, " We are not the least bit jealous/ at the same time making it clear that it is their pristine and not their present happiness they desire. The politician Wright, on arriving, is received by the tribe as welcome contents for the cooking-pot, and ordained to be the wedding breakfast of his own impersonator. Fortunately a civil servant appears in the nick of time with a deapaitch for the delegate, and the true George Wright is discovered. The masquerading Smith is at once condemned to the cooking-pot, but is saved by the timely intervention of Chrysalia, who claim* him as, by the custom of her country, "tapu" to her, the principal baritone and the prima donna, and her claim is acknowledged. Makutu is left lamenting. Mr Percy's impersonation of the delegate George Wright was certainly tue most comical ilement in the production, and was done in his best vein — that is, with a little advantageous loss of individuality. His get-up was excellent, and the appearance of the unfortunate ' delegate, whether confronting the redoubtable Makutu or taking exercise in tall hat, mat, and tail-coat to keep down undesirable corpulence, or in. the .more immediate wedding 'breakfast stage, was at all times most ludicrous. Mr Percy has also one or two amusing songS' to* 'deliver. Miss Nellie' Wilson 1 has never done better than as the termagant Makutu, and pub a great deal of vigoiu into her work. Specially effective was her duet with Mi Percy, " Tapu " — a fine number. Miss Connie Buttel, as Mara, sang very acceptably, and also acted well. The duet, " There's no Jove like the old love," in which she took part vith Mr Aylmer was especially pleasing. Miss Campion, as Chrysalia Fay, had some rather taxing solo 3, achieving most success, perhaps, in the really beautiful number " Is it always summer weather, I wonder" — a little bit of charming sentiment, — or in the quaint " She was a simple serenade," telling of the love of that lady for the Datter-aonsr. Some very.

' amusing comedy takeß place, in the duet he* tween Mara and Chrysalia, in the display of feminine weapons, and an. imperative encora was the result. Mr D. O'Connor was conspicuous for an extraordinary costume as tha travelling actor Smith, and, as usual, sang; well", though not with sufficiently clear enunciation—which remark is also applicable to Mn Balaton's, vocalisation. The duet "O pity oue parlous plight," between. Messrs Percy anJ O'Connor, was a capital item, and the latter made a success of . " Half-and-half," a song) . descriptive of the Hew Woman. Mr Balaton, as Ia Taniwha, chief of the tribe, made an ' impressive iiguTe. Mr Aylmer was cast ia Tonga, and sang the tenor music acceptably, the air " O Mara" being his best effort. Misa "\ Alice Pollard took the small part of Tawera;- . and Misses Ericson, Metcalfe, and \V. and 1 . 2; Karkeek "acted as the four emancipated ladieij^ ;- the quintet (Mr Percy assisting) bicycle song, - with an effective bell accompaniment, takingi "• " very "well. The costume of the eman'cipaijecl ' ones was not becoming/ and in fact their ; presence rather unnecessary altogether. The orchestral work was' particularly good, and th'a choruses well sung and effective— as, foil example, " Hail, the mighty politician." Tha way in which "Tapu" is staged- is worthy of) the highest praise, two veiy fine sets of scenery) ' being shown — that in the second act represent* ing- the Pink Terrace; < Kotorua.- ' Costumes - also are of a gorgeous description, and leave) little to bs desired in. tho way of accepted! details of Maori life. The graceful poi dance and the haka were .both heartily applauded, and the latter appeared to specially hit the publio '- taste. '"Tapu" is a strong production all "round, and success- should await' it. In consequence of the brief'' season, .and in order to afford Dunedin playgoers an opportunity of . seeing all the old favourites in some of their popular characters prior to leaving for Africa, "Tapu" will only be staged 'for three more nights, being replaced by " The Gay Parisienne" on Thursday, "Hip Van Winkle" on Friday, and " In Town " concluding the season on Saturday.