ORMOND GARRICK CLUB.

Poverty Bay Standard, Volume II, Issue 159, 14 April 1874, Page 2

ORMOND GARRICK CLUB.

The programme arranged for Wednesday evening last drew a large crowd to witness the performances of the Ormond Garricks. The house was full. All Ormond turned out and Gisborne was well represented, although the number of visitors from a distance was considerably lessened owing to the threatening appearance of the weather. Before ringing for the callboy, we would say a word in commendation of the efforts that are periodically made by this Club to attract an audience to the Chmond theatre, and amuse it when there. Perfectly divested of anything approaching to self-interest or pecuniary profit, the Garrick Club—composed entirely of members of the Armed Constabulary Forte—labor incessantly to make such

provision for the Comfort of their patrons as circumstances will allow, as well as carefully studying with a view to individual and collective improvement. In every respect both these were apparent on Wednesday evening. With regard to the former, kindness of reception was surpassed only bv abundance of hospitality ; for the usual social features of the Ormond entertainments were observed to the letter, and dancing was kept up with great vigor until an early hour in the morning, about 30 couples evincing their appreciation of the good things provided by their entertainers by responding to the invitation to stay after the performance. In reference to the latter, the effect was as pleasing to the audience as it must- have been satisfactory to the performers themselves; less was heard from the prompter’s wing,— although both the pieces were new to the Ormond boards—than on previous occasions ; there were fewer gaps, and consequently less awkward hesitation and looking to the wings for “ sounds that come not.” The cues were taken up readily ; sit nations were napped out and occupied with better effect, and the general business of the stage was more intimately understood (or shall we say better remembered ?) showing the good resulting from intelligent and steady practice. But our friends must neither boil over, nor burst. There is plenty of room for further improvement, or we’ll put it more encouragingly thus : —-there is still a higher success to attain to ; and we hope, although we speak in our usual style, plainly and bluntly, that what we have said will not be taken to indicate that nothing better can be done. Amateurs are generally apt to run away with the idea that in public print is the acme of all that is worth striving for, and the plaudits of the audience constitute their sole reward. But it is not so, and the sacrifices that the Garrick members are making, entitle them to something better, valuable as those things doubtless are when used as a means to an end. The closer our observat ion the clearer we perceive the causes of previous failure. A persistent endeavor to improve, enlightens and enlarges the mind. The lower rungs of the ladder are useful only to assist to those that are above. A laudable ambition will lead to higher walks of dramatic excellence, and intellectual delight will succeed to what is too often the result of aimless energy —an unsatisfied blank in the minds of both actor and auditor. Therefore we say “Be not weary in well doing,” but go on from good to better. The pieces produced on Wednesday had the merit of newness about them; but, although the Drama is backed by the name of a good author—-Mark Lemon —it is of a kind which we hope will soon give place to something better. It is of the sensational school, fire, love, revenge, murder, and blue lights being mixed up pretty thickly together. The plot of “ Self-Accusation, or a Brother’s Love ” is very simple, and the language used in it is equally so. It may be told in a few words thus: —Luke Brandon has a sister, Mary, in love with Edward Howard, who is accused of having murdered Mr. Dawson, an Estate Steward, and, as the actual murderer does not turn up —or is not turned up—Luke resolves to save the life of his sister’s lover at the sacrifice of his own. During the trial, Darwell, who did murder Dawson, rushes on the stage, acknowledges his guilt, shakes hands all round, and dies. The play is highly dramatic, but very weak. Mr. Clements as Luke Brandon made the most of a character evidently congenial to his disposition, but which was certainly not up to the standard of his powers ; although there was scope in it, and Mr. Clements’ undying fidelity to his sister was naturally and feelingly portrayed. Stephen Darwell, —the villain of the piece—was well played by Mr. Seaton, but there seemed to be too little spice in his villainy at times; he maintained, however, a correct reading of the character, which had been well rehearsed. Joe Raby—a kind-hearted Yorkshire Chawbacon—was faithfully represented by Mr. Brunt. This character belongs to a class which Robson used to delight in, but it lost nothing in Mr. Brunt’s hands, whose broad, Northern, dialect aided him effectively in supporting his role to the life. Mr. Whitehead played his part well, as Miss Brandon’s lover, but, unfortunately, there was too little to do in it to show off an actor to advantage. Mr. Galbraith was an effective, (albeit an unfeminine) delineator of the character of Mary Brandon, who, both in voice, and demeanor, brought a most natural and affectionate devotion to support her brother Luke in the trials that had come upon them both. They twain were the only remaining members of a family that once was happy and well to do; but Dawson had reduced them to beggary by burning their house, firing their stacks, and poisoning their cattle, in the hope that by this means the sister’s honor would be an easy prey through the poverty of the brother. Mr. Galbraith has few compeers in his personation of female characters, and as Mary Brandon he added one more to the many laurels already won in this most difficult part. And here we cannot but deprecate the unkindness, to say the least of it, which a large part of the audience will persist in exhibiting at every conceivable opportunity by laughing aloud whenever the female characters speak upon the stage. There are some occasions—such for instance as two men kissing each other—when poetic effect has to draw largely on the imagination to keep one from smiling ; but we submit that in Mr. Galbraith’s personation of Mary Brandon there was not a particle of exaggeration in it which could provoke any feeling antagonistic to a due appreciation of a natural effect produced under very difficult and trying circumstances. Inopportune, derisive, laughter has a very depressing effect when undeserved, to say nothing of displaying a great want of taste and consideration for the feelings of others not quite so inconsiderate themselves. Mr. Galbraith has a large claim to all the sympathy that can be shown Kim, and we hope on future occasions it will be granted. The minor characters were all well played, but require no special comment. An interlude called “ The Band of Brothers” was grotesquely rendered by Messrs. F. Steele, Clements, and Seaton, the very absurdity of which demanded an encore, which was kindly acknowledged.

“ My Son Diana” a broad, laughable, Farce, concluded the performance. Now this is just the sort of character at which not to laugh would be not to appreciate. Mr. Galbraith again comes out well to the front in the approbation of a highly pleased audience. Here is food for mirth and mistake. Dressed about the head and bust as a girl, with shooting jacket, and trousers for nether garments, “My Son Diana ” caused much merriment while being proposed to by her lover. Mr. Lorrigan acted in this piece capitally as Diana’s wooer; his perplexities were immense, his quiet facial expression in trying to cheat himself into the belief that he was making lore to

a girl in breeches, was life-like ; and his expression “a pretty mother of a family he’d make ” brought down the house in long continued applause. Mr. Lorrignn and Mr. Galbraith deserved all the encouragement they got, and there can be no doubt that the audience was highly delighted. The former is destined to be a very superior actor in low eomedy, and we hope soon to see him again. The latter sustained his part well, as on him depended the success of the piece. Sergeant Armstrong, personated Mr. Culpepper in his usual vigorous, manly, outspoken way. There is an airy freshness about this gentleman’s acting which is always cheerful. There is no stageiness in his|style, and a perfect absence of stammering or hesitancy. The piece was admirably cast; and altogether was one of the best Farces we have seen for a long time. The scenery is also worthy of honorable mention, especially the moonlight scene in the drama. This department is under the superintendence of Mr. Jeffreys, whose pencil and brush added very effectively to the success of the performance. The audience testified its appreciation of the new scenes by continued plaudits. Mr. Sherriff presided at the piano during the entire performance, and afterwards until an early hour, while the visitors enjoyed ti e mazy dance, which concluded one of the p eas mtest night’s entertainment ever given at Ormond. Again we congratulate the members of the Garrick Club on their success.