‘ENGLAND, MERRIE ENGLAND’

Taranaki Daily News, 17 August 1933, Page 7

‘ENGLAND, MERRIE ENGLAND’

AN OUTSTANDING SUCCESS. PLAY BY GIRLS’ HIGH SCHOOL. When it was first announced that the Newt Plymouth Girls’ High School was to produce “Merrie England” there were those who shook their heads, deeming the project over ambitious —“too big a thing for a school to make successful.” To-day they must hide their heads or change their tune. “Merrie England” was a great success. The school has built up a reputation for the high standard achieved in anything it undertakes, and the packed house last night therefore expected a first-class entertainment. In the splendour of its frocking, the spirit and precision of its choruses,. the quality of its acting and the sterling performances of its principals “Merrie England” must have fulfilled the highest expectations.

In the first place the comic two-act opera chosen is typical of English opera, the type that in every English country is very popular. Slightly more serious than Gilbert and Sullivan, Edward Germain nevertheless embodies the same vivacity, the same brightness, the same charming lyricism in his work. “Merrie England” is considered his best opera. The story of the play opens with a May Day scene in England in the days of “good Queen Bess”; the common people celebrate the occasion by choosing a May Queen and crowning her. She is courted by all the men of Windsor save the one she wants, Long Tom, the Royal forester, who is in Ibve with Jill, a maid who lives all alone in the forest. The May Queen’s revenge is to try to stir hatred against Jill and have her burned as a witch. At court the ambitious Earl of Essex wishes to marry Elizabeth; the Queen, on the other hand, is deeply attracted by Sir Walter Raleigh, who in turn loves in secret the maid of honour, Bessie Trockmorton. Essex’s one aim is to encourage the marriage of Raleigh with Bessie, so that there may be no rival claimant for Elizabeth’s hand. The thread of the May Queen’s plot against Jill is interwoven with that of Essex when Bessie loses one of Raleigh’s love letters; it is picked up by Jill and shown to Essex, who persuades her to show it to the Queen. Elizabeth, furious at Raleigh’s daring to love any but herself, banishes Raleigh, imprisons Bessie and declares that Jill must die as a witch. Essex then weaves a last plot by which Jill’s lover, Long Tom, poses as the ghost of Herne the Hunter, who appears to the Tudor Sovereign whenever- one of them contemplates a crime. Elizabeth is frightened, pardons Jill, Bessie and Raleigh, and all ends happily with the players singing the wedding song from the Masque of Robin Hood.

.As Queen Elizabeth R. McDonald was ever as regal and as convincing as her part demanded. Her role was difficult, and in every detail she gave a finished performance. Dignity became her naturally, and the imperious command and essential vanity of the great queen were well portrayed. Her singing part was not large, but was presented with charm and expression, especially in the solo “O Peaceful England.” The part of the Earl of Essex was taken by M. Menzies, who gave a very sound performance. Plotting both in court and out, she had a very solid part to play, and succeeded admirably. Her acting throughout was studied and free of self-consciousness, while her singing in the well-known solo “The Yeomen of England” and in the trio was clear and nicely phrased. A more realistic Walter Raleigh than M. Jennins would be difficult to find. Costume and make-up were excellent, and were of great assistance to the performer in an exacting role. Her acting and singing were splendid, and her coordination with Bessie Throckmorton (R. Mawhinney) was perfect. The duet and dance were exquisite in balance and

grace. Miss Mawhinney’s greatest asset was undoubtedly her voice, of delightful lyric quality, truly soprano in its range and airy lightness. While due credit must be given to all, the honours of the evening were unquestionably carried off by J. Davidson. Her impersonation of Walter Wilkins, in whom lovers of Shakespeare recognise another Bottom, was masterly, and might have been envied by many a more experienced player. At all times natural and —apparently—carefree, she portrayed to perfection the vain, ’glorious player whose quips and boasting and remarkable knack of making a clever escape from awkward situations kept the audience chuckling on every appearance. Jill-all-alone, accused as a witch, hunted and yet carefree, the forest waif for whom love even in poverty was ever more glorious than the best a queen could command, was a delightful study, and G. Johnston - ~and her cat came out with colours flying. The part was charmingly enacted, its essential simplicity of acting and singing being nowhere lost to sight. The May Queen (F. King) gave a talented display, the changing moods of the original being cleverly interpreted. Her singing part was not large but showed her to be the possessor of a sweet voice. Among the minor characters stand out Long Tom’ (A. Brodie) and Big Ben (L. Baldwin), the Royal Foresters, the Butcher, the Baker, tire Tinker and the Tailor (D. Matangi, M. West, N. Thornton and E. Chapman) and G. Champion, K. Wilson, S. Joll, J. Sandel, D. Pepper, P. Sanders, N. Garcia, D. Cock, M. Millar and F. Evers-Swindell all gave really good characterisations. Excellent as the principals were, the opera would have failed without the splendid support of the chorus. As usual, much of the hard work fell on the chorus, and nobly it responded. The spirit and vim they infused into the.ii singing and their precision and clearness of enunciation were a remarkable tribute to the work they had done, and to the choirmistress. The Morris dancers, trained by Miss 0. J. Taylor, did not play a very large part in the play, but what they did was done with neatness and grace. The orchestra, under the leadership of Miss V. Ross, played no insignificant part in the success of the performance. The music is in many places difficult and the correct balance between soloist or choir and the orchestra is no easy thing to achieve. Yet that correct balance was maintained throughout., providing a sympathetic accompaniment capable of all the flexibility and softness of tone that was desirable.. The amount of work put into the performance was obviously tremendous, and th- remarkable results obtained by the musical directress, Miss M. Fearn, were possible only with the utmost co-ordin-ation with and assistance from the stage producer, Mrs. E. Reid, the business manager, Miss McMullan, and the costumiere, Miss K. Liken,