THEATRE ROYAL.

Timaru Herald, Volume LXXXIII, Issue 13014, 29 June 1906, Page 7

THEATRE ROYAL.

' UTOPIA LIMITED." One of the largest houses that the Theatre Royal is capable of holding greeted J. C- "WlQiamaon's company last night, standing room only being available before the overture for Gilbert and Sullivan's final opera " Utopia Limited " was finished. The caste was an exceptionally happy one and the Tin folding of the humourous and satire laden plot at their hands would have held the attention of the audience even if the rippling music of the sweet and naivete solo, the swinging chorus, -the strong orchestra,, or the kaleidoscopic display of colour and beauty had been absent. The libretto has a unity of interest and purpose and an external cohesion and .completeness that belongs to highest type of the rhymed operatic story. It treats of an imaginary- south sea kingdom, whose monarch is governed by "two judges, the latter make him obey their commands by the power of deposition and even death (by explosion) rhiqr holdover hi®- Zara. the king*s abroad ■ for an English education returns, bringing with her " Imported Flowers- of Progress," representations of the diplomatic, army and navy services, a member of Parliament and a county councillor and company promoter (high financier). By them purified English instructions are introduced and Utopia is reached. But the judges long for the old days of disease, and crime and so to appease them, party government- is initiated on the supposition that its absence had allowed the nation to reach "the ideal conditions attained. It abounds in sarcasm at prudery and joint stock companies: Gilbert's wit" being even more rapier-like in its thrusts at the training of the coquette than at the conscience straining axioms of the "promoter." Its every detail rises above the ordinarv ruck •>f operatic burlesque as much as the Hamlets and Tempests soar above the Tamburlain.7 and island princesses' of an? earlier

and necessarily more immature period. Intrinsically and as a detached musical work the score has a merit and excellence of its own. It does not demand extraordinary powers from its ""soloists, nor excessively heavy part singing from the chorus, and it has melody in endless variety. No musical knowledge was required to make one listen with pleasure and appreciate without knowing why, the rhythm of ittf phrases, the brightness of its movement or here and there the depths of its harmonies. The costumes and general scenic effect* were striking, the colouring rainbow tints used for the dresses of the ballet and the grotesque bat-like garments of the judges giving variety and tone to the whdle. Mr Howard Vernon "'King Paramount the First" filled his role well. Aa the monarch whose life was iir the gift of others, he showed that servile debaseness which the position demanded. .As the savage who had just adopted western manners and clothing he pourtrayed the sufferings entailed. His manner evidenced the ease and precision of the professional and his humourous songs and clever dancing were frequently noted. Miss Olive Godwin as- Princess Zara jras an unqualified success. Her opening solo showed the purity and sweetness of her soprano voice, and the numerous duets with Mr Walter White, Captain Fitzbattleaxe, illustrated its blending powers; of these " Sweet and Low" was perhaps the best, the expression and sympathy between the singers resulting in a splendid production. In her solo " Words of Love to Love be Spoken," the delicacy of her shading and the clearing of her trills Were strongly exhibited. One of the three principal roles, that of Lady Sophy, the English Gonvernante, was in the hands of the favourite Miss Celia Ghiloni, whise conception of the strict duenna and boardiilg school mistress combined, could not be much improved. Her. fine voice seemed even better than when last heard here, her solo preceding her reconcilement with the King evidencing the increasing strength and sureness of her . vocalisation. Mr Walter White has a strong tenor voice of good iimbre. He sings with judgment and taste, and his conception of the part of the dashing captain, to whom a royal throne could not prove an insurmountable obstacle to his love, was vigorous and lifelike. Mr Arthur Crane and Mr H. H. Wallace, as two judges, formed the comical element in the bill. Their make-up as decrepits of sixty or so, was contrasted with the bright and outre garments worn, and their pretentions at passion, the accumulated love of sixty years, combined with their c.ever foot work and can?hv singing, secured them a place in popular estimation. Miss Aggie Thorn and Miss Vinia de Loitte, as the younger sisters of the Princess, had a call made on them lor a strong display of the powers of coquetry, combined with childish simplicity, to which they readily responded. In their solos and duets they displayed a good range of voice and excellent training, the clearness of the high .register of both voices' being marked in the solos incidental to a stolen interview with their lovers in the second act. As Lord DramaJeigh,' Mr Walter White was at his best, taking on the man- ; ner of the old world diplomatist with a be- ! coming dignity and decorum. His singing of-"There is no Such Flower, no Such Heart," was exceptionally well done. - Mr. J- E. Courtenay," as a naval .got. in a good solo when beirur introduced to his Majesty. Mr Frank Wilson,-as the company promoter, had about him all the hustle, and irresistible and convincing traits of the successful speculator/ Mr Ernest Fitte, as ; Tarara (the" Public Exploder), supplied some of the burlesque and acquitted himself well. Mr O'Rourke, as Sir Bailey Barre, Q.C., M.P., and Mr Buchanan, as a County Councillor, and Mr Whitefield. as the Vice-Chamberlain, together with the Misses Vera Buttel, Ruby Armfield, and L. Farey, also ably filled their respective places. The whole production went without a hitch, and another crowded house should greet to-night "Princess Ida," another work bv the same composers. i