THEATRE ROYAL.

Timaru Herald, Volume CXXXVI, Issue 19141, 24 March 1932, Page 5

THEATRE ROYAL.

‘ THE GONDOLIERS.’ GILBERT AND SULLIVAN OPERA. WELCOME REVIVAL •'The Gondoliers." one of the most tuneful and one of the most picturesque I of the Gilbert and Sullivan operas was 1 presented to a large house in the ; Theatre Royal -last night by J. C. Wil- j liamson’s opera company which was ! quite up to the standard of previous I companies under the same aegis, who J have delighted theatregoers with other productions featuring Sullivan's music j and Gilbert’s wit. The revival of this | popular comedy was welcomed by those j who were present last night, for it is a | long time since an opportunity has \ been afforded the public of witnessing [ a J. C. Williamson production, and longer still since one of the immortal | productions of these inimitable colla- j borateurs has been staged in Tixnaru. The company which made its appear- , ance last night was an exceptionally strong and talented one. Good as | principals might be in productions of j this nature, much of the effect can be nullified if any weakness is apparent in the chorus, but there was no such weakness apparent last night, for the chorus was especially good. The opening chorus “List and Learn." immediately set a high standard, and the chorus moved from success to success until they reached their zenith in the famous “Cachuca” chorus, the applause following which was hearty and prolonged. Most of the principals were j new to those present last night, but all created a most favourable impression. The story has the characteristic Gilbertian flavour and piquance. Two gondoliers are informed on their wedding day that one of them is the miss- I ing heir to the Throne of Barataria, I but which of the two is a mystery. The identity of the real Royal babe was confused in infancy, with the son of “a highly respectable gondolier,“ so it is decided that both shall reign as king until the puzzle has been solved. The situation is complicated by the fact that the real king was married when six months old, to the daughter of the Duke of Plaza Toro, and hence is an “unintentional bigamist.” Matters are straightened out after various i mirthful incidents by the discovery that I the Duke’s own private drummer is the | real king, and as that humble individ- , ual and the ducal offspring are already | secretly in love with each other, all ends happily. One of the outstanding performances of the evening was that of Mr Ivan | Menzies, who appeared as the Duke i of Plaza Toro. He brought to the ] role considerable ability as a singer, j dancer and actor, and he introduced i quite a number of extras. His in- ' terpretation was a studied one and his ‘ claim to a position in the front rank of modern comedians was fully sus- | tained. In solo, chorus, and elocu- i tionary work he made the old grandee lovable and altogether charming. Miss Evelyn Gardiner, in the role j of the Duchess of Plaza Toro, gave a j distinctive performance. A fine vibrant 1 contralto and a commanding presence }. gave her the air with which Gilbert j delighted to invest these different £ characters. Miss Maisie Ramsay’s Cassilda was j a satisfying study. She has a very £ fine voice, and in other roles where ( ! she has greater scope for extending her j histrionic talent may be expected to c surprise her audience. The Gianetta 1 of Miss Marie Bremner, and the Tessa £ of Miss Mary Hotham, introduced two c alert and engaging artists, thoroughly c imbued with the comic opera sense. , c As Marco, Mr Les Darn ton dis- I played the right Gilbertian touch, and j his singing was a delight to all. His J most popular number was "Take a j Pair of Sparkling Eyes.” Mr Gregory ; Stroud (baritone) proved himself to j be a polished actor, and the possessor j of an attractive voice. He won much j favour with his singing of “RisingEarly in the Morning.” Years of experience stood Mr John Ralston in good stead, and he made a fine study in the role of the Grand Inquisitor. His reading of the part was that of a dignified, pompous, and somewhat paternal autocrat. t Scenery and frocking were true to < tradition, and the staging of the piece i reflected the greatest credit on Miss Minnie Everett. Gustav Slapoffski ( conducted a brilliant orchestra. ]