“WALTZES FROM VIENNA”

Timaru Herald, Volume CXXXVIII, Issue 19941, 27 October 1934, Page 2

“WALTZES FROM VIENNA”

MELODY AND SPECTACLE

Those who were privileged to witness the production in Timaru of “The Dubarry” by the J. C. Williamson Company were rpore than pleased when it was announced that a return visit by the brilliant and talented players would be made. Even more pleasing was the fact that for the return season “Waltzes from Vienna” was to be played, for everywhere it had been presented in the Dominion, it had been proclaimed as being the better of the two plays. Last night’s production contrasted sharply with “The Dubarry ’ in many ways, yet on the whole it was equally pleasing, introducing as it did the lovely music of Johann Strauss, and well staged and lavishly mounted. “Waltzes from Vienna” won universal favour, and the players were accorded a well-merited ovation at the final curtain. The play told the story of Johann Strauss, the younger, struggling to shape for himself a musical career in face of the opposition of his famous father; of his love for the pretty daughter of a pastrycook; and of a woman’s wiles, which helped him to success. It was all delightfully simple in theme,but the genuine Strauss melodies were there against a background of rustling silks and brilliant uniforms.

The comedy throughout was much superior to that of “The Dubarry,” while the ballet work again reached an exceptionally high standard. Some of the scenes were striking to a degree, of outstanding impressiveness being the opening of the second act. The stage was set with hanging arches of green velvet against a background of dark blue. Lanterns above each arch shed a warm red light, and on a pedestal three girls formed a living group of statuary. This was the setting for a ballet, the prettiness of which would be exceedingly hard to equal. There were many other brilliant scenes, in which the frocking of the company played an all important part. Not the least spectacular scene was that at the close of the story, when the orchestra appeared in striking uniforms of white and gold, to allow the younger Strauss to win recognition with his imperishable “Blue Danube.” The stage was converted to represent a theatre, the members of the company, who formed the audience, walking through the body of the theatre and mounting to the stage by way of steps erected over the orchestral well. It was a realistic scene, and cleverly enacted. The three principals of the piece are Miss Sylvia Welling, Miss Jean Duncan and Mr John Dudley. Last night the bulk of the work fell on Miss Duncan, and she acquitted herself well. Most of the solos fell to her lot, and she won favour with her soprano voice. While not desiring to detract from the merit of Miss Duncan’s performance, it may be said that the audience would have liked to have seen and heard more of Miss Welling. Compared with “The Dubarry,” she had a comparatively light task last night. However, she invested the part of the Countess with dignity and charm, and her singing was again a delight. Mr Dudley got through a heavy night with distinct credit, while Mr Clifford Cowley as the rejected suitor, revealed himself as the possessor of a fine baritone voice. Mr Lou Vernon, as the older Strauss, is also deserving of mention, as he gave a fine characterisation. The comedy was in the capable hands of Mr Cecil Kellaway, Mr Leslie Donaghey and Mr Leslie Holland. The solo dances by Miss Ivy Kirby fully deserved the enthusiasm with which they were greeted, while the work of the orchestra put the finishing touches to a most enjoyable performance.