"Nell Gwynne."

Thames Star, Volume XXIX, Issue 8617, 23 March 1897, Page 2

"Nell Gwynne."

Mr Tom Pollard's new repertoire 1 contains—in " Boccaccio " and "Nell Gwynne " —two operatic works whose central figures (novelist and actress) are I moulded from living types in history. Literature and tho stage afford | wide fields for the character painter, and in selecting two picturesque personalities like Boccaccio and Nell Gwynne, the librettists have found subjects of lofty genius. Of course it is scarcely possible to expect much plot or literary excellence in the libretto of a comic opera, and the writer can. hardly be blamed if he fails through obvious restrictions to rise to the high level of his theme. Still, many were in hopes that " Nell Gwynne," which occupied the boards last evening, would prove an exception, and on the whole they were not altogether disappointed, the work being fairly in keeping with historical associations. But the dressing, which, in depicting the peculiarities of any particular age, should be an invaluable ally to tho librettist, was rather incongruous, and as for attempting to pourtray the fashions and manners of Charles 11., its result was practically nil. The fact of the matter is that the composer's work stands out so prominently as to dwarf everything else. Planquette, as usual, introduces a good proportion of highly tuneful and more or less relevant numbers, and it was the rendition of these which proved the chief feature of the opera. The plot opens at the Dragon Inn, where the Duke of Buckingham and the Earl of Rochester are masquerading as waiters, being in temporary disgrace with their royal master, the immoral and unkingly Charles. The latter by the way, is impersonated by Miss Nellie Wilson, whose heroic bearing scarcely seems suited to the man who ejected Blake's remains from Westminster Abbey and sold Dunkirk to the French. But this is another of the incongruities, which are amply compensated for by the vigorous acting of tho principals. The chief comic parts are allotted to Mr W. S. Percy (the Beadle) and Mr E. Nable (Weasel, the Pawnbroker). The former has a special talent for the correct assumption of ludicrous dignity, and consequently the Beadle and kindred roles generally fall to his lot, but last evening the vein of low comedy in Mr Percy's work was more pronounced than usual. Mr Nable was quite at home as " Weasel," and ably backed up tbe "Beadle's" efforts. In the roles of Buckingham and Rochester, Misses Maud Beatty and Maud Hewson acted splendidly, and their singing was beyond re- • proach. Their duet in the first act— •'The British Waiter"^-was well rendered, and their individual efforts wore equally good, Miss Hewson being encored in the last act for her rondi- | tion of "Love's Gone a' Maying." Miss Marion Mitchell, in tho title role, amply used her opportunities, her most conspicuous successes being 'Only an Orange Girl" and the solo and dance in the third act. Miss Emily Metcalfe was successful in the part of " Jessamine " and tho same may be said of Miss Lily Stephens as " Lady Clare." Miss Metcalf c's voice was heard to great advantage in the " lic-Tac" solo, and also in other items, notably the drinking quartette in the "rat castle." Missßosie Stevens —who is, we believe, a new member of thecouipauy—made avery favorable impression as "Falcon," and was deservedly encored after einging from the pillory " To Thee My Bright Star." Miss May Beatty ("Marjorie") did the rowdy element very well, and a word of praise is also due to the manner in which Miss Lily Everett, as " Peregrine," made the best of a small part. This evening "Rip Van Winkle "will be staged.