THE LORGENTTE

Observer, Volume XXIII, Issue 4, 11 October 1902, Page 5

THE LORGENTTE

BY PENDENNIB.

Opera House Bookings. October 6 to 18— George Musgrove's Comic Opera Company. October 14— Atom Club (" Our Boys"). October 18th to December 4th. — Pollard's Opera Company. / December 17th to 20th— Auckland Dramatic Society (" The Guvnor"). December 26th to January 21st— Geach and Willoughby Company. December 26th to January 25, 1004 — Pollard Opera Company. HIS MAJESTY'S THEATRE. December 28, 1902, to January 21, 1903— J. C. Williamson. January 27 to February 14, 1903— Frank Thornton Comedy Company. OTHER SHOWS. Dixs Gaiety Co.— City Hall (permanent).

PUBLIC expectation ran high con cerning the alterations and im

provements in Abbott's Opera House, but when the large audience was seated on Monday evening, it was evident that these expectations had been more than realised. Such a brilliant theatrical scene had never before been witnessed in Auckland, for the reason that until now we have never had a modernised and up-to-date theatre. The transformation of the interior was and the auditorium, witlr^ its comfortable

arrangement of stalls, dress circle^ and family circle, ascending . one above the other, and its elaborate gilt ornamentation on a dazzling white ground, furnished a spectacle at once attractive to the eye and pleasing to the senses. Unquestionably, the Opera House is a charming and cozy theatre now, and if these improvements had been made a couple of years ago, no second theatre would have been contemplated. At the same time, there are drawbacks. Speaking from experience of a rear row in the dress circle, the acoustic properties of that part of the house have not been improved, while there is on one side of the house a forty-horse power draught that needs only to be felt to be appreciated.

The occasion was made eventful not only by the opening of the improved Opera House, but also by the first production in Auckland by the Musgrove Comic Opera Company of "The Chinese Honeymoon." But while the theatre was a thing of pleasure, and the theme of general admiration, the performance was distinctly disappointing. Indeed, it was wearisome. By no stretch of the imagination can " The Chinese Honeymoon " be called a comic opera. It is a cross between a dull burlesque and a weak pantomime, with the clown of the latter in a frock coat and the columbine in Chinese costume. Of music, there is very little, and much of that little does not rise above the standard of jangling music-hall songs. Indeed, in the first part, the only encore was for a medley of familiar nursery rhymes, such as "Old Mother Hubbard ><! and " Little Jack Homer," set to a catchy but equally familiar and by no means original air.

One does not look for much trif & plot in comic opera, and yet when w<i compare thia effort of George Dance's with the diverting" and whimaidal stones'?) which Gilbert was wont to weave into sparkling verse; scintillating with humour, the contrast is greater than that between the tallow tip and the incandescent light. The dialogue is heavy, and as prosy as the talkee-talkee at a young men's debat* ing society, while, like the brook, it occasionally seems to go on babbling for ever, punctuated freely by the yawns of a tolerant audience. And yet some people laughed immoderately —probably not because there was anything to laugh at so much as because they had paid their money and were inspired by a determination to get the worth of that money in laughter at all hazards. Pineapple is the male comedian, and Pineapple's most effective joke was: "You are caught like a trap in a rat." This created a general laugh, which increased to a roar when he scored the further witty point : " I will go your way way, and you may go mine." Of such, is the keenerhumour of "The Chinese Honeymoon." J

The piece owes much to the delightful colouring, the gorgeous costuming, and the effective staging so characteristic of all the Musgrove productions. This one is no exception to the rule It is charmingly and most artistically staged. But it owes most of all to the inimitable low comedy work of Miss May Beatty, whose Fi-Fi was a revelation, and whose talent saved the production from dismal failure. She was the whole team, and a pair of boots and a gem hat thrown in. She created humour where there was absolutely none, investing the prosiest scenes with the broad fun of screaming farce, and scoring strongly on the sympathies of a jaded audience with her clever rendering of several character songs. "I Want to be a Lydy," for example, was immense.

Bearing in mind the lesser esteem in which the Pollards are held by theatregoers, it wassignificant that a Musgrove, production should have been saved from failure by a Pollard artiste. But having drawn upon Pollards for Miss Beatty, the management might have gone further, and pressed W. fc>, Percy also into their service. As a low comedian, Percy is decidedly ahead of Lauri, and the performance, would have gained much in point of fun if Miss Beatty had had the advantage of his support. Mr Lauri laboured under the handicap of an uncongenial role which furnished him with little humour in his lines, and required him to supply a great deal in stage-play. The task was too much for him.

Miss Josephine Stanton dressed her part well, and sang nicely the little music that fell to her lot, but her style is rather heavy for the soubrette. Mr J. C. Piddock, as Tom Hatherton, has little to do, beyond making entrances and exits in a summer costume and a Panama hat, but he sings one tuneful song in most artistic style, enabling him to show that he has an agreeable baritone voice, which he can use very effectively. Mr Hallam made up well as the Chinese Emperor, and sang his music fairly well. Of the other oharae^ ters, little need be said. The work of the chorus was none too good, the effect being rather shrill, but the chorus was nevertheless strong in numbers, and, so far as the fair sex were concerned, in personal charms also.

Taken as a whole, " The Chinese Honeymoon" cannot be considered an artistic success, and it is certainly well for the management that the record booking was accomplished before the opening performance. From a musical point of view, it will not compare with an average high-class local concert, while the humour does not pan out a square foot to the solid acre of dialogue. However, the brilliant setting still remains. Thereare pretty faces, charming costumes, beautiful lights, and these seem to be the chief esentials to the success of more modern comic opera. " The Chinese Honeymoon " will be produced, nightly.

Old friends and new faces have provided plenty of amusement at Dixs during the week. The Harvey Boys have appeared in a new act, entitled "The London Messenger Boy," in which the youngest brother takes a prominent part and scores a great success. The singing and dancing of the Sisters Smith continue to give the utmost delight, and Mr Bentley's items are fresh and vigorous. The older members of the company are still "going strong." Miss Alice Layton's illustrated songs, Miss Olive Lenton's ditties, and the specialties of Miss G wynne, Messrs Dean, Riven hall, and Howard draw forth the heartiest applause. The attendance at the City Hall has been extremely good, and it is evident that the management is in sympathy with public taste.

The Pollards did excellent business at New Plymouth, Wanganui, Palmerston and Masterton, "The Messenger Boy " proving a strong source of attraction. They play Napier and Gisborne and then come on to Auckland, opening at the Opera House with "The Messenger Boy" on the 18th October.

Sandow is proving a magnificent draw for Rickards at Melbourne Opera House. His show is distinctly novel. • • •

The Greenwood Family, which has been playing with varying success and vacillating returns throughout Australia, are trekking for the cool India season. They say that someone has discovered latent talent in the beauteous Maribel of that ilk.

" The Messenger Boy," which is proving such a bigsuccess right through New Zealand, has not been staged in Australia yet. It contains no less than IS distinct characters. Messrs Percy, Quealy, and Misses Alice Edgar, Gertie Campion and Connie Buttel have most to do.

John Fuller is now to Tasmania what Percy Dix is to New Zealand, and Harry Rickards to continental Australia. In fact, Tasmania is " Fuller's earth."

Mr Pollard is said to have secured several new attractions for New Zealand, but have not been made known yet.

Lizzie Kirk and Frank Leon left Wellington last week for Sydney, where they joined the Ophir en route for England. This clever pair of artistes are booked up to 1904, when they return to New Zealand for a season under the management of Mr P. R. Dix.

Mr Bland Holt's next and final Sydney production will be an Australian drama, entitled "The Drought." The actor-manager is, says the NcivsIcttcr, busy at present training crows, who fly down on the carcases of the animals that have died through the effects of the drought.

The Arbitration Court has decided in Mr Williamson's favour with reference to the payment of the musicians in his orchestra, to whom he gives a contract for 48 weeks out of the 52 in the twelve months. In his evidence, Mr Williamson stated that he raised his orchestra's salaries from £2 10s to £3 unasked for, some nine months ago, for seven performances (including one matinee), and was prepared to pay them for extra matinees. But this did not satisfy the Professional Association of Musicians, who have formed a Union. Mr Williamson also stated that when he was burned out at Her Majesty's not one of his musicians wrote him a letter of sympathy, or in any way expressed regret, neither did their Union ; but on the other hand he called his company together and handed every member a week's salary, although plague and fire smother all contracts.