HADDON HALL.

Star (Christchurch), Issue 7427, 23 November 1892, Page 4

HADDON HALL.

o fFBOM OUR LONDON CORRESPONDENT."] London, Oct. 1. It would be no easy matter to pull to pieces the new light opera, Haddon, Sail, which was produced at the Savoy Theatre on Saturday evening, for even the moßt captions critic must admit the "happiness" of the combined effort of Sir Arthur Sullivan and Mr Sydney Grundy. Rumour had been busy with the piece before its production, but the secret of the Opera House had been well kept, and at the fall of the curtain on Saturday night the prophets of the Press, one and all, were proven false. The change in style from former operas on the same stage waa by no means so pronounced as we were led to expect. We were told Eaddon Hall would be reminiscent of Ivarihoe as to music, and that the love theme on which the opera was founded would be treated seriously by the librettist. But Mr Grundy, whilst wisely refraining from treading in the footsteps of the cantankerous " topsy-turveydom " lyricist, Mr W. S. Gilbert,. has oarefully kept the comio element in predominance and Sir Arthur Sullivan's music is essentially in touch with his collaborator's verses. There are pathetic and serious touches in the work worthy of the authors, but, as was demonstrated on Saturday, the audience 3 will appreciate much more the farcical situations of the piece and the topical songs than the purely romantic love passages. The plot, which hinges on the elopement of Dorothy Vernon and John Manners from Haddon Hall, iB slight and has already been used in a five-act drama by Mr Boulding. The period, however, is changed from the Elizabethan to the declining days of the Protectorate. Dorothy Vernon, beloved daughter of Sir George and Lady Vernon, is betrothed by her father to her cousin, an obese Boundhead by name Rupert Vernon, a claimant for the knight's estates. Dorothy, of course, hates Rupert,- but loves John Manners, the Duke of Rutland's younger son, with whom she elopeß in act two. Rupert substantiates his claim to the knight's estates, but with the end of the Protectorate they revert again to Sir George Vernon "in King Charles' name," the bearer of this pleasing intelligence being John Manners, the husband of the disobedient daughter, Dorothy. Forgiveness. Curtain. There is no formal overture to the opera. After the orchestra has indulged in a sort of brief preliminary canter, the theatre is suddenly darkened whilst a choral prologue beginning "Ye Stately Homes of England," is sung behind the scenes. Light is restored ere the curtain rises upon " The Terrace of Haddon Hall," painted by W. Telbin. Peasants, in tho costume of the period, are dancing beneath a spreading tree in honour of the betrothal of Dorothy Vernon (Miss Lucille Hill) to her Roundhead conein, Rupert Vernon (Rutland Barrington). This matrimonial arrangement ia not agreeable to either Dorothy or her confidant, Dorcaa (Miss Dolly Vane), the latter of whom heeitates not to proclaim her convictions in a bright canticle respecting " a dear little doormouse " resisting parental command to wed " a stupid old snail" with " a house on his back," and ultimately selecting her complement in a gallant young Bquire. Barely has Dorcas fiuished her rebellion-inspiring ditty than Sir George (Mr Richard Green) and Lady Vernon (Miss Rosina Brandram) isßue forth with Dorothy, and their appearance is welcomed by a joyous chorus, leading into a madrigal, beginning " When the budding blooms of May "—one of the best examples of neat construction in the opera — • which roused the first encore. Sir George explains to his daughter why Bhe should marry Rupert, and the results are a trio for the girl and her parentß, and a sympathetic duet between mother and daughter. Neither of these pretty morsels attracted much attention on Saturday evening. The exit cf the Vernons is the signal for the entrance of Oswald (Mr C. Eenningham), an emissary of Dorothy's lover, John Manners, who is disguised as a pedlar, and bears a letter for Miss Vernon. Oswald has a Rong — " Come, Simples and Gentles" — containing Borne humorouß lines concerning modern trade and some happy musical suggestions. Thus, in the following verße : — •• Now isn't that bpautiful ? Isn' t that nice ? When I tell you ihe ar tide's German, You'll know it could only ba sold at the price. Thro' agraud international firman. A still greater bargain 1 a a article French. When I aiy it's or Preuoh manu'acturo, I mean that if worn by a beautiful weach, A heart it is certain to fraoiue. Bntbete is tha prize— only tuppence— pare gold. When I mention tha article's 1 anise, Well, nobody then will require to be toid 'J hat there can't bo the leajt hankypauky ! The allusions to Germany introduce the National Anthem of tbe Fatherland; to France, the " Marseillaise j" and to America, " Yankee Doodle." This song, redolent as it is of Saroy operas of the past, took with the audience immensely, though the critics muttered " Gilbert and water." Meanwhile, Manners arrives on the scene, but before Oswald departs. he shares with Dorothy and Dorcas an engaging trio, beginning " Oh, Tell Me What is a Maid to Say ? " Manners now indulges in a sentimental tenor song, but this may be passed over, albeit it will have a vogue with drawingroom musicians. The love duet with Dorothy, which follows, " Sweetly the Morn Doth Break " (the weather, it may be remarked, is the .favourite topic of the characters throughout the piece), is pretty, and that is all. Up to this point Sir Arthur Sullivan's music seems to bear the imprint of Irs ill-health. A Bharp con-

traat to the life, light and colour hitherto prevailing cornea with the advent of a Puritanical crowd, who, grim and sour of face, chant in unison the disapproval of the pleasures of life. Cousin Rupert, whose Puritanism is really much leavened, gives an exposition of the achievements of his sect as per specimen :— Rupert: It must be admitted that we have made ourselves fairly obnoxious of late. We have been particularly Imsy, and our business has chiefly consisted in interfering with everybody ehe'a. First and foremost we have abolished the play house. Puritans : Grace be praised. Eupert: Secondly, we have forbidden dance music in all places of public reßort. Killjoy Candlemas: We have robbed the devil of his best tunes. Eupert : But to give that ingenious gentleman his due he has to some extent circumvented us : for by the simple expedient of playing the Old Hundredth in double-quick time he has succeeded in evolving from that venerable air something suspiciously resambling the carnal and pernicious polka (Puritans groan). Thirdly, to the end that none ahall profane the Sabbath by enjoying it, or shall imperil his soul by, improving his mind, we have shut all museums, parks and picture galleries, and turned the day of rest into a night of rust. Puritans : Grace be praised .' Eupert : Fourthly, having deprived tho populace of all mean.3 of innocent recreation, we have compelled them to seek Bolace in the consumption of strong drink. And so on ; all of which is sly hitting at the rigid. Sabbatarians who have recently made themselves unpleasantly conspicuous, and the Macdougall party in the County Council. The discussion is followed by a ditty, "I Have Heard It Said," by Rupert, and thiß character has also a mock sentimental song, " When I Was But A Little Lad." The finale of the act comes with Dorothy's plea to her father that he will not insist on her marriage with Rupert, and Sir George's repeated enunciation of the fact that his " will is law." Act 11. introduces us to a pretty moonlight scene, embracing a portion of- the hall known as " Dorothy Vernon's door." The Puritan party are sheltering beneath the bushes from the rain, whilst fro_ within the building come sounds of revelry and mirth. The outsiders are presently re-in-forced by a newcomer, The M'Crankie, a visitor from the Isle of Rum. This queer personage has no connection whatever with the story, but, in the hands of Mr W. H. Denny, the M'Crankie becomes an important character. He appears in Highland garb, playing the bagpipeß, and describes himself in song, to which the composer Las added a reel accompaniment : — My namo it is M'Crankie, I am lean, an' tang, an' lankie; I'm a Moody an' a Sankey Wouud upo* a fccottmh reel ! Pedantic an' puncteelioim Severe an* superceeliouß, PreCeasa an' atra-beelioua, fiut zneanin' vera wtel. I don't objeo tae whiskey, But 1 say a' songs are rißky, An' I think a' dances frisky, An' I've pit the fuitlichts oot t I am the maiat dogmatical. Three-cornered, autocratical, Funereal, fanatical, O' a' the cranks aboot. Two other songs that are sure to catch on in this scene are a duet for Rupert and the M'Crankie, " There's no one by — no prying eye," and a lively trio for the same couple with Dorcas, Then comes, during a thunder storm, the elopement of the lovers, in which Dorcaß and Oswald assist. The storm, as depicted in the music, lasts only long enough for the change of scene required. As the entire stage is wanted for this purpose, a gauze is let down, on which the lightning plays. It lifts on a magnificent spectacle— the ballroom of Haddon Hall. The bright lights, the splendid habiliments of the guests engaged in dancing, and the general air of animation prevailing, making up a wonderful picture. Sir George's health being drunk, he responds in a stirring-, national ditty, "In Dayß of Old," which will become popular in the opera and will often be heard outside. Then comes the discovery of Dorothy's elopement with Manners, and a brisk finale ensues, Sir George parting from his guests in haste to pursue the runaways. The act does not end with this, however, for the guests quit the ballroom, the lights are extinguished, and the curtain, falls upon a deserted scene. The sudden quietude and semi-darkness, the hall flow being seen at early dawn, is exceedingly effective. The third act appears from the book to be short, but on Saturday it was greatly prolonged, and is likely to be bo at each representation by double encores for two of its musical numbers. Both Sir Arthur Sullivan and Mr Grundy seem to have reserved themselves for the concluding act of their joint work, and the result is very pleasing. Rupert Veinon has substantiated his claim to Sir George's property, and is now Master of Haddon, the old knight and his lady being under notice to quit. In a broad ante-room Sir George and Lady Vernon are surrounded by grim Puritanß and demure girls. Then Mr Grundy reverts to the pathetic. Lady Yernon sings a "Rose Ballad," symbolical of regret, the music of which is in Sir Arthur's most elegant vein, as is also the following duet tor husband and wife, " Alone, Alone !" " From the serious point of view," says the " Chronicle," ." this j is the gem of the opera, and all ita exquisite tenderness is brought out by the able Binging of Mies Rosina Brand and' Mr Richard Green." The conclusion ia now at hand. Rupert and Dorcas indulge .in a duet, supported by the chorus, and a little later comes a "Tra-la-la" chorus, which so infects the Puritans that they plunge into reckless merriment. The fun is accentuated by the advent of the M'Crankie, who, habited in plaid "breeks" instead of kilts, dances a mad Highland fling, supported by the chorus. As the wild dance ends Manners and a party of soldiers come upon the scene and Sir George is re-installed Lord of Haddon in Zing Charles' name. Dorothy is then produced, and naturally is pardoned for her disobedience. On Saturday evening the piece went from beginning to end with scarce a hitch. The artists filled their various roles with credit to themselves and to Mr D'Oyley Carte, whilst band and choru3 were beyond reproach. The staging of the opera reflects great credit on Mr Charles Harris.