“PATIENCE.”

Star (Christchurch), Volume XLIV, Issue 379, 22 March 1932, Page 3

“PATIENCE.”

Dragoons and Love-lorn Maidens. A DELIGHTFUL OPERA. It Is hard to realise to-day when art, itq less than every-day life, is ruled by realism, that fifty years ago there flourished a cult of aestheticism—insipid and altogether absurd. The vapourings of vapid emotionalism were treasured as the height of wisdom and the prophet of the cult was to be found in a Quaint pose, apostrophising thte daisy or even cherishing a passion for the' “ bashful young potato.” It was grist to Gilbert’s mill, and the result of his attack on this extraordinary aspect of pseudo art was ” Patience,” which was produced by the J. C._ Williamson Company last evening. There is no better vehicle of Gilbert’s satiric powers than this opera, which deserves to be much better known and Sullivans music—beautiful as it undoubtly is—drives home the ironic thrusts of Gilbert’s witty work. The pastoral settings of the opera were effective, and the classic costumes of the love-lorn damsels helped to form a pretty picture. “ Twenty Love Sick Maidens We,” a dolorous chorus, plaintively sung, was followed by a most startling contrast in the booming of the male chorus as Heavy Dragoons in “ The Soldiers of Our Queen.” Tire contrast is exploited through the opera with cunning skill, and the bombast of military bearing and martial songs offsets admirably the insipidity that would result from too generous an offering of the love-sick maiden lyrics. Ivan Menzies headed the cast with his usual ability. His claim to the approval of the audience was early established, and his comedy work was of a high order. In his early numbers, notably “Am I Alone and Unobserved,” he was restrained and his clear enunciation brought home the brilliance of the words to those in the remotest parts of the theatre. Mr Menzies is much at home in his parts and quite obviously enjoys playing them, but over-confidence occasionally leads him, into the error of over-acting. Pretending to swim in the painted stream on a sylvan backcloth scene may be good vaudeville, but it is not Gilbert. Mr Menztes was happiest in concerted numbers. “So Go to Him and Say to Him,” with Evelyn Gardiner, was the most vociferously encored of the musical numbers. Miss Gardiner has been a . tower of strength throughout the whole season, and, as Lady Jane, she again proved her sterling worth. “ Sad is That Woman's Lot ” was splendidly sung, and the audience was allowed to share to the full in its delightful humour for Miss Gardiner is also possessed of the invaluable gift of flawless enunciation. Gregory, Stroud gave one of his best performances. His fine tenor was heard to adyantage in “ Prithee, Pretty Maiden,” with Marie BremneV, and “ When I Go Out of Door,” the delightful duet with Bunthorive. Marie Brcrnner’s bright and attractive personality was splendidly suited to her part' of Patience. Miss Bremner plays dainty parts to perfection, and her sweet voice was a splendid medium for the soprano

numbers, “ Love is a Plaintive Song ” being particularly popular. Bernard Manning, Leo Barnton and Phil Smith contributed largely to tire success of the opera as a trio of dragoons. Bernard Manning was at his best in “If You Want a Receipt ...” and “ When First I Put This Uniform On.” The songs were sung with admirable spirit, and the power of the male chorus gave to both numbers ample martial fire. “ It’s Clear That Medieval Al t ” was a trio which gave all three dragoons splendid opportunities, of which they fully availed themselves. Mary Hotham, Grace Grotty and Dawn Harding were pleasing leaders of the band of maidens. Th-e chorus of rapturous maidens was one of the strongest features of the presentation, being well balanced and true in expression. The opera owed much to Gustav Slapokski's command of his orchesti'a. •* Patience,” in short, ranks high in the presentations of the season, and that is warm praise indeed. “ GONDOLIERS ” TO-NIGHT. This evening, at eight o’clock, the J. C. Williamson, Ltd., Gilbert and Sullivan Company will make its final appearance in Christchurch, and for this memorable occasion will be staged a brilliant revival of the exhilarating and picturesque comic opera, “ The Gondoliers,” in which the present company achieved its best success here. The season has proved a financial and an artistic triumph, and it is a pity that the company cannot play a return season before it goes to Australia. This will be impossible, however, as already arrangements are being made for seasons in some of the Australian States, so that this evening the company will make its last appearance here. No better or more artistic comedian than Ivan Menzies has previously entertained local audiences. He has a perfect genius for creating genuine laughter, and when the character he portrays calls for something different, he is enabled to display the fact, as he did in the role of Jack Point in “ The Yeomen,” that he is an artist through and through. Mr Menzies made his first appearance here as the Duke of Plaza Toro, and in it he will make his final appearance also. “ Take a-»Pair of Sparkling Eyes” has never been sung here with better expression than it is by Mr Leo Darnton, and those -who have already heard him sing this number will most likely wish to enjoy it again. Gregory Stroud’s splendid baritone voice is heard at its best in the music allotted to his part, particularly in the number “ Rising Early in the Morning.” John Ralston’s interpretation of the role of the Grand Inquisitor is one of his best characterisations, and Bernard Manning is fine as Luiz. Those two very dainty artists, Miss Marie Bremner and Miss Mary Hotham, sing and act delightfully as the brides of the two gondoliers, and the very distinguished contralto, Miss Evelyn Gardiner, makes the character of the Duchess of Plaza Toro one of the finest in “ The Gondoliers.” Miss Maisie Ramsay has a voice of exceptional range and sweetness, and it will be heard for the last time here in the music allotted to the part of Casilda. The chorus w r ork, which* has been an outstanding feature of each of the productions, has been one of the factors which has made “ The Gondoliers ” the most successful opera in the company’s repertoire.