“THE MERRY WIDOW.”

Wairarapa Age, 15 March 1934, Page 2

“THE MERRY WIDOW.”

J. C. WILLIAMSON’S OPERA

COMPANY.

The recent revival of “The MerryWidow’’ in Wellington by the J. C. Williamson Ltd. New Comic Opera Company, which is to make its re-ap-pearance here in Franz Lehar’s famous Opera at the Regent Theatre on Tuesday night next, created a furore of enthusiasm and the following was written of it by the critic of the “Evening Post”:—.“The Merry Widow.” How well she wears! Did this express the thought passing through the minds of middle-aged playgoers when they renewed acquaintances with the lady at the Gyand Opera House on Saturday night? Whether it did or not, the fact remains that the revival of this bright, jolly, and tuneful musical comedy, now nearly thirty years old dated from its first performance in London, was received with all the enthusiasm and delight of a novelty. But when was it first seen in New Zealand? In what now appears as a theatrical era, long past, and yet not without lustre and glory. Youth was ever impatient with middle-age (and often with good reason), but if “The Merry Widow” on Saturday attracted and eharmed large numbers of her former admirers of both sexes, it was equally apparent in the crowded Opera House that young people were no less cordial in their reception of the play and its delightful music. From the point of view of production or box office “The Merry Widow” on Saturday was an emphatic and significant success. It caught and held the public interest even if the performance was prolonged by frequent encores and much play with the curtain. Everything on the stage ran as if on ballbearings, well-lubricated. There was never a dull moment in the performance from start to finish. The temper of the packed theatre was remarkable for its quick and happy reactions on the company. As for the music, it offered a sharp and unmistakably welcome contrast to modern cacophonies—to say nothing of ‘ ‘ croonings ’ ’ —which happily resemble the measles in that they are transient, not usually fatal, and everybody, it seems, has to have them. Franz LeEar’s light-hearted music in “The Merry Widow” is just as “catching” as the measles, but it has no disagreeable sequelae. Its infection was obvious on Saturday night. The part of Sonia, the merry and wealthy widow was brilliantly taken by Miss Romola Hansen, who fully justified her great reception. She is not only a thoroughly capable, intelligent, and artistic actress, singer and dancer, but she is also endowed with good looks, a graceful figure, and a voice of great natural beauty used with consumate art and telling effects upon her audience. Eric Bush as Prince Damilo, Herbert Browne as de Jolidon, Phil Smith as Popoff, Don Nicol as Nische, Lois Green as Frou Frou, Stella Collier as Natalie, Charles Albert as Novikovieh, Oliver Peacock as Caseada and Leah Miller as Fi Fi, are all excellent in these roles, and the work of the operatic chorus and orchestra is a feature of the production, as also is the sensational acrobatic dance in the third act by Mona Zeppel and Eric Bush. The box plans will 1 opened at Perry’s on Saturday ■ <’' ing next at 8.30 o’clock. A queue will be formed from 8 a.m.