“WHITE HORSE INN”

Wanganui Chronicle, Volume 79, Issue 11, 14 January 1936, Page 9

“WHITE HORSE INN”

Never before has so much interest' been taken over a theatrical produc-; tion as that which has been aroused over the representations at the Opera Ho se on Thursday night next and two following evenings and on Saturday afternoon of the J. C. Williamson Ltd. spectacular musical play ‘’ White Horsa Inn,” and, judging by the heavy booking from near and far, our local theatre will be taxed to its utmost capa city at each performance. “White Horse Inn’’ has created a sensation wherever it has been staged, and its Australian premiere was, it is said, a memorable occasion. Of tins performance the following was written by a well-known Sydney critic: “In the scheme of production S. Albert Locke, who, by the by, was associated with the English production, extended the scenery representing the White Horse Inn annexe around the boxes of the proscenium, and when the curtain went up to reveal the outside of the Inn in Bavaria, with clouds moving in a sky of ineffable blue beyond the Alps in the background, the audience expressed its admiration without restraint. Here was the first exciting glimpse of scenic lighting in its most modern form. As the play continued, the scenes changing swiftly by means of a revolving stage behind a tab representing the woods in the vicinity of the Inn, enthusiasm increased for every new use of the lighting in stage presentation. The most ambitious effect was realised in the finale of the first act when a storm broke over the mountains, with fastscudding clouds accentuating the terror or delight produced by thunder and lightning, and, as the rain fell heavily over the stage, one experienced a definite physical sensation that is surely unique in stage production. It was in , the second act, however, that the subtle impressions in diffused lighting wore , most marked—when, with handsome Tyrolean dancers from Marquartsteiner conspicuous in the setting the company appeared in the richly contrasted costumes of the country. Josepha (Romola Hansen) and Ebenezcr Ginkle (Alfred Frith), singing the stirring Salzkammergut, which was taken up melodiously by the chorus when the ballet danced in an exquisitely blue setting and when once more the Tyrolean troupe joined in the Alpine song and national dances.

Playgoers will be glad to welcome again the brilliant soprano, Miss Romolft Hansen, who last delighted us in “Thu Merry Widow.” They will also be glad to have another opportunity to listen to Herbert Browne’s line tenor voice. It is some years since we were last permitted to laugh at and with Alfred Frith, and it is said that in “White Horse Inn” he is funnier than ever. IDon Nicol Ms one of the most popular comedians New Zealand has ever enjoyed and he, too, will be welcomed by local playgoers. Mr. Alban Mack and Miss Marie Conan are said to be remarkably fine dancers, and in their respective roles they create much merriment. The cast also includes Miriam T.ester, Colin Crane, Charles Albert, Jeanne Battye, Leah Miller, Daphne Low and the brilliant young ton-year-old Australian artist, Master Greaves. Altogether there are over 150 people concerned in the production of “White Horse Inn,” including a full operatic chorus and orchestra, also a bevy of Australian ballet ladies. The company will arrive by special train on Thursday morning.