Music & Drama

New Zealand Illustrated Sporting & Dramatic Review, Volume II, Issue 64, 15 October 1891, Page 1

Music & Drama

Spectatum admissi risum teneatis amici ?

Williamson’s juvenile opera company.

After a successful week’s run during 'which the piece nightly improved, “La Mascotte” was replaced on Monday evening by the evergreen “ Mikado,” in which the clever young artists shine even more brilliantly than in Audran’s masterpiece. The public with wonted instinct divined the treat that was in store, and a very crowded house encouraged everyone,. Sir Arthur Sullivan’s quaint and characteristic overture went smoothly, the orchestra playing con amore and the flute solos being especially good. The first scene—the court-yard of Voko’s official residence —is tasteful, and harmonious with excellent Japanese colouring and effects. The costumes throughout ate rich and pleasing to the eye. Both divisions of the chorus, school girls as well as nobles, display wonderful perfection and precision in move-* ments, grouping, and fan play. One can easily perceive how thoroughly they appreciate and enjoy the piece, and their singing is extremely creditable in volume and tune for so youthful a body of voices. The guards and coolies were effectively arrayed, and formed a splendid back-ground to the mise en scene. It could not be expected that the singing of the principals should reach the standard of adult performers,. but on the whole their work in that respect was a great advance on “ LaMascotte.” The true strength lies in the natural and clever dramatic interpretation of Gilbert’s delicate fun. Perhaps of all the librettos to which that versatile author’s genius has given birth the “ Mikado” pleases most, I think, because topsy-turveydom seems more vraisemblable when the action is elaborated in a country like Japan. I will take the cast in the programme order. Master W. Percy in the title role compares very favourably with most of the grown-up actors who have assumed the character on an Auckland stage. He has a good voice, better developed than any other member of the company, and sings well in tune. In dignity and presence and correct action his delineation made a powerful impression. In a word he was completely satisfactory. His “Punishment fit the crime,” and “See how the fates” were capitally rendered. Miss Lily Everett as Nanki Poo creditably rendered a most difficult part under the severe handicap of singing music written for a tenor voice in her light mezzo-soprano. Her acting displayed the same intelligence and touches of real genius noticed in “ La Mascotte,” but as Bettina she was much more in her element. “ Were you not to Koko plighted,” and the kissing duet with Yum Yum were simply delicious. Master Alf Stephens as Koko surpassed even his brilliant Laurent in “ La Mascotte,” and that is saying a good deal. He dresses, acts, and sings the part splendidly throughout. The “ Little list,” “ Tit willow,” Taken from a county gaol,” etc., were encored, and in some instances a second repetition exacted. His enunciation is a pattern pf distinctness, and in the concerted numbers he was both

reliable and effective. Pooh Bah was a conscientious if not very brilliant impersonation, and Master W. Clemow must be complimented on acquitting himself so well in a difficult and somewhat thankless role. His protoplasmatic ancestry, family pride, and disdain of “ young persons ” were very good, and he put up with “ insults ” with becoming humility. The p irt of Pish Tush is scarcely a bright and shining one, but Master H. Quealey imported a fund of originality into his impersonation, which made quite a feature in the piece. To look at him is enough—one must laugh. His song “ And you are right ” was deservedly encored. Coming to the “ Three little maids ” I cannot too highly praise all three. Yum Yum (Miss Edith Zeigler) looked bewitchingly charming, and the part fits her like a glove. Showing at first a little nervousness in that exacting song .tLThe sun and I,” she presently recovered, and got through capitally. Her sparkling verve grace, and intelligent reading of points promise well for a bright career. I venture to prophecy that she will rapidly advance in her profession. Pitti-sing (Miss Lily Stephens) could not have borne a more appropriate name. She is indeed a sweetly pretty little thing, and covered herself with glory both vocally and in naive and graceful acting. Peep Bo (Miss Nellie Wilson) also looked lovely, and in some capital bye-play with Pooh Bah fully earned the reputation for espieglerie which her title suggests. The “ Three little maids” trio brought down the house and won an enthusiastic encore. To Miss Flo. Russell, who played Katisha —an onerous task— I must award very high praise indeed. She did not hesitate to make up with suitable homeliness, and besides singing very well acted and spoke her lines with appropriate gush and emphasis. Her irresistible charms, including the “tooth which stands alone,” were enumerated and described with telling effect. In the burlesque love-making with Koko the pair acted up to one another with immense effect. Very good taste is displayed in not marring Gilbert’s brilliant libretto by interpolating too many gags. The few introduced are very happy. Koko’s encore political verses are witty and opportune. A laugh is also raised when it is suggested that Pooh Bah is under Dr. Purchas’ treatment for incipient softening of the brain. Then, too, when the Mikado demands Nanki Poo’s address he is informed that “ Nanki Poo has gone to Howick in a Panmure ’bus!” The beautiful madrigal in the second act was sung very fairly, and of course “ The flowers that bloom ” won a double encore—Koko singing his verse on the last occasion in pantomime with complete success. I must not omit to mention that the scene in the second act— Koko’s garden—is especially charming. The distance, water and light on the back-cloth are exquisitely painted. One capital surprise gratifies the audience at the end of the first act. The curtain having fallen on an effective tableau is again raised, and the performers execute a sudden and simultaneous “ Mikado prostration.” Altogether the piece wins praise from all who have seen it, and those who miss the opportunity will regret such an omission when they talk over the performance with friends who have visited the City of Titipu.