Music & Drama.

New Zealand Illustrated Sporting & Dramatic Review, Volume II, Issue 65, 22 October 1891, Page 1

Music & Drama.

Spectatum admissi risum teneatis amici ?

j. c. Williamson’s juvenile opera company. ,

Gilbert and Sullivan’s “Pirates” began a three night’s cruise on Friday night. Like “LaMascotte” and the “Mikado’’ it is dressed, mounted, and acted in magnificent style, occasional lapses in intonation being the only adverse criticism lam in duty bound to record. 1 As iff the case of its predecessors the piece improved, at each successive performance, and on Monday evening left little to be desired, every cue being taken and every movement executed with unerring precision. Two really exquisite scenes by Edmunds admirably set off the rich and harmonious colours of the dresses, and the tasteful and effective groupings and tableaux. The first scene—a rocky seashore—displays a remarkably effective back-cloth with an old type schooner-rigged galleon lying aground on the foreshore, and a range of rocky cliffs trending away into the far distance, terminating in a sea-worn “ blow-hole ” The “ ruined chapel by moonlight,” in the second act is even more

beautiful, being exquisitely toned, and displaying one of the best and most natural stage moons I have ever seen All the accessories of mounting are up to the high standard set by the scenery itself. A special triumph in the manipulation of the lime-light, which (as light should) reflects great credit on the operator, who learned his business from the celebrated Professor Pepper, whose “ Ghost ” struck terror into my heart in the days of my childhood, when the “ Polytechnic ” flourished. The tones of colour are exquisitely delicate, and are graduated with exceptional skill. With a libretto so familar it is needless to enter into ( a detailed description of the action. The pirates are grotesquely good, the major-general’s daughters fascinating, and the “foorce” as usual make the hit of the piece. One of the best features of the capital work done by the chorus throughout is the tuneful “ Hail Poetry” invocation. In addition to the strikingly effective tableau on the stage itself, a transformation in the back-ground reveals a lovely statuesque figure mounted on a pedestal and lighted up with pink fire. The crown and laurel wreath indicate the “ divine afflatus” and the figure is, of course, an emblematic representation of poetry. An effective apotheosis of a similar kind is displayed at the end of the

second act, when Miss Lily Stephens sings the “ British Flag ” and “ Rule Britannia.” I will now notice the performers in order. Master Alf Stephens as the Major-General fully maintains his reputation. His bearing is dignified and martial, and the patter-song ‘ ‘ I am the Very model” is another feather in his cap. ■ Enunciation and intonation are absolutely perfect. The air “ Softly Sighing,” with the rippling brook accompaniment proved that he can sing sympathetically as well as comically. An amusing incident occurred on Monday evening, when the curtain was again raised after the second act. The Major-General stepped forward to make a speech. He had been instructed to thank the audience, etc., and had a “ little list ” which he produced; but the paper was of a sub-fusk hue, and the Major-General evidently could not see the writing. However, he displayed all' the coolness of a veteran soldier under fire, and eventually charged .the breach and captured the citadel in fine style. He announced that the company after a season of three nights at the Thames would return to Auckland and give three farewell performances at popular prices on Friday, Saturday and Monday next. Master Wm. Percy made an ideal Pirate King. His really fine and true basso cantante voice rang out grandly in all his music, and especially in “ I am a Pirate King.” His acting, enunciation, and emphasis were equally good. Samuel, the lieutenant, was in the first act taken by Master Quealey, whose comedy gifts again shone brightly. In the second act a tiny tot—Beryl Mackay —assumed the role, and sang “ Here’s your crow-bar,” with great sweetness and distinctness, besides taking a ludicrously prominent part in the conflict between the “ foorce ” and the outlaws. Miss Lily Everett as Frederic confirmed the high opinion I had formed of her musical and dramatic gifts. Again handicapped with a tenor part she acquitted herself marvellously, singing “ Oh, is there not one maiden ” with a true sense of the beauty of one of Sullivan’s sweetest melodies. With' saying that her Frederic ranks with her Bettina and her Nanki Poo, ,I content myself —she needs no higher praise. As * the Sergeant of Police Master H. Quealey was quite in his element. He was grotesquely comic, and hit off exactly the traditional “Italian” accent, besides bringing down the house with a most faithful caricature of the vagaries in which the typical bobby indulges. Master J. Farrell as the Corporal was also extremely funny, and Little Mary Sullivan as a Lilliputian constable provoked roars of laughter with some excellent farcical business. Apropos of that I must not omit the realistic struggle in the first act between Sam (Master Quealy) and Kate (Miss Nellie Wilson) when the pirates capture the young ladies. The fight between the pair is a protracted and determined one. Kate kicks, bites, scratches, and punches the malevolent Samuel with hearty good will, and ends in scientifically flooring the pirate, to the manifest delight of the audience. Mabel (Miss Marion Mitchell) has an arduous r6le, and it is capitally played. Gifted with a flexible*voice of good volume —which, however, is scarcely yet under the singer’s control—Miss Mitchell sings her music extremely well, making an especial feature of the cadenzas and staccato passages, which are executed surprisingly well for so young a vocalist. Her tendency to sing sharp occasionally should be carefully watched and corrected. Barring this criticism I have nothing but high praise to award to her for her rendering of difficult songs such as “Poor Wandering One ” and “ Ah, leave me not to pine.” Her acting for a comparative novice on the stage is very graceful and effective. She will with study and perseverence make rapid advances. Edith (Miss Lily Stephens) admirably performed her small part, singing “ Let us gaily” very sweetly. Kate (Miss Nellie Wilson) is another young lady with a future. She has a contralto of good volume, and sings, correctly with clear and crisp enunciation. Her catching little solo “ Far away from toil,” was sweetly and sympathetically sung. Isabel (Miss A lice Gilldale) spoke her few lines very well, and all three looked charming. The dance to the lilting tune “Let us gaily tread,” is one of the prettiest bits in the performance, and this reminds me that I must not forget to compliment Miss Nellie Greenlees on the precision and elegance displayed by the corps de ballet, which in all the operas does infinite § edit to the teacher. Last, but by no means

least, among the principals comes Ruth (Miss Flo Russel) who both sings and acts throughout with grace, aplomb, and accuracy. Her opening song “ When Frederic was ” at once convinced me that the role was well within her grasp. In the “ Paradox ” trio, with Frederic and the Pirate King, she fully contributed her share to a very successful rendering. While I think of it I must mention that Master Percy’s delivery of the preliminary recitativo-chant “ For some ridiculous reason,” should be added to his credit. It could scarcely have been better. Wishing the Company a successful season at the Thames, and the bumper houses they deserve on their return, I must close this notice. MISS AMY VAUGHAN’S AMAZONS. On Saturday evening, apropos of the races, Miss Vaughan revived the popular “ Good Luck,” with its pretty setting of golden horseshoes. The opening chorus with lime-light effects is taking both from the musical and spectacular points of view. Mr. F. Willis for the sweet ballad “ Norine Mourine,” Miss Amy for “ The Boy in the Gallery,” Miss May Travers for “ Love’s Absence,” Messrs. Corbett and Diamond for their clever song and dance, Max Rinkle for “ Co-operation,” Mr. Hyland for “ If the Waters,” Harry Cowan for “ The North Shore Handicap,” and Miss Cissie Earle for “ Mother’s Advice,” all received well-merited encores. The usual funny finales and farces exactly hit the risible bull’s-eye, and the specialities in the second part introduced some novelties which proved very popular. Want of space precludes further notice this week, but Miss Amy’s love-letter proved a distinct hit. Orpheus.