Music, Drama.

New Zealand Illustrated Sporting & Dramatic Review, Volume III, Issue 136, 2 March 1893, Page 3

Music, Drama.

[By

“Orpheus.”]

Spectatum admissi risum teneatis amici ? Pollard’s Liliputians. “ Aladdin up to to Date ” is a burlesque-extravaganza-pantomime so gorgeous and so gorged with good things musical and dramatic, pictorial and /wwgent as to preclude any attempt at a full description. The main lines of the time-honoured plot are preserved, but novelties ingenious and innumerable swell out the business until with the frequent encores the entertainment incurs its only possible reproach—that of undue length. However, with a few judicious cuts that complaint may easily be removed, and performers and audience alike will enjoy themselves even better. It renews one’s youth and awakens old memories of the glories of Drury Lane and Covent Garden to see once more the genuine pantomime masks and wonderful spectacular effects of exquisitely beautiful scenery, transformations, glittering raiment and grotesque hobgoblins. Nothing approaching Mr Pollard’s production has before been witnessed on a New Zealand stage. In every department care, finish, and lavish expense are evident, and the unqualified success attained is the well-merited result of skill, foresight, enterprise and hard work. It is interesting to notice the development of the talented young performers who won such favour here some eighteen months ago. Miss Lily Everett (Aladdin', whose Bettina, Nanki Poo, and Frederick stamped her as an actress and singer of great promise, proved herself a sprightly exponent of burlesque. Although not in her best voice, she sang with the finish, taste, and correctness of intonation which one always expects from her. Master Alf Stephens (the Emperor of China), whose leads in La Mascotte, Pirates, and Mikado —what a Koko he made I—were tip-top, still continues to be the life of the stage whenever he is on. Master Harry Quealy, whose low comedy powers and gifts in inventing original business made his “ Rocco ” and “ Pish Tush ” so comical, is quite in his element as “ Widow Twankey.” His marvellous dressing, humorous antics and grotesque dancing proved quite irresistible. Miss Marion Mitchell has made wonderful progress in her singing and acting. She possesses a powerful and pure voice, and has nearly overcome the tendency to sing sharp in the upper register. As Prince Pekoe her graceful presence, winsome face, and lively piquancy won unqualified approbation. Miss Lily Stephens (Princess Badroulbadour) looked the same sweet little thing, and sang, acted and danced as prettily as ever. Miss Nellie Wilson and Miss Maud Beatty, the genii, also looked, acted and sang very charmingly. Master Percy, another brilliant member of the former company, shone brightly as Abanazar, and his burlesque John Wellington Wells business was immense. Other characters excellently sustained by Master George Young (1 he Vizier), Master J. McShane (Hasarac), Miss Flo Russell (Ptolemy), Master Johnny Farrell (Cheops), and Master A. Riddle I have only space to name, but the demon sprites, Masters Morris and Albert, must not be forgotten. The ballet work too deserves special mention, and the eight “ red-legs ” who performed the song and danee, “The Pekin Swells,” and other attractive items,scored a splendid success. Miss M. Mowbray is a graceful little skirt dancer. The mounting, grouping, orchestra, local hits, original business, etc., etc., cannot be described. Everybody must go and see how perfectly Messrs Pollard, Duval, Arthur King, Quealy, Fred Newson. Ashton, Miss Nathan, and Madame Bima and their assistants have trained their pupils or otherwise performed their arduous duties. I can only just allude to the magnificent tableaux and groupings in the Chinese lantern march and the superb transformation scene lending to the lovely “ Home of the Fairies.” Charming as “ Aladdin ” is in every respect, many will be pleased to see the talented Liliputians return again to the more legitimate comic opera work, which is more worthy of their musical and histrionic powers. However the success of the season is already assured. Gilbert and Sullivan’s favourite opera “ The Gondoliers ” is in active preparation, and will be the next production.

The Magic Opal.

This opera was produced at the Lyric Theatre on January 19, and is well spoken of by the London critics. Mr Law’s

libretto meets with unqualified praise. The central idea of the plot somewhat resembles that of Mr Gilbert’s “ Sorcerer.” but in place of a love-philtre the “Thun-der-stone ” gives its possesor the magic power of inspiring love in persons of the opposite sex. All sorts of ridiculous complications arise, as the opal ring, by fair means or foul, is transferred from one character to another The music, by Senor Albeniz, a Spanish composer and pianist who has achieved reputation in his own country with a couple of light comic operas, is quite in keeping with|the character of the story, being tuneful and never vulgar. It is perhaps somewhat mixed in style, partaking of the bright gaiety of Offenbach, the melodious earnestness of Sullivan, and the characteristic Spanish lilt, in which the composer reveals his nationality. The scoring for a small orchestra displays refinement and taste. The principal characters were sustained by Messrs Monkhouse, Fred Kaye, Tom Shayle, Child and Brownlow, and the Misses Jenoure, Susie Vaughan and May Yohe, a young American contralto, said to possess a lovely voice, which with further cultivation will make a sensation. “The Magic Opal” scored a genuine success.

M. Max O’Rell on Thursday evening delighted an audience largely composed of the Scottish element with his capital description of “ Sandy.” Some of his anecdotes are perhaps a bit chestnutty. but they are so skilfully dressed with “ Sauce piquante a la Max ” that but few hearers could detect their antiquity. On Friday evening M. Blouet gave his farewell lecture, “ The Happiest Nation,” which of course in his patriotic view is France. Britons have got into the habit of imagining France to be populated by Parisians —just as other nations imagine England to be a nation of Cockneys. M. O’Rell’s clever and sympathetic picture of France as a nation clears the fog from many a British brain. His visit to Auckland has been an event in 1893, and he carries with him kind thoughts and good wishes from New Zealand.