THE STAGE

New Zealand Illustrated Sporting & Dramatic Review, Volume X, Issue 488, 30 November 1899, Page 10

THE STAGE

L'Br

Orpheus. ]

■‘ Orpheus ” will be glad to hear from those managers Of theatrical companies touring New Zealand who desire that the public shall know the move . mont ? I ,°£ t n h ® 1 panies. Any information as to dates, etc., will be acknow ledeed in these columns, as well as any other items of interest to the theatrical world. All addressed — Orpheus,” SPORTING AND DRAMATIC Review, Vulcan Lane. Auckland.

Pollard’s Opera Company: ‘ Girofle-Girofla. —Lococq’s picturesque and tuneful opera replaced “La Poupee” on Wednesday evening. It is now some four years since the work was given m Auckland by the Pollard company, when Miss Marion Mitchell played the title role, and the cast has been in other respects subjected to alterations. The piece, therefore, with its sparkling libretto, ingenious plot, attractive mise en scene, and delightful music seems almost fresh. Lovers of genuine comic opera —and they are not all dead yet—thoroughly enjoyed the piece. Miss May Beatty as the twin daughters (one at a time) added another to her long list of successes. She acted with verve, sprightliness, and grace, sang the wealth of beautiful music allotted to her with accuracy and facility; and altogether triumphed over a difficult and exacting role. Mr C. Carter, as Marasquin, thoroughly enjoyed himself, singing admirably and acting with aplomb and abandon in strong contrast with the stiffness ot his earlier stage efforts. He promises to attain a very high standard with further experience and voice-development. Mr E. Fitts, as Mourzourk (the truculent Moor) acted with appropriate melodramatic heaviness, and, although not quite recovered from a cold, sang with dramatic force. Mr W Percy’s Don Bolero compelled shrieks of laughter. His facial twists and grotesque action lent special effect to the many ludicrous situations and tight places in which the unhappy husband and father finds himself involved. A subordinate pair of lovers in the shape of Pedro (Miss, Dolly Davis) and Paquita (Miss Kate Hickliug) were well played. The former young lady'mamfestly suffered from nervousness, but otherwise did well; the latter shows distinct promise, and is to the manner born. At short notice, Miss M. Metcalfe played Aurora (Bolero’s scolding termagant of a wife), and quite covered herself with glory in the part. The pirates (led by their chief, Mr E. Nable) and the scimitar-bearing Moors looked, sang, and acted with telling effect. The same may be said of “ the cousins,” the Misses Nellie Wilson, Zoe and Wilmot Karkeek, Nellie Foord, Claudia Palmer, and Lily Stephens. I have not space to mention all of the numerous musical titbits such as “My Father was a Banker (Mr Carter) and “ See How it Sparkles” (Miss May Beatty), and choruses and ensembles, but must pat Mr Cleaver on the back for a neat double-bass obbligato to Pedro’s song and the quintette, “ Began to Cry.” The orchestra played capitally under Mr Arthur King’s firih baton.

On Saturday evening the sparkling musical comedy, “ In Town,” again proved its vitality

attracting a capital house. Several changes in the cast added special interest to the performance. Miss May Beatty replaced her sister as Lord Clanside, and acquitted herself well in a not too congenial role. Miss Jennie Opie pays her first visit to New Zealand) made her debut as the Duchess of Muffshire. Although but scant time for rehearsal of a new role was afforded, Miss Opie displayed qualities which convinced all that Mr Pollard has secured a valuable accession. A commanding and charming stage presence, an easy style, perfect and cultured enunciation are marked features, while a splendid mezzo contralto voice and correct method render this lady’s singing a treat. “ Because I Love You” well merited the enthusiastic encore bestowed. Mr Whelan again delighted the house with his splendid imitations of Henry Bracy, Chirgwin, Bland Holt, the Banjo Solo, and, as a final encore, took off Mr E. Fitts’ “To-morrow will be Friday” with remarkable fidelity, the baritone’s top-note being a telling parody. Miss Wilmot Karkeek was sprightly as Marie de Belleville, but slightly overdid the French accent. It was a pleasure to see Miss Gertie Campion on the stage again after her seridus accident. She sang very well indeed, and acted most gracefully as Kitty Hetherington. Of Percy’s Captain Coddington, Mr Alf. Stephen’s Duke of Muffshire, Mr Harry Quealy’s Reverend Hopkins, Mr G. Young’s Hoffman, Mr E. Nable’s Benoli, Mr C. Albert’s Shrimp, and Mr A. Stephen’s Bloggins, I need only say ditto to the praise I have bestowed upon their capable work in previous notices. Miss Lily Stephens looked sweetly pretty as Lady Gwendoline, and Miss Nellie Borthwick (as Flo I anshaw) danced a graceful pas seul “The Golden Mean,” “Romeo and Juliet” (duets), and other favorite numbers received their wonted encores. “In Town” was repeated on Monday evening, and the company left for Napier on Tuesday.

Miss Emily Metcalfe, a most popular and accomplished member of the Pollards, has left the stage, having been married to Mr Cleaver, the brilliant double-bass and ’cello player whose obbligatos have been quite a feature in the orchestra. “ Orpheus” wishes good luck and “ the best” to the happy pair.

Atropos of Bathurst, Mr Fred. Duval tells a capital anecdote of the late Charles Turner. Some years ago the Bathurst amateurs produced Balfe’s “ Bohemian Girl,” with the editor of a local organ in the role of Thoddeus. Shortly after the performance the Montague—Turner Opera Company arrived and selected “The Bohemian Girl” for the first night. After the performance the professional and amateur Thaddeus met for a chat and light refreshment. Presently the operatic editor, addressing Charles Turner, remarked. “ You will forgive me, but the generally-expressed opinion is that you do not sing ‘ The Fair Land of Polar.d’ like me I” “ Great Scott,” quoth Turner, ‘ I hope not!” Poor Charlie’s notices in the “ Bathurst Buster” proved how sensitive is the amourprcepreof some members of the “ Press-gang,” as Fanny Kemble politely describes journalists.

The initial performance at Leeds Theatre Royal of Mr Walter Reynold’s new melodrama, “ Keep to the Right,” suffered from the somewhat novel handicap of the artists haiiog to appear in their ordinary costume. The luggage, it was explained before the rise of the curtain, had gone astray in the mass of bank-holiday

traffic. To make the best of the contretemps the play was given in what attire the company happened to be wearing. One lady performer—supposed to be poverty-stricken and in extremis —had to appear in a fashionable and elegant costume practically similar to that which she wore when melodramatic opulence beamed upon her. \

The Bathurst Beard Competition recalls another Shakespearean ' quotation. This, from

“Midsummer Night’s Dream”: —-“What beard were I best to play it in ?” “ Why what you will.” “ I will discharge it in either your strawcolour beard, your orange-tawny beard, your purple-in grain beard, or your French-crown-coloured beard, your perfect yellow.” Quince’s reply to Bottom, “ Some of your French crowns have no hair at all, and then you will play barefaced," will doubtless be pleaded in justification by the Bathnrst judges.