SOUTHERN STAGE NOTES.

New Zealand Illustrated Sporting & Dramatic Review, Issue 1365, 22 June 1916, Page 34

SOUTHERN STAGE NOTES.

(By Telegraph.)

WELLINGTON, June 20. The one word to most adequately describe the J. C. Williamson pantomime “Mother Goose,” which opened a Dominion tour at the Grand Opera House this evening, is “brilliant.” After that might be added “gorgeous,” and then the theatregoer could run through the whole list of adjectival eulogisms and still be within bounds. The pantomime certainly touches the limit of brightness, freshness and humour. The theatre was packed to the doors, and there is no reason why this eminently satisfactory condition should not prevail throughout the season. It may be taken for granted that every one in the huge audience who witnessed the extravaganza went home and “boosted” it up to the skies. If this were not so then the recurring manifestations of delight and appreciation during the whole performance were sham and delusions. But the person who would maintain such an obviously absurd opinion has yet to be found. What a treat it was to sit through a performance which still retained the bloom of youth. Mr. J. Hickory Wood has strung the “book” together in as lively a manner as any of his previous librettos for pantomime extravaganza. "Mother Goose” is not the “Mother Ccose” of Fairyland. She is a market woman in a model village — not a model village in the town - planning sense, but according to Toyland interpretation. The village has its toy houses, toy trees, toy soldiers, and toy nursemaids, who join in a little wcoden and clock-work ballet. Mother Goose cannot pay her rent to the Mayor of Borderland. She has not met quarter day within the memory, of the ..oldest inhabitant, so she comes under the benign sway of the fairy Heartsease, who adds gratuitously to Mother Goose’s poultry yard the original goose that lays the golden eggs. The golden eggs transfer Mother Goose to marble halls, gown her in the latest creations of the London dressmakers, and make her a mark for fortune-hunt-ers, especially the Mayor of Moortown and the Laird himself. But she says she is a bride for a king, or an American insurance agent. She does not make the error of slaying the goose, as the owner does in the authorised version of the tale. She falls under the malign influence of the Demon King, and the desire for beauty constitutes the snare that robs her of the golden goose and golden eggs. Mother Goose wants to be beautiful, and does not take the obvious course of consulting a beauty specialist, but dips herself in the Wishing Well. Away then flies the golden goose to Gooseland, and the bank of golden eggs is broken. Every one of the many scenes possesses an exquisite grace and piquancy, and one is almost compelled to the conclusion that all the Graces stood godmother to this lovely production. The music is highly interesting, whilst the brilliant spectacular effects, the smart and witty local references, the gorgeousness of the ballets, and the dainty sparklinggaiety of the artistes combined to

fascinate the large audience. From the opening scene outside “the ruins” to the fairyland spectacle of “Gooseland,” which rings down the curtain, there is a charming grace of beauty and a laughing spirit of delightful extravagance. In Australia “Mother Goose” was called “The Beauty Show,” and the title is fully justified because the chorus and ballet were selected not merely on the standard of singing and dancing, but also on that of good looks. Miss Lillian De Venny is an exceptionally tall and good-looking principal boy and in the character of Colin quickly worked her way into favour both as an actress and a singer. Miss Maude Fane was completely successful as the principal girl. She is good to look at and especially good to hear. Mr. Arthur Stigant, as the Dame, was splendid. Mr. Victor Kelly, as Jack, seemed to have mastered the secret of perpetual motion, and his tumbling is clever beyond the ordinary standard. He is billed as an eccentric comedian, and, having studied the small boy—the Buster Brown sort of small boy—at his worst moments, he lives up to everything that the bill means to suggest by its description. On his shoulders and those of Mr. Albert Felino (the Goose) falls the burden of keeping the audience in good humour. The goose is the cunningest bird that ever walked a poultry yard, and is sure to be the delight of all New Zealand youngsters that are lucky enough to see the manipulation of its eyes. Miss Gladys Moncrieff looks and sings the part of the Fairy Queen to perfection, and that is saying much less than her grace and personal merits deserve. Miss Maggie Dickensen is a dainty Gretchen, but has not as much dancing as one would like. Mr. Charles Howard sang impressively and played the character of the Demon King with appropriate sinister purpose. Mr. Le Brun’s impersonation, first as a donkey and secondly as a horse, gave delectable amusement to the young folk. Mr. Arthur Reynolds, as the Laird of Borderdale, Mr. Rupert Darrell, as the Mayor of Moortown, and Miss Queenie Paul as Eric, all did good work.

The work of the chorus and ballet was just about as perfect as it well could be, and amongst the scenes that attracted special attention were the model village, the beautiful “Hall of Gold,” “The Magic Pool” and the “Rolling Ship,” in which Jack is turned topsy-turvey with all his cabin impedementa. Ross and Falls also provide some astonishing acrobatic novelties which are regular eyeopeners in the way of daring. The orchestra also deserve a word of praise for the good work they do.

The following dates have been booked for the Dominion tour of the “Mother Goose” pantomime: —Wellington, June 20 to 30; Wanganui, July 1; Hawera, July 3; New Plymouth, July 4; Palmerston North, July 5 and 6; Hastings, July 7; Napier, July 8 to 10; Gisborne, July 12 and 14; Auckland, July 17 to 25; Christchurch, July 28 to August 4; Dunedin, August 5 to 11. It is possible that Oamaru and Timaru will also be visited. The Pink Dandies are now in their second week at the Town Hall Con-

cert Chamber and right from the opening the business has been consistently good. The combination is one of the most versatile of its class that has ever visited the Dominion, and the entertainment they provide is of a high standard of excellence, and suitable to all tastes. Mr. Frank Levy, the touring representative of the Allan Doone Dramatic Company is expected to arrive in Wellington next Saturday morning to arrange for the opening of the popular Irish actor at the Grand Opera House on Saturday, July 8, in the drama “O’Leary, V.C.” The season will extend over 13 nights. A very fine all-star programme is being submitted to the patrons of His Majesty’s Theatre this week, and the big audiences who nightly visit the Messrs. Fullers’ cosy vaudeville house are hot slow in showing their appreciation of the many good things provided. The chief attraction is the Victor Prince Company in the rollicking revue “The Midnight Club.” Mr. Prince’s combination is a very strong one, and all do good work, but special praise is due to Miss Lilian Colenso, Mr. Charles Zoli and Mr. Prince for keeping the fun going at top speed.