Thank you for correcting the text in this article. Your corrections improve Papers Past searches for everyone. See the latest corrections.

This article contains searchable text which was automatically generated and may contain errors. Join the community and correct any errors you spot to help us improve Papers Past.

Article image
Article image
Article image
Article image
Article image
Article image
Article image
Article image

MOSCOVITCH SEASON.

"THE GREAT LOVER." "The Great Lover"—should it not be "The Great Philanderer"?—which completes M. Maurice Moscovitch's cycle of plays in Christchureh, attracted more than a full house at the Theatre Royal last night, when the romantico-comedy-drama uuder a triple authorship was produced for the first time by M. Moscovitch and his talented company. The play is largely a study in insincerity and in the temperamentalities of grand operatics. It has a strong and steady comedy element, and when periods of intensity did occur they were quickly relieved by a change in the action into something productive of laughter. The first act, representing the manager's office of a New York Opera House, would have been well set as Mrs Dangle's drawing-room, with signors and signoras, sliding their smooth semibreves, and gargling glib divisions in their "outlandish throats," and with "Two gentlemen trying to make themselves understood, and I don't know which is the interpreter." The grand opera passion and temperament, so beloved of managers, fell with eruptive fury from an assembly of clamorous stars upon the distracted official, who, poor gentleman! could only bow to the storm and endeavour, so far as lay in his power, to direct the whirlwind. An Italian conductor, a German conductor, an Italian prima donna, a Wagnerian tenor, a German soprano, a basso buff'e, a tenor buffe, a lyric soprano, and two baritones, all demanding something unreasonable, raised a babble and a confession that would have done credit to an}- musical menagerie. Out of it all certain situations emerged, and by the close of the act the course of the play was tolerably well indicated. Three characters came into prominence, Jean Paurel, a celebrated baritone, and an equally celebrated philanderer, Ethel Warren, a lyric soprano with a reputation in the making, and Carlo Sonino, a young baritone, who as the play progressed displaced his senior in the operatic arena and in the affections of the lady. M. Moscoyitch, who took the part of Jean Paurel, had ample scope to demonstrate to the full the great quality of Mis art. As the irresistible filled with nothing but selfishness and irresponsibility, he portrayed the characterisation with a lightness and a comedy which could not but charm. In deeper moments he was equally supreme, and his representation of a gneat artist suffering the crowning calamity of a sudden and permanent loss of voice, will long be remembered as a masterpiece of tragedy. The part of Ethel Warren was taken *by Miss Jean Robertson, who sustained with admirable artistry the representation of a young singer, intent on advancement to prima donnaship, but torn asunder, by conflicting emotions. Mr Nat Madison took the part of Carlo Sonino, and gave a good characterisation of a young and talented artist entering upon his heritage. There were many other parts, all admirably filled. Miss Marie Eaton as an Italian prima donna was seen in some high dramatics. Mr Arthur Greenaway, as Potter, valet to Paurel, was a quaint old character and most pleasing. Mr G. Kay Souper, as the harassed manager in the first act, was a model' of despair and diplomacy. Miss Eileen Sparks, as Sonino's mother, who made her appearance towards the close of the last act', was a : tearful resurrector of bygone gallantries enapted by Paurel. Other ladies also came forward with their inconvenient testimony.

The interest of the play, from the tempestuous opening to: the calmer finale, never flagged, and the company are to be complimented on. a very fine performance.

. "The Merchant of Venice'' Matinee. . This afternoon "The Merchant of Venice" will be staged, and the season will close to-night with a repetition of "The Great Lover."

Permanent link to this item
Hononga pūmau ki tēnei tūemi

https://paperspast.natlib.govt.nz/newspapers/CHP19250704.2.106

Bibliographic details
Ngā taipitopito pukapuka

Press, Volume LXI, Issue 18425, 4 July 1925, Page 14

Word count
Tapeke kupu
610

MOSCOVITCH SEASON. Press, Volume LXI, Issue 18425, 4 July 1925, Page 14

MOSCOVITCH SEASON. Press, Volume LXI, Issue 18425, 4 July 1925, Page 14

Help

Log in or create a Papers Past website account

Use your Papers Past website account to correct newspaper text.

By creating and using this account you agree to our terms of use.

Log in with RealMe®

If you’ve used a RealMe login somewhere else, you can use it here too. If you don’t already have a username and password, just click Log in and you can choose to create one.


Log in again to continue your work

Your session has expired.

Log in again with RealMe®


Alert