"THE MIKADO."

Press, Volume LXIII, Issue 19150, 5 November 1927, Page 20

"THE MIKADO."

GILBERT AND SULLIVAN SEASON.

A POPULAR REVIVAL. "The Mikado," generally considered to be one of the best and brightest of the Savoy operas, and certainly ono that has enjoyed the biggest popularity j among theatregoers, was revived by the I J. C. Williamson. Gilbert and Sullivan Comic Opera Company at the Theatre Royal last night, and drew a crowded and enthusiastic patronage. "The Mikado," or "The Town of Titipu"— | nearly all the Savoy operas have double titles—was the eighth of the thirteen creations by the celebrated partnership, and was first produced at the • Savoy Theatre, London, in March, 1885. The circumstances leading to the creation of "The Mikado" were interesting. Hitherto the settings had been English, and Gilbert determined to leave his own country alone for a while, and to seek elsewhere for a subject suitable to his peculiar humour. A trifling accident inspired him with an idea. One day an old Japanese sword which for years had been hanging on the wall of his study fell from its place. This incident directed his attention to Japan. Just at that time a company of Japanese had' arrived in England, and set up a little village of their own in Knightsbridge, a suburb of London. They at- , tractcd all London, and the Japanese and the English began to know each other. That gave Gilbert his inspiration, and for his technical material he found all he wanted in Knightsbridge. A Japanese male dancer and a Japanese tea girl from the Knightsbridge village lent their aid in coaching the first "Mikado" company, and the tradition then established is still. maintained. j Some of the dresses worn by the first principals were genuine and original Japanese ones of ancient date. The ! characters in the opera were all imaginary, and not oven the Mikado himself was founded upon the personality of any known holder of that distinguished title in Japan. The leading London critics were, generally, lo.id in their praise of the new opera, and their judgments were fully endorsed by theatregoers, and "The Mikado" during its first season ran continuously for 672 days. Its fame rapidly spread throughout the provinces, and to Germany and America and many subsidiary complete companies wero organised to play the opera elsewhere than in London. Tho character of Pooh-Bah is claimedto t>e. perhaps the greatest single creation of Gilbert, and the finale of Act 1., in the opinion of one very eminent authority, must be included in a selection of the six best airs in all the Gilbert and Sullivan operas. The performance last night was quite satisfying and the company, by virtue of their long and sustained experience and their own natural talents, Worthily upheld the Savoy tradition. Chief honours undoubtedly fell to Mr Charles Walenn as Ko-Ko, the tender-hearted gentleman rejoicing in the glory of the nominal office of Lord High Executioner. Mr Walenn belongs to the old school of genuine Savoy interpreters, and rarely allows himself to bo diverted from principles of inferprctation so strictly'insisted upon by the original triumvirate, Gilbert, Sullivan, and D'Oyly Carte, and. still maintained under the direction of Mr Rupert D'Oyly Carte, solo surviving son of the first great producer. Mr Walenn was responsible. for the effective presentation of most of tho bright humour in the opera,-and his singing was not the least of his high accomplishments. Mr John Ralston made a Pooh-Bah of adequato pomposity, arid his splendid voice was exercised in several notable numbers. Miss Strella Wilson, as YumYum, had all the attributes required for that part, save one, but she skilfully reduced her height to conform more to the traditir-ial small figured maiden. Her colleagues, Miss Mabel Gibson as Pitti-Sing, and Miss Effie Armstrong as Peep-80, were both well cast, and Miss Gibson in particular gave a really fine and artistic performance. Mr James Hay, as Nanki-Poo, charmed all by the quality of his voice. Mr Lance Pairfax made a grave and serious PishTush, and his restrained and dignified acting was a real pleasure to witness. Mr, Bernard Manning was a sufficiently fearsome Mikado, and Miss Winifred Williamson gave a splendid portrayal of the alarming Katisha. The many charming musical numbers iu the opera were all heartily enjoyed, and encores wero frequent. Ko-Ko's "Little List" song was again a first favourite, and Mr Walenn further modernised the line "And that singular aromaly, the lady novelist." That was, how the line was first written. Later, and in deference doubtless to a growing recognition of women's literary ability, the line was altered to embrace, a new nuisance, and th*e words "the scorching motorist" was substituted. Last night Mr Walenn substituted the word "Prohibitionist." The work' of thj chorus was worthy of all praise, and was in several respects superior to that of some of the soloists. A fine rhythm was always maintained, and there was no attempt to improve upon the score.

"PATIENCE" THIS AFTERNOON AND EVENING.

Rapid changes of opera will be made at the Theatre Royal, and this afternoon and evening Gilbert and Sullivan's favourite "Pationce" will be staged. It is an interesting revival in every way. "Patience" was first prodssed in 1881, four years before "The Mieffdo," and eight years before "The Gondoliers." "Patience", shows Gilbert at his cleverest and Sullivan at his melodic best. The opera is erroneously /regarded in some quarters as a satire on an outworn mode—the mode, or fad, of testheticism, of which, Oscar Wilde was the self-appointed apostle. But it is much more than that. It was more than one man, and his particular cult, that Gilbert had in mind when he wrote his libretto—and in his satire ho raised a monument that the genius of' Sullivan helped to make permanent. None of the Gilbert and Sullivan operas are richer in individual numbers. The swing of "When I First Put This Uniform On," the lilt of "A Magnet Hung in a Hardware Shop," the pure melody of the duet, "Prithee Pretty Maiden," the quaint patter and brilliant fun of "If You're Anxious to Shine in the High Aesthetic Line," of "When I Go Out of Doors," and many others—they are as fresh fo-day as when they were written. Buuthorne followed by his twenty love-sick maidens, Grosvenor gazing at his own image in the glass, the twenty sentimentalists sighing and swaying between'the old love and the new, are as real and as romantically interesting now as when. they first walked on to the London stage. "Patience" has not been played in New Zealand for many years, so it is doubly welcome. The central characters are in the hands of Miss. Strella Wilson in the name part, Mr Chas. Walonn as Bunthorne, Mr John Kalston as Grosvenor. Mr James Hay as the Duke of Dunstable, Mr Lance Fairfax as Major Murgatroyd, Mr Bernard Manring as Colonel Calverly, and Miss Winifred Williamson as -Lady Jane, a character in which she has made quite a hit. On Monday "Yeomen of the Guard" will be staged, "lolanthe" on Tuesday, "Gondoliers" (with matinee) on Wednesday, "Pinafore" on Thursday, "Princess Ida" on Friday, and "Pirates of Penzance" (with matinee) on Saturday, /f. hen the local season will terminate. -