"HUMPTY DUMPTY"

Dominion, Volume 8, Issue 2308, 16 November 1914, Page 3

"HUMPTY DUMPTY"

PANTOMIME AT THE GRAND OPERA HOUSE "Hnmpty Dumpty," a pantomime, in two acts. Book and music bv Harry Taylor. Cast:— King Dazzlum Chas. Howard Widow Buttercup Con. Moreni Huttercup Olive Itobinsou Tiddly Winks Ernie Lashbrook Lolita. rf . Mollie King Hnmpty Dumpty ia a In^ersolo Hflssarac Stella CazaUa V r o, ', r 5 <1 ' •••• Elsie Nicholas Dot OrmeroA ""J 1 Lily Turner In our youth we all knew that eggliko entity "Hurnpty Dumpty," who was alleged by writers of many gailycoloured non-tearable books to have had such a tumble from a wall that the whole of the King's equipage were unable to render him first-aid.. What we did not know until Saturday evening was that the rotund but fragile person who had a great fall really ruled the destinies of the land on account of the talisman that the King had secreted in his shell. It was therefore illuminating to realise that Tiddly Winks the barber, another of our boyhood's memories, was the only one who pushed Humpty frpm the wall, secured the talisman, and with it wealth and rank beyond tlie dreams even, of a barber. Of course, with tlae loss of the talisman the King becomes financially groggy, and utterly dependent on Tiddly Winks for the maintenance of his kingly pomp and circumstance. It is the Widow Buttercup (all pantomime dames are comic widows) who has _ apparently deserted from H.M.S. Pinafore, who in amorous pursuit oil .the barber learns that Tiddly Winks is Humpty's guilty pusher, and whilst Tiddly is not quite sober discovers on his person the magio bauble, which she promptly restores, to His Majesty. Thus the _ King's mana is restored. Tiddly Winks is condemned to marry Mrs. Buttercup, and the latter's son, Jack, arranges a life contract with Tiddly's fair soprano daughter, Lolita. Actually the plot has a little more to do with the pantomime than i's usually the case, and is quoted as it throws •light on dark,places in the tangled undergrowth of tlie literature of the nursery.

"Humpty Dumpty," as presented by Messrs. G. Stephenson and A. Linley, does not pretend to vie with the highest standard in this particular form of entertainment, It is pantomime on a modified scale—yet a clean, compact, weil-groomed, and well-rehearsed show. There are no' outstanding stars to dim the lustre of tho lesser lights, no bewildering stage-trap manoeuvres, and no high-flyers in the vocal sphere, but all work honestly and unselfishly to make the- pantomime an entertainment' —and succeed. Mr. Harry Taylor, who is the sole author, composer, and com-ductor-pianist, is a bold man.; Here and there the jokes have a savour, of yesteryear, but there is no denying that the audience thoroughly enjoyed the foolery provided by the hard-favoured' Mrs. Buttercup. and that amiable tom-cat, Tiddly Winks. Mr. . Taylor's music is melodious,- but conventional. Tho best ~ numbers ■ were the "King of the World Am I,'.' well sung by Mr. Charles Howard; "Rotorua" (in which the Kaiser is burlesqued), and "The Empire is _ Calling," a patriotic song, which is given an excellent setting prior to the fall of tho.final curtain. Tho prelude to the end is the grand transformation scene "Dreamland," a series of half a dozen glittering Christmas card scenes, finally disclosing- tho King]s Palace, \vhere the "March of the Allies" takes place. Each of the nations' (Japan excepted) is represented by a couple of young ladies bearing on'their costumes the national device—the Russian eagle, the French fleur-de-lys, th© Belgian lion, the British lion, and the fern of New Zealand. Following the "Allies" como a squad of Jack Tars, and finally the patriotic tableau is completed by the' disclosure of Britannia, supported by Territorials rampant, in a glow of red fire against the back cloth. _ Finally as the audience is feeling for its hat the performers seek to establish' bonds of sympathy with the audience by hurling to all parts of the auditorium long ribbons of coloured paper, such as aro used in farewelling friends when leaving Sydney or Melbourne in tho Homo steamers. The effect was both novel and pretty. The honours among the principals fell to Miss Olive Robinson, who, as principal boy, had not a great deal to do/ but in what she had to do displayed a pleasing and genial personality, and a robust mezzo voice. Her "Leafy Avenue" and the final patriotic song were two of the most favoured numbers of the evening. Her voice was too powerful for that of Miss Mollie King in the duet "Love that M&kes the.World Go •Round." Con Moreni, who is the hardfavoured, hard-voiced Widow Buttercup, is a good rough comedian and a' very agile dancer. He was successful in his song "Wow Wow," and in the smartish duet,! "Rotorua," ' with Mr. E. Lashbrook. The latter comedian, as 1 Tiddly. Winks, hardly had the measure of the theatre, and many of hij mewings were entirely incomprehensible to the audience. His make-up was quite good, and his dancing is an asset to the company. Mr. Charles Howard was suitably cast as dull King Dazzlum, and sang' his _ one song really' well. Miss Mollie, Kinwas fair, fragile, and distant as Lollta; Miss Stella Cazalla was graceful and clear in speech as Hassarac; and Miss Ida Ingoi'sole shed grief dolour all round as the shattered Humpty Dumpty, _ bracing herself up now and again to indulgo in a merry dance. A competent balUt danced at-' tractively through the. pantomime. A feature in that regard was the Tango Ballet, in which-some new steps were gracefully conveyed.' The one' speciality provided was a good one. Messrs. Lenlion, Hyman, and Lennon, as the Three Hoboes, two comic acrobats, and a crazy contortionist, ai. -as good as anything in their line seen iv Wellington for a long time, and they made a distinct hit.

"Humpty Dumpty" is' well dressed, and the scenery generally is admirable. •It will be played throughout the week.