A TALENTED SAVOYARD

Dominion, Volume 9, Issue 2600, 23 October 1915, Page 6

A TALENTED SAVOYARD

NTERVIEW WITH MR C. H. WORKMAN

HUMOUR OP W. S. GILBERT

Mr. O. Herbert Workman, who has been i frivolling nightly in light opera.at tho Grand Oporaliouso just nowi is a player; of out-of-the-way interest. Not only is ho as popular a musical comedian as tho London provinces know, but ho has for many years past becji in tho forefront of West End comedians. To tho initiated it) is only necessary to mention that ho was for sixteen years coimccted with tho Savoy Theatre, Loudon, and has played the principal comedy part in every Gilbert-Sullivan opera with tho exception of "lluddigore," and lileo all iruo and faithful Savoyards holds that the comic operas of Gilbert and Sullivan aro the "real tilings," whose charm is not only felt by tfioso who listen, but is perhaps moro acutely appreciated by those playing in them. _ Mr. Workman says that Jack Pointy in "The Yeoman of tho Guard." is a favourite part; and ho would lite very much to play it on this side—with a decent cast. That is usually tho trouble with Gilbert and Sullivan — everyono must not only be a skilled actor and a good singer, Tjut they must havo that suhtlo "Gilbortian sense" to fully convey the humour of tho sceno or line. Jack Point, to his mind, is a fino creation—a poor, hard-up, strolling player and not very brilliant at his business, which is mostly book-learned, as he describes tvhen lie sings—

"It's merely a mat'tor of skill Which all may attain if they will." Yofc_he is glib enough with his quips —comic enough to veil tho tragedy of his hopeless love for Elsio Maynard. Behind all his quips and cranks there is tho tear of self-commiseration—oh, a very notable character this in the Gilbert/ gallery I During tho sixteen years Mr. Workman was at the Savoy lie does not remember any other than tho operas of the Immaculate Pair being played, except "The Rose of Persia" (the music of which was written by Edward German). Mr. Workman subsequently acted as producer for a syndicate which originally produced Gilbert's >. "Fallen Fairies" and "The Mountaineers" (by Eden and Somerville), and "The Merry Monarch."' Unfortunately King Edward died when the litter comic opera was launched, and the syndicate lost £14,000 in six months.

Tiio memories of the happy years spoilt at the Savoy would last out a life-time. "What a charming man Sir Arthur Sullivan was," said Mr. 'Workman. "and with what fino-point gonius did no give voice to Gilbert's jokes and Gilbert's poetry, too. Sir William, on the other hand, was all very smooth and sweet when you gave him his way, but could be very terso when the contrary was the case. Tho only real failure I think he made was 'The Grand Duko' (in which Mr. Workman appeared). In every opera he wrote, Sir William used to work out the wholo scheme of the opera, every movement of tho principals and chorus, with tho aid of a. model stage and puppets, but he did not do that in tho caso of "Tho Grand Duke,' and,, well—anyhow, it tailed."

Gilbert's Repartee, "Gilbert saw the humorous side of everything—in a flash. He would give a guifaw of laughter after someone had made quite an ordinary remark, . an 3 would soniotiruos explain why. Invariably tho thought was worth tho guffaw. Wo wero rehearsing 'Tho Yeoman of the Guard' on one occasion at the Savoy, and, you will remembor, Jack Point has in one part to kiss I'ltoebo and Elsio in time to the music. Wo wore rehearsing this part, when Sir William from,the stalls said: 'One moment, Mr. Workman; you know how prudish our audiences aro at times. I chink' there's just a little too muoli kissing.' "'Then would you cut out the last lot?' I asked.

" 'I wouldn't,' returned Sir William, 'but I must ask you to!' "Another good story of Gilbert's humour is that ono where a very shortsighted old gentleman mistakes Sir William, who lis standing at tho club door, for a waiter, and says':— " 'Hi, you there! Call mo a cab!' "'You're a four-wlieeler I' said Sir William, importurbably. " 'How —what do you mean, Sir f * stuttered tho old gentleman. . " •Well, you asked mo to.oall you a cab,' said Sir William, 'and I couldn't call you handsome!' "Another very woll-known joke is whoro a fussy old society lady was speaking to Gilbert at an 'at homo.' After' asking if Sir Arthur Sullivan was still composing, she said: '■* 'Then there's another gentleman named Mendelssohn, who, I believe, is very clover. Is he still composing?' 'No, Madam,' said Sir William, with great reverence, 'he is decomposing I'

His First Great "Chance." Mr. Workman states that to got his first chance when "His Majesty," an opera written ljy Sir Francis Burnand Cof "Punch") .and composed by Sir Alexander Mackenzio was being played. He noticed that Mr. George Grossmit'h, senr. —then very old—was finding some difficulty in retaining the lines, and as there was no authorised understudy, ho quietly nndorstudied the part. "Grossmith plaj'.ed the part threo nights—thon I hopped in. That was my first big start iii London, and I liavo had good luck over since. I was the original Bumerli in 'Tho Chocolate Soldior,' which ran for two year's in London. It was owned by Mr. Fred. C. Whitney, an American, who leased tho Lyric Theatre, because tho opera had scored succosses at tho theatre of that name both in New York and Borlin. lle made £50,000 the first year out of tho opera. Afterwards ho took over a long lease of tho Waldorf Theatre, it the Whitney Theatro, produced 'The Spring Maid' and 'Baron Trenk,' and managed to lose £30,000 in six months;, 'The Girl in the Taxi,' which is German, not French, in origin, was originally put on as a stop-gap by Jlichaol Faraday, and it ran thirteen months. I originally camo out to J. C, Williamson, Ltd., for six months to play in this pieco only, but I like the colonies immensely, and was only too glad to renew ' his contract, particularly as things theatri. cal aro not too bright' at Home."-