“THE GEISHA”

Dominion, Volume 15, Issue 25, 24 October 1921, Page 9

“THE GEISHA”

WELLINGTON AMATEURS GIVE CAPITAL PERFORMANCE “The Geisha,” a light opera in two acts, music by Sydney Jones and Lionel Monckton; lyrics by Henry Greenbank; libretto by Owen Hall. O Mimosa San ... Miss G. Helen Gard’ner Juliette Diamant....Hiss V. Marion Newman Nami Miss Daisy Isaacs O Kiku San Miss Ivie Shearer O Hana San Mss Colleen Hayward O Kintoto San Miss G. M. Ridler Komuraaki San Miss Amy Ross Lady'Constance Wynne... Miss Leah Wilson S" ' Worthington ... Miss Then Malcolm Hurst Miss Kathleen Oiaoroft Mabel Grant Miss Doris Sullivan Louie Plumpton Miss Molly Plimmer Mollv Seamoro Miss Eileen Clifford Reginald Fairfax Mr. J. Elliott Dick Cunningham Mr. Gilbert Tinney Arthur Cuddy Mr Leigh Dew George Grimstono Mr Lionel Inch Tommy Stanley Miss Linda Post Captain Katana Mr. ~\V. Gee-Tpylor Takamine Mr. H. P. Poole Wun Hi Mr. Allan Fuller Marquis Imari Mr. Ken. Luka

It is now approaching nine years since “The Geisha” was last performed in Wellington, and on that occasion it was also an amateur production; indeed, the original performance of the present Amateur Operatic Society. Since then the society have given an opera a year, and the manner in which they have produced and performed has been such that the public has confidence in the organisation to give uniformly competent entertainment in the domain of light opera. “The Geisha," as presented on Saturday evening before a brilliant audience, which included Lady Jellicoo and a large party from Government House, 'was no exception to the rule. Although the opera was familiar to most playgoers, its lilting, “tuny” music, the entrancing beauty of the scenery and dresses (which made a ■ moving kaleidoscope of colour), the clever individual performances, tho fine grouping effects and "business” of tho chorus, and the ingenious ideas in lighting, made up a mise en scene that was quite irro sistible. Under the smoothing influence of a few nights’ experience th? performance should prove up to tho highest standard the society has attained. The manner in which it was received on Satday, if this can bo taken as a criterion, should ensure a successful season, pleasurable to the public and profitable to the society. There were, of course, hesitancies in dialogue and business, the natural concomitants of first-night selfconsciousness and anxiety, but what struck ono was the even quality of performance as far as the principals were concerned. There were no misfits no square pegs in round holes—and one end all worked unselfishly for tho attainment of the best results under the direction of that veteran master producer, Mr. Tom Pollard, who originally introduced tho opera to New Zealand about a quarter of a century ago. Without .belittling the efforts of anyone else, it is to Mr. Bollard that tho lion’s share of praise must bo given for the success of “Tho Geisha,” and, indeed, for the excellent standard always achieved by local amateurs. It has to bq remembered that his guidance is responsible for every intonation, gesture, add movement on the part of chorus and principals. If the people concerned can competently express tho Pollard idea, and thereafter throw in the weight and charm of their own personalities, success must come, but the foundation of whatever success is attained is laid by Mt. Pollard. “Tho Geisha” has quite a plot. This comes as a discovery after much invertebrate musical comedy and revue. It all comes of Lieutenant Reggy Fairfax finding the fascinations of “The Teahouse of Ten Thousand Joys” and its champion geisha (O Mimosa San), irresistible, even though his fiance, Molly Seamore, is, with a party of English ladies, holiday-jnaking in the pierce. Lady Constance Wynne, who is the chaperon of the party, hearing of the tea-house frivolity of Reggy, warns him of his folly without much effect. It happens that the Marquis Imari, the No. 1 Pooh-Bah of the town, has also eyes for Mimosa, and deeply resents the attentions of “English foreign devils.” He informs Wun Hi, the keeper of the tea-house, of his intention to marry Mimosa San, and to keep the English officers from poaching On his preserves; but they pay well, so Wun Hi takes little notice until one day* Imari, making an unexpected call at the tea-house, catches Fairfax at tea with Mimosa, and forthwith sells him up, geisha and all. Th the meantime Molly, heard of her lover’s waywardness, I resolves to pay him back. In order to deceive him she poses as one of the geisha, and When the sale of the apprentice girls comes on, is knocked down for a. trifling sum to Imari, who is defeated in his plan to buy Mimosa, through Lady Constance stepping in and buying the girl over his head. It is Molly’s escapade which makes the fun fast and ■furious in the second act. She is retained as the bride-to-be of the gallant Imari, who means to marry her, despite the blandishments of a wily French girl, who is doing her level best to vamp tho impressionable Marquis. It is Mimosa who sets things right. She gets Molly to pretend to love the Marquis and alien the marriage arrangements to proceed, and, at, the last moment, ■ pops Juliette Diamant under a bridal veil. Thus is Molly released. Mimosa finds her fate, in Katana, and the Marquis his ErancoOriehtal vamp, whilst Wun Hi revels idiotically with all concerned. Long ago Miss Helen Gard’ner established her right to be, considered every bit as accomplished as the best of professionals, and. in no character does her instinctive daintiness and Charm, her turn for pathos, and her picturesqueness, as well ns her vocal and elocutionary gifts, entitle her to such a place as does her O Mimosa San. Her every attitude and pose ■ is thorough characteristic. She is for the time being the forlorn little' singing girl, apparently tormented with conflicting emotions such as are only given to geislha in comic opera. She quite won her audience in those exquisite numbers, “The Amorous Goldfish," “The Geisha’s Life,” and the' “Jewel of Asia," encores being insisted upon in each instance. Another brilliant and piquant performaneb was that of Miss Eileen Clifford as Molly Seamore. Petite, vital and quick to £eo and express every point naturally, Miss Clifford made Molly a delightful English girl, keeping away, too, from tho farcical burlesque that is offered When Molly romps round as Roly Poly San. She'was happy in the toy duet with Mr. Elliot, cleverly infused an element of pathos in “A Monkey on a Stick,” and was delightful in “The Interfering Parrot" (in which she mimicked the hoarse cackle of a talking parrot ’with absolute fidelity). Tho gubtlety of Juliette Diamant was missed to some extent by Miss V. Marion Newman’s disposition to wear a perpetual smile when speaking. If she were quieter, more intense, and smiled less, tho role would be more effective, as this French girl is a. designing hussy who is leaving no stone unturned to land tho Marquis. Miss Newman looked well and sang sweetly. Mr. J. Elliot made a manly, if a rather serious, Lieutenant Reggy Fairfax, a role to which his ingratiating personality, easy carriage, ami pleasantly-tinibred baritone voice were admirably suited. His songs “Jack’s tlio Boy for Work” and “Molly Mino” were both encored. Mr. Gilbert Tinnev was forcible and breezy as Dick Cunningham, and Messrs. Leigh Dew and Lionel Inch, were also in the picture as naval officers. /Miss Linda Post as Tommy Stanley (midshipman) was a 'cuty not to be resisted. in the sphere of broad comedy Mr. Allan Fuller had the field to himself as Wun Hi, and rollicked through it in good style! Mr. Fuller is always comical in such parts, and his dancing, gags, and by-pluy caused immense fun throughout the evening. Mr. Ken Luke showed a distinct advance upon his work in “The Country Girl.” His make-up and general appearance as the Marquis Imari were capital, and he played the part with a dignity, strength, and humour quite excellent. Captain Katana was played by Mr. W. Gec.-Taylor, and Takamine (the auctioneer) by Mr.

H. P. Poole. Miss Daisy Isaacs made a dainty figure as Nami, and Miss Leah Wilson just requires to assume a little njore dominance in manner to be the real Lady Constance Wynne. She was too much one of the girls. The English group, who looked charming, were played by Misses Thea. Malcolm, Kathleen Cracroft, Doris Sullivan, and Molly Plimmer. and the speaking geisha by Misses Ivy Shearer, Colleen Rayward. G. M. Ryder, and Amy Ross. The work of ihe chorus is-io be very highly commended, Hibugh one could reasonably expect ft greater volume of tone. A feature of the production was the way such a large chorus was manoe’Hvred in a small space to make so many beautiful stage pictures. The fan play was always neatly and cleanly done, and the grouping was artistic throughout. The scenery was cleverly designed and skilfully painted by Mr. Beck, the basic theme, so characteristic ,of Japan, being cherry trees in full blossom. Under Air. Bernard Page tho orchestra did good firstnight work. There were occasional differences in tempo between those on tho stage and the orchestra, due to ft disposition on the part of tho vocalists to allow their fancy to wander instead ot concentrating on the beat, but that will not last. Mrs. James Hannah was concerned in the designing of the pretty dresses, and Miss Dorothy Saunders taught the various dances. “The Geisha" will be performed nrgntly until next Saturday evening.