MR. RIGNOLD’S BENEFIT.

New Zealand Times, Volume XXXIV, Issue 5554, 16 January 1879, Page 3

MR. RIGNOLD’S BENEFIT.

Mr. Eignold scored another complete and undoubted triumph at the Imperial Opera House last evening. It was the occasion of the talented actor’s farewell benefit, and the crowd of admirers who rallied round him must have convinced Mr. Eignold that the people of Wellington can discriminate between a good and a bad article. In Mr. Eignold they have found an actor of rare histrionic powers—indeed, the most pleasing exponent of the drama that has ever travelled this way—and the fact that the spacious auditorium was crowded in every part, and that the enthusiasm was unbounded throughout an unusually long performance, were clear proofs that Mr. Eignold holds a firm and lasting hold on the sympathies of the public. Appreciation could not be more strongly pronounced, and go where he may his visit to this city must ever form one of the most pleasing reminiscences in a career which promises such genuinely successful results. Mr. Eignold was not to be outdone in generosity, and we presume it was by way of return for the liberal patronage which the public have bestowed on the performances at this place of amusement during the present season, that so full and attractive a bill of fare was placed before them on the occasion of his benefit. The programme was such as to enable the audience to see Mr. Eignold in two parts on the same evening so diametrically opposed to each other as to convince everyone of the versatility of his powers. This had been already shown by the contrast between such parts as “Henry V.” and “Amos Clarke,” but not nearly in so marked a degree as was afforded by the assumption of Colonel Challice, and immediately afterwards of William in that ever popular nautical drama of Douglas Jerrold’s, “Black-Eyed Susan.” In each he acquitted himself to the utmost satisfaction of his audience, whom he carried most completely with him from first to last. The curtain rose to a farce entitled “ Alone,” written by Messrs. Herman Merivale and Palgrave Simpson. Mr. Eignold played with enormous success in this piece when it was first produced in London, and it held possession of the stage for no fewer than 150 nights at the Court Theatre. The plot of this comedy-drama (a name which best describes it) illustrates the careful results of the schemes of that most detestable and detested wretch in creation—the anonymous letter written. A Colonel Challice has a pretty daughter, Margaret, domiciled at a boarding school. She has a bosom friend in a schoolmate, Harriet Norton. Captain Bertie makes the acquaintance of the girls, and falls incontinently, but honorably, in love with Margaret, and in his turn is secretly loved by Harriet Norton, who writes an anonymous letter to Colonel Chalice, stating that Margaret has grossly misconducted herself with Bertie. At the same time she writes two other letters —the first, as if from Margaret, to Captain Cameron, telling him to have a carriage in readiness at the school at a certain time ; and the other to Margaret, as if from her father, tolling her to return homo at once, as he was very ill. Margaret goes away In the carriage to find only Captain Cameron. The colonel arrives in hot haste, only to discover his daughter gone, and in his mad rage he curses and discards her; while the innocent girl, with a lost reputation, hates Bertie, the supposed delinquent, with a deep hatred. The colonel retires to a small country seat and becomes blind, and is surrounded by people who have designs on bis money, when poor Margaret secretly returns to, her blind father as Maud Trevor, a reader, and finds her way to his heart again. The play then shows the little intrigues of those interested to spoil the intimacy between the colonel and Maud, the subsequent discovery of the unconscious share which Bertie Cameron has had in the wretched business, the revelation of Margaret’s identity to the colonel, to whom full explanations are made, and who is restored to sight. It is understood that Bertie and Margaret are to be married; they receive the colonel's blessing, and the denouement is one of happiness to almost everybody concerned. “Alone” is one of the few pieces of the present day depending for public approval more upon its real literary merits than upon such extraneous aids: ns stage mechanism and scenery. It is so singularly devoid of either that the one stage Betting answers every purpose, and the drama, though divided into three acts, but performed last evening in two and a couple of tableaux, might be presented in one act if it were so determined. “ Alone” is very smartly written; the language throughout is good, and the sarcasm biting and incisive. A current of pathos runs side by side with a flow of comedy, and the latter never obtrudes itself to that degree to spoil the effect of the former. This is a characteristic which very few modern dramas possess, and in this particular instance the blending of the two qualities of pathos and light comedy results in a most delightful combination. In this manner, while one moment the audience may be almost moved to tears, they are the very next convulsed with laughter by the light comedy touches of Stratton Strawles, and what in art is termed the light and shade of a picture are shown to uumistakeable advantage as the action of the drama proceeds. As Colonel Challice, Mr. Eignold was so far successful as to entirely divest himself of his individuality. Ho not only looked the retired colonel, but acted in his usual natural stylo throughout. Where the general result was so good, it would be difficult to say where success was most conspicuous, but if a distinction can be made, it may be stated that in those scenes where rage, was the passion to be depicted, Mr, Eignold Was thoroughly realistic. Miss Jennie Watt would become a great favorite in Wellington if her stay were prolonged, and the opportunity was afforded her of appearing in such parts as those she has so creditably filled in “ Henry V.,” “Amos Clarke,” and again in "Alone ” last evening. She has a most pleasing appearanco on the stage, a most agreeable voice, and a keen perception of the characters she is entrusted with. As Mrs. Thornton she made a great hit. Her impersonation was a most graceful performance, and she captivated the good opinion of the audience by the piquancy she evinced in those scenes, particularly where she exchanged pleasantries with Dr. Wicklethwaite. Mr. A. Ellis acted capitally ns Stratton Strawles. He convulsed the audience in the part, and_ the manner in which he delivered a favorite expletive was sufficient in itself to provoke roars of laughter. This was decidedly one of the best acted parts in the piece, and no praise could be too flattering to Mr. EUis. Miss Annie Major, considering her stage, experience; got through the part of Maud Tfeyor wonderfully well, especially in the scene where she reads to the colonel from “King Lear.” Mr. H. H, Yincent took the part of the Doctor with infinite credit, and as Bertie Cameron Mr. Hooper played the lover moderately well, At the end of the piece, Mr. Eignold, Miss Watt, Miss Major, and Mr

Ellis were called before the curtain and rapturously applaueed. “ Black-Eyed Susan” was conspicuous for Mr. Rignold’s very happy assumption of the part of William, and for Miss Novato’s acting as the heroine. The beneficiaire rendered the dance scene more natural still by himself playing the hornpipe on the violin, and afterwards dancing to the same tune, played by the leader of the orchestra. We have seldom known an evening’s entertainment in this city to have given such unqualified satisfaction, and the audience testified their delight by frequent and hearty expressions of approbation. The same bill will be presented this evening, when the company will make its final bow to the public, as they leave for Christchurch to-morrow afternoon.