MUSICAL COMEDY

New Zealand Times, Volume XXXVII, Issue 8339, 27 January 1913, Page 8

MUSICAL COMEDY

"THE GIRL IN THE TRAIN/* It was a brilliant holiday night audience which revelled in the plenteous mirth and lively music of “'.The in the Train'* at the Opera House on Saturday evening. The closely''crowded house was just in the right mood to enjoy some rollicking humour, and this it got, together with charming ballads and gay choruses. The comedians “caught on'* from the very rise of the curtain. With everyone in merry mood —this particular Wellington audience evinced no sombre traits—the results achieved were eminently successful. His Excellency the Governor and Lady Liverpool and party from Government House were present, The principals who appeared for the first time fully realised expectations, and favourites of old were seen in new material that showed them in a distinctly attractive atmosphere. In some of the musical comedies presented to colonial audiences within recent years the leading vocalists have occasionally been rather weak, and too much reliance had often to be placed on the comedians to carry a play through. This certainly cannot be said of the present company, which is strong in ail the elements required to ensure success. Mr Talleur Andrews, the principal tenor, comes with an English reputation as a singer who has made a name in opera. The ballads of musical comedy com© lightly to him. He has a rich, full tenor of magnificent range, which is given admirable scope in “The Girl in the Train/* His singing stands out as a fine feature of the production, and the only regret is that more solo work does not fall to his share. But there is the anticipation of other pieces, “Nightbirds," <r The Oingalee/* and “Dorothy," .to which theatregoers will look forward iiuth© hope of hearing him in equally enjoyable singing. Miss Sybil Artmdale, too, is in the front rank in musical comedy and comic opera, and she is not only a cultured soprano, but a graceful comedienne and dancer of much accomplishment, who was accorded a ready recognition of her gifts. Miss Dorothy Brunton reappears with all the brightness and vivacity that have characterised her previous performances, only that as JfTau Van Bnren she seems to do better still. Unlike many musical comedies that are simply a patchwork of vaudeville, “The Gild in the Train** has a more than usually coherent plot. It is in this respect very much stronger than the majority of similar pieces produced here of late years, and is therefore all the more acceptable. The play is an adaptation from the German of Victor Leon, who has placed the scenes of his story in Amsterdam, giving (hem a nice Dutch flavour. The lyrics are by Adrian Ross, author of much good work, and the music is by Leo. Fall, the skilful Viennese composer. This talented colloboration has resulted in the launching of a musical play that has thoroughly hit the tastes of those who like their theatrical fare of a crisp and sparkling nature. The whole of the story is practically told in the first act, where a Divorce Courtroom scene is made to furnish humour of the most diverting description, What happened in a sleepingcar between Karel Van Buren and Gouda Van der Loo ? This the president of the court sets himself to discover, in the interests of the gentle petitioner, Jana Van Buren, who is awaiting any other verdict but that which the court gives. Karel Van Buren had gallantly given up his car to a handsome but temporarily embarrassed actress, who had been unable to get a sleeping berth. A supper prepared by the hands of a loving and trusting wiie happily serves for two instead of one. The accidental slamming of the car door leaves the occupante locked In for the night. And herein rests the basis of the author*s theme. How the fashionable actress succeeds in reuniting husband and wife, with the aid of the president of the court who divorced them, is narrated amidst much picturesque detail.

Mr W. S. Percy lias been seen in many comedy parts. He improves with the veal's. There is no need to import comedians whilst such a clever and versatile artist is available. His President Van Eyck is a performance of high merit, and it is doubtful if ever he has appeared in a character that is at the same time snch an excellent study and burlesque. Ho combines splendidly the, gravity of the president’s position and the humour of the .situations which have placed the participants on delicate grounds. The duet “In the Park’’ with Miss Arundale had to bo repeated several times. Mr Tallenr Andrews has a very fine solo in “Parted," and his duet with Miss Arnndalo, “Charming Little Gonda," and also that with Miss Brunton, “Just Like My Wife," were delightful numbers. Miss Arundale, who played with great dash and spirit throughout, got a most enthusiastic reception for “Sleeping Car.” There was tender feeling imparted to the recitative “Only one Word” by Miss Brunton, who in her duets with Mr Andrews also displayed at its best a voice of much sweetness. Mr Fred Winn, in the broader comedy associated with the part of Cornelius Scrop, found excellent material, and he was particularly successful in his scene in the second act with Willem (Mr Charles Albert), in which he had an opportunity of introducing a number of oddities which the audience unmistakably relished. Messrs Victor Prince, Reginald Roberts, Edmund Sherras. and Dick Shortland, and Misses Celia Ghiloni and Vivian Tallenr (a charming dancer) helped strongly in keeping the merriment up to high-water mark. The incidental music is very efficiently interpreted by an orchestra tinder the direction of Mr Victor Champion. “The Girl in the Train” will continue to delight people until Wednesday night. "Nightbirds” is to he staged on Thursday.