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MUSICAL COMEDY

"NIGHTBIRDS” AT THE OPERA HOUSE.

It is no exaggeration to say that the J. C. Williamson Company was even more successful in ‘ f Nightbirds” than in "The Girl in tlie Train,” and the audience which packed every part of the Opera House last night gave unmistakable signs of a whole-hearted enjoyment. The name of Herr Johann Strauee guaranteed a musical performance ’of unusual attractiveness, an-d in this, respect the comedy attained a high standard of excellence. A certain tenuity of plot did not in the least detract from the ample mirth and melodics of the production, and the cast was strengthened by the inclusion of Miss Amy Murphy, whoso voice has acquired a richness and flexibility quite exceptional. There are numerous lilting refrains that sing themselves into the memory, and the ballet in the second act, with Mies Vivian Talleur a s principal, is a brilliant scene of nimbleness and grace. The bewitching ‘‘Danso do Fascination” is also introduced, with four sprightly movements that give scope for the exhibition of nearly every kind of lightness and fantasy with the feet.

The story of “Nightbirds” is simple enough, and few complications tax the memory. Count Max Cliquot, who has a charming and devoted wife in the Countess Rosalinda, is fined at a fashionable watering place in Austria for exceeding the speed-limit with his motor. Bather than pay the fine, he chooses to go to gaol. The Countess has a devoted admirer in Gabor Szabo, a Hungarian of high pretensions, whom she met at the Casino. The night before the Count must go to prison, his inend Dr Bemcastler calls to take him to Prince Orloffsky’s bail at the Arum Lily Club. Breaking a promise made to his wife, the Count decides to go, and leaves his wife alone. Meanwhile the Hungarian, who had been sent into the garden, is invited to come vu and sup with the Countess, now thirsting for vengeance on her husband for his neglect. Police come to apprehend the culprit; the Hungarian must personate him; and is accordingly marched off to detention. Ilka, the parlourmaid, repairs to the ball in one the Countess’s dresses, and flirts gaily with her unknowing employer. During one of these scenes, the real Countess arrives, and arranges with the Prince that she will don a mask and remain as a Hungarian princess. Disguised and unrecognised, she fascinates and charms her own husband. To escape trouble owing to the Hungarian admirer having been packed off to prison as her husband, she schemes to have the whole company arrested. A cordon of police surrounds the revellers at a brilliant sapper scene, and they arc all conveyed to the New Age Prison, including the Governor, Hochheimer. Next morning, amid several laughable scenes and tricks to hide Identity, the pair, conscious of each others’ peocsa-diUoes, and placing each other “on the rack” in turn, become reconciled with protestations of undying love.

Greatest among the mirth-makers was Mr W. S. Percy, ns Mattoni, "a rolling stone,” successively private secretary, footman, and warden. His jokes were' Incessant, and he kept the house in roam of merriment. His mannerisms were those of a born comedian, and ho had a great budget of original quips and Stories. Miss Amy Murphy gave a splendid representation as the Countess Rosa-linda—self-possessed, vivacious, resourceful—and her magnificent contralto voice had ample scope in numerous songs. Her work was uniformly excellent and convincing. Prince Orloffsky, a neurotic valetudinarian who neither laughs nor loves, is capably represented by Mr Edmund Sherras. Only when the Count loses a favourite watch to his masked Countess does the absurd Prince laugh. Ha wants his pulse felt to see whether an incident had depressed or amused him. Mr Talleur Andrews ae Gabor Szabo has fire, passion and the ardour of a deathless devotion, expressed in English with a strong Berlin accent. Meritorious work was also done by Mr Fred Winn as "Blind” (a stuttering lawyer); Mr Charles Albert, as Dr Berncastler; and Mr Victor Prince as Hochheimer. While the other parts are capably sustained. Mr Reginald Roberts was a likeable Count, who fibs somewhat clumsily, however. Outstanding numbers in the musical programme were "Every Little Movement has a Meaning of its Own," a pretty song and dance by Miss Arundale and Mr Sherras, the '“catchy" "Blue Danube” song, "I love a Lady Fair” (Mr Andrews), a passionate Hungarian czardas "Homeland,” sung with fine effect by Miss Murphy, and a pretty duet. "How Seductive How Appealing," by Miss Murphy and Mr Roberts. The finals and choruses were very effective. The "danoe of fascination,” arranged by Miss Minnie Hooper, is performed by Misses Vivian Talleur, Flossie Dickinson, Florrie Sutherland, and Ida Lacey. There are four pretty movements, ending with a Russian pose and ensemble. The lyrics are by Arthur Anderson, and the English libretto by Gladys linger. "Nightbirds” is admirably mounted, and Prince Orloffeky’s ball in the second act makes a magnificent scene. The comedy will bo repeated to-night.

Permanent link to this item
Hononga pūmau ki tēnei tūemi

https://paperspast.natlib.govt.nz/newspapers/NZTIM19130131.2.93

Bibliographic details
Ngā taipitopito pukapuka

New Zealand Times, Volume XXXVII, Issue 8342, 31 January 1913, Page 8

Word count
Tapeke kupu
828

MUSICAL COMEDY New Zealand Times, Volume XXXVII, Issue 8342, 31 January 1913, Page 8

MUSICAL COMEDY New Zealand Times, Volume XXXVII, Issue 8342, 31 January 1913, Page 8

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