ORMOND GARRICK CLUB.

Poverty Bay Standard, Volume II, Issue 140, 26 February 1874, Page 2

ORMOND GARRICK CLUB.

The flattering ovation paid by a Gisborne audience to the members of the Ormond Garrick Club at the Music Hall on Tuesday night—in the shape of a crowded house- was, in itself as complimentary to that Corps, as the proceeds were satisfactory, in view of the object for which the performance was given ; and we feel we do but justice to the townspeople in accepting this opportunity to state that, although it may not be always convenient for them to undergo the fatigue of a somewhat lengthy journey Io witness the performance mid to partake of the cheering hospitality of their Ormond friends, the response given to Tuesday evening's invitation is proof that it does not arise either from a want of appreciation of the one, or a disinclination to accept the oilier.

We purposely decide upon generalizing our remarks on the performance just given, as much us possible for two reasons. First : Because we deem it hard to be forced into un unfavorable criticism on that which cannot possibly be avoided, and, second :— Because we arc quite aware that the members of the Garrick Club labored under many disadvantages in playing from off their accustomed boards. Nevertheless we deem it a duty to give a word or two of encouragement (or the contrary) and advice where “ Merit points its due.” The Club were not so happy in the easy rendering of the “ Porter's Knot,” as on "a prior—indeed the first occasion of its representation. Whether it was the newness of the situation, or the inconvenience of the stage properties, or the large size of the Hall compared with the Ormond theatre, we do not know, but a flagging both of action aad speech (not to cite occasions of total absence) was observable throughout. The dialogues often lost their point, either from hesitancy, which allowed the prompter’s voice to be heard above that of the performer, or from an illconsidered judgment as to time and situation. Notably was this case in (what should have been) the lengthy dialogue between Old Samson Burr and Mr. Smoothly Smirk. The disclosure by the latter—a London discounter —to the old man, of the ruin which had overtaken him in the profligacy of his son ; the sudden transition from joy to profound grief in the mind of Burr; the refined, cruel hypocrisy of Smirk in making his demands for £2OOO in paying of young Burr’s debts, combined with the moral drawn by each from the circumstances of the other, are really fine pieces of acting, and offer abundant opportunity for histrionic display, but we regret to" say nearly the whole of this was lost—lost because not remembered ; and we regret it the more as in Mr. Seaton and Mr. Lorrigan the characters have very good representatives. There were, however, some passages artistically rendered, and were generally met with an appropriate approval. The second act showed an amendment on the first, the company evidently getting firmer in their seats, and the curtain fell to a hearty applause. Of the new characters we may shortly mention that Mr. Clements’ Captain Oakum is a decided improvement on Mr. Adams’, while Sergeant Armstrong’s naturalness as Stephen Scatter was sadly missed in Mr. Howard’s personation. The irremediable fault af which we have spoken is that of having no choice between men playing female characters and not playing at all. The part of Mrs. Burr is not calculated to lead anyone into difficulties, and Mr. Galbraith made the most of it; but we thought she looked extremely young by the side of her reprobate son. Alice has all along been unfortunate in a feminine representation, and did it not appear to be ill-natured we should account for Scatter’s remarkably ungallant conduct to this young lady (whom, on one occasion, he accidentally meets as she is going to give a music lesson) by an ever present knowledge of the unpoetic fact that she is a man. For the interlude Mr. Clements sang his favorite character song the “ Bold Soldier Boy ” with his usual humorous drollety ; and an encore brought him again to the foot-lights, in evening costume, when he gave “ Molly Asthore, 1 which was equally well received. The performance concluded with “ Nan the

Good for Nothing.” A ludicrous farce, the inception of which is taken from incidents in real life. The principal part of the fun is extracted from Nan's immense disregard of all authority,and at whom the wholeduty of the audience is to laugh. In such a character a man in petticoats may not be so much out of place; but even the was susceptible to the influences of the “ Master passion,” and had to be cuddled and kissed, which, however, was but placing absurdity in tlie superlative degree. The farce was exceedingly well played and the delighted audience heartily testified its approval. On the whole, the Ormond Garrick Club are to be congratulated on the success which their generosity has achieved. They have established their claim to public support as general favorites; they have made a good impression in Gisborne, and it will be their own fault if it is blurred in any way. We understand nearly £2O has been added to the Langford fund.