WILMOTT’S COMBINATION.

Poverty Bay Standard, Volume I, Issue 166, 25 June 1884, Page 3

WILMOTT’S COMBINATION.

There was not so good an attendance last night at McFarlane’s Hall, as the excelleno of the entertainment was entitled to. I Byron’s drama “ Blow for Blow,” the audience were treated to acting of no ordinary merit. This evening will be pre anted Gilbert’s mythological play of “ Pygmalion and Galatea.” The outline of tl ' story may be told in a few words. Pygmaiior a sculptor, is entrusted by the wealthy Chrysos v.lth the execution of a Statute. ’The task which at first was the mere execution of an order becomes a work of love. As the beauteous statute approaches completion, Pygmalion carried away by the exceeding loveliness of his own creation becomes enamoured with the statue. On his knees he prays the gods to breathe the breath of life into the exquisite form he has moi ded. The gods pitying, accede to l.’s requr it, and lo ! the statue instinct with life, moves, breathes, - speaks, as Virgil has it, “ Vera in:essu patvit dea.” The heartless charac' 2r and charming naivete of Galatea, her wonder, rer astonishment, her delight at her strange’ surounclngs are beautifully worked out. The interview of Galatea with the rich but ug’v Chrysos is a glorious bit of comedy. But every picture must have its dark side, and now we come to Pygmalion’s outraged jealous wife Cynisca, who has the power and uses it, to strike Pygmalion blind. However, the gods, pitying Pygmalion’s w’oe, interfere, and Galatea becomes once more the cold and silent statue. Pygmalion is restored to sight, and “All’s well that ends well.”