With the Amateurs: Auckland's Operatic Society

Sun (Auckland), Volume II, Issue 394, 30 June 1928, Page 17

With the Amateurs: Auckland's Operatic Society

(Written for THE SUN by

FRANK RYAN.

T is the first night. In the wings stands the stage manager, despite his air o£ confidence rather nervously awaiting the first few bars of the opening number. At the right moment he fervently hopes it will be the right moment —he will ring in the show. The ladies and gentlemen of the chorus betray some uneasiness. It is nearly 10 minutes since they received the peremptory call, “All on stage, please!’’ For 10 minutes they have stayed more or less “put,” and the strain and the anxiety is beginning to tell. Cluttering up the wings are principals, who a few nights hence will be content to await their calls in the more comfortable surroundings of their dressing rooms, but to-night nerves are at high pitch. ... It is the first night of an amateur production. "The show will go all right; it was i bad rehearsal,” mutters the comedian. Ten years ago—or was it twenty—he played the Duke of Plaza Toro, and he still affirms the principle J>f “a bad rehearsal, a good show.” "Anyhow,” he adds, “she’s a good Jiouse, and that’3 something.” Nerves are certainly a bit on edge [Three months have elapsed since the company first assembled, and sat row

Prologue

upon row to sing the score. Then came the selection of the cast, and principals’ rehearsals. Finally, the orchestra, the chorus, and the principals were linked up, and the show began to take definite shape. Probably only the producer and some of the more experienced principals could visualise it in its complete form, so haphazard and “undressed” do ordinary rehearsals appear to the uninitiated. There were few who did not know how it could be done better, and the almost general opinion was that it would not be ready in time for the date booked. The last act was the trouble—the last act always is the trouble, so the company thinks—but it is always there:. The overture has ended, and at exactly the right moment the stage Manager has rung up the cloth, disclosing to the audience a bright and animated group of village maidens,

krm hands, soldiers, and serving ® a ids, Despite preliminary nervous**ess > they reacted to training, and in on the beat—as they generally do. They have got the spirit of thing now—grease paint, footligtlts, and a crowded house.

Even the nervous principal taking a part for the first time finds it is not quite so bad as she imagined. In the first few ghastly moments, when stagefright attacks so strongly as almost to paralyse the brain, one finds oneself almost automatically picking up the cues and speaking the lines. With growing confidence the novice rea-

Uses that he “knows it backwards.” In his first number he discovers that nervousness and the inspiration of the house has lifted his voice—it has a ring to it which feels good. After that he really gets to like it. Later he will learn to love it, and then it is in his blood for ever. Despite the bugbear of rehearsals—which, as the production date draws nearer and nearer, become more and more frequent —there is a fascination in the staging of amateur productions which has a very subtle influence. Apart from the work itself, which to the principals and those behind the scenes is particularly heavy, serious responsibilities are involved. Financially, there is always the risk of a failure, particularly in the larger centres, where the supply of relations and friends is Dot sufficient to guarantee a “house,” and where amateur organisations have to compete with professional companies in catering for a public which, for the most part, is concerned only with the merit of the show. Public support for a local production is no longer a factor to be relied upon, and this perhaps is a blessing in disguise, resulting as it has in a higher all-round standard. Compared with professional undertakings, producers in the amateur field labour under great disadvantages. Expenditure has to be carefully watched in order to make even a small profit to go to the building up of that sadly-needed reserve fund to ward against the inevitable rainy day. Discipline, which goes hand in hand with efficient training, cannot be enforced to the same extent with voluntary service, and the same talent obviously cannot be commanded. Casting is an ever-perplexing problem. In some centres, leading roles have been played by artists, who, although trained, vocalists, and experienced on the concert platform, have

had no previous stage experience. To professionals, this would be an impossible risk to take, but amateurs have taken it, and have won through. In some parts of the Dominion, amateur organisations work year after year without one understudy. An acci-

dent to a principal, or illness on the eve of a production, would upset everything. Yet it has happened, and the “business as usual” sign has still gone up. Despite the problems that confront producers and executives; the fears and doubts that assail principals; and the nervousness of the chorus lady

who leads on, they still persist in it. The fascination of the footlights, even with amateurs, is indeed no idle term. After all, it is great fun! Revivals and Pr'emieres In days gone by, in Auckland, operatic societies, like many other

musical organisations, flourished and waned. Then came a long break, and although individual performances were given from time to time, particularly during the war period, it was not until

1919 that an established operatic society again came into existence. On March 27 in that year a meeting of those interested in the formation of an operatic society was held in the offices of the E. and F. Piano Agency, Ltd. There were present Mesdames

Ernest Davis, Archdale Taylor, Sutherland and Messrs S. Coldicutt, W. J. Crowther, A. M. Fergusson, H. T. Goldie, J. H. Jackson, A. V. Hunt, B. Kent and C. B. Plummer. At a later meeting the following officers were elected: President, Mr. F. Earle, K.C.; secretary, Mr. W. J. Crowther; treasurer, Mr. H. T. Goldie. Several months later Mr. Crowther resigned and Mr. Goldie was appointed to the position, an office he has held ever since. Among those who interested themselves in the formation of the new society, Mrs. Sutherland, Mrs. Ernest Davis and Messrs. Earle. Archdale Taylor, T. Mandeno Jackson and George Reed had all taken an active interest in previous activities, and their assistance was gladly accepted in the launching of the new organisation.

The first production embarked upon was “The Gondoliers,” with amateurs one of the most popular of the Gilbert and Sullivan repertoire. Then followed in succession “The Geisha,” “Country Girl,” “Our Miss Gibbs,” “Tutankhamen,” “San Toy,” “The Abbess of Whitby,” “The Arcadians,” and “La Mascotte.” From the outset Mr. Colin Muston had charge of the musical side of the productions, with the exception of “Tutankhamen” and “The Abbess of Whitby,” in which the musical direction and production were in the hands of Messrs. E. Waters and L. Leary, the composer and author respectively. On the production side, Mr. Theo. Tresize and Mr. W. J. Crowther have been largely responsible for the various successes achieved by the society. Mr. J. Hulme (nfie Miss Eva Moore) and a sister of Carrie Moore, the wellknown Gaiety favourite, was also one of the producers, successfully staging “San Toy” for the society in 1924. The success attending the newly reorganised society’s first production was the means of firmly establishing it upon its feet. Sullivan’s dainty and expressive music, and Gilbert’s delightful quips were admirably presented by a strong cast, and it was unanimously voted one of the best amateur performances seen in Auckland for many years. The cast for this production was as

follow: Duke of Plaza Toro, Mr. George Warren; Duchess of Plaza Toro, Miss M. Barr; Casilda, Miss Madge Higgins; Luiz, Mr. Robert Geddes; Don Alhambra Del . Bolero, . Mr. Frank de Guerrier; Marco, Mr. Norman Kent; Guiseppe, Mr. Cliff Crowther; Gianetta, Mr. Patrick Cole; Tessa, Miss M. Burns; Antonio, Mr. Leo O'Malley; Francesco, Mr. Horace Abel; and Fiametta, Miss Ivy Woods. It is interesting to note that Mr. Robert Geddes, who in the baritone role of Luiz, was making his first appearance in principal roles, afterwards joined the ranks of the professionals, and is at present meeting with considerable success in London, playing lead in the English provincial tour of “Rose Marie.” Another artist who figured prominently in the society’s productions and who also made good on the stage was

Miss Nora McManus, whom Aucklanders will remember as the Madame Sophie of “The Country Girl,” and as the winsome “Mary” of “Our Miss Gibbs.” It was as Mary in the society’s performance of “Our Miss Gibbs” that Miss McManus first attracted the attention of J. C. William-

son, Ltd!, and an engagement quickly followed. The society selected “The Geisha” for its next production, and then followed “The Country Girl,” one of the most popular of the old type of musical comedies. Although staged in the comparatively modern times of 1921, and despite the handicap of the rather artless story, typical of the early days of the present century, it proved a great success, due largely, perhaps, to the tuneful music of Lionel Monckton, who is still affectionately remembered by a large and by no means inconsequent section of the theatre-going public, which still dearly loves an occasional revival of the glories of the past. It proved an unqualified success, “Try Again, Johnnie,” “Coo,” “The Rajah of Bhong,” “Under the Deodar,” “Mollie the Marchioness,” and other old

favourites proving their evergreen popularity. The cast on this occasio included Miss Evelyn Lynch, a well-known Auckland girl, now resident in Australia, who took a prominent part in the musical life of the city. Others in the cast were Miss Ethel Rae, a very consistent and useful performer who recorded another successful appearance last season in “La Mascotte”; Mr. Len Keven (Geoffry Challoner), Mr. A. Warbrick (the Rajah of Bhong), Miss Nora McManus (Madame Sophy), Miss Beryl Nettleton (Nan), Mrs. Patrick Cole (Princess Mehlaneh), Mr. Alan Hobbs (Sir Joseph Verity) and Mr. Cliff Crowther (Barry). It was in the next season that Miss Lynda Murphy first made her appearance with the Operatic Society, playing the role of Madame Jean in “Our

Miss Gibbs.” The society still has the services of Miss Lynch, Miss McManus, Miss Rae, Mr. Keven, and Mr. Crowther was, of course, playing Timothy. For an amateur organisation it was a “strong team.” Not content with merely reviving the old favourites, the society in 1923

took the bold step of launching out on an entirely home-made production. This was “Tutankhamen," described as “A Lyrical Echo of Ancient Egypt.” The author and producer was Mr. L. P. Leary and the music, with the exception of the final chorus, which was written by Mr. S. Harris, was composed by Mr. Eric Waters. The production was a complete success, and in addition to winning instantaneous popularity in the city, was very favourably commented upon by several wellknown figures in the professnonal stage world who made a point of witnessing its performance. Although staged scarcely five years ago the occasion was sufficiently memorable to warrant the publication of the cast, which was as follows:—George Washington Blatant, Mr. W. D. Coltman; Abdul, Mr. R. Gieson Howard

Karter, Mr. J. Gordon; Lady Veronica Blatant, Mrs. L. P. Leary; Tutankhamen. Mr. M. Ballance; Seti, Mr. R. Simmers; Iphphon, Mr. J. E. Snell: Tji, Miss E. Rae; Nepheret, Mrs. Dar- ■ gaville; Annubis, Miss Lynda Murphy: j Zinonfi, Mr. D. Flood; Patriarch, Mr. j V. Hunt; and an English tourist, Mr. ; J. McCallum. The solo dancers were j Miss B. Edwards, Miss M. Andrews, Miss O'Sullivan and Mr. A. Hart. The costumes, which were an outstanding feature of the performance, were designed by Mr. W. J. Crowther, who has a splendid record of service in the history of the society. Miss Cecil Hall was the ballet mistress, the scenic artists were Mr. J. Haley and Mr. E. J. R. Tole, and the lighting effects were by Mr. C. Crosher, whose name figures repeatedly in the records of the society for excellent services rendered in this connection. Two years later another work from Mr. Leary’s pen was produced for the first time at His Majesty’s Theatre. Previously Mr. Leary had taken for his theme the splendid pageantry of ancient Egypt, but for this second production, “The Abbess of Whitby,” he broke entirely fresh ground with an historical drama of Anglo-Saxon England. The music was again composed by Mr. Eric Waters, and another very happy collaboration resulted. A distinct compliment, both to the collaborators and the performers, was afterwards paid by Mr. Templar Powell, the producer of “White Cargo” —himself a New Zealander—who, in an interview given to an English paper, said that one of the best things he had seen for several years was “The Abbess of Something”—he couldn’t quite remember the title, which he saw played by Auckland amateurs. Following “The Abbess of Whitby” came “The Arcadians,” another very popular pre-war musical comedy. When first produced in 1909 it ran for 809 nights, for those days a re-cord-breaking run. Its popularity had by no means waned in 1920, and an excellent reception was accorded this tuneful play. Last year the society produced the comic opera “La Mascotte,” the success of which is still fresh in the minds of the Auckland public. As a result of the financial success of “Tutankhamen,” the way was made clear for the society to acquire a hall of its own for rehearsals and general headquarters. The old College Rifles drill hall situated in Grafton Road was purchased and the society immediately set about converting it into a miniature theatre, complete with stage and dressing-room accommodation.

This proved to he splendid foresight on the part of the executive, as apart from the saving effected in rehearsal costs, the hiring of the hall, which is in constant demand for dances and other functions, brings in a steady revenue. As regards equipment, as well as in the standard of its productions, the Auckland Society can well lay claim to being the premier organisation of its kind in New Zealand. Since the reorganisation in 1919 the society has collected an extensive wardrobe, and quite a substantial library of scores,

as well as scenery s&itable for a wide range of work. The hiring-out of scenery and costumes for various musical plays has grown into an important part of its activities, this organisation being called upon every season to supply material to kindred societies in all parts of Xew Zealand. Epilogue And so runs the record of the Auckland Operatic Society since its successful revival in 1919. Truly an excellent one. Nine first-class productions have been staged, and included among them

were two musical plays written, produced and staged entirely by Aucklanders, which, if adapted for smaller casts, would prove suitable for any professional company. Not all the credit, however, is due to those who have appeared in the various productions. Behind the scenes has been a band of tireless workers headed by Mr. \V. Wallace Bruce, chairman of the management committee, Mr. J. H. Jackson, treasurer, and Mr. W. J. Crowther, who, as a member of the committee, and on various occasions, as costume designer, stage manager and property man, has been the handy man of the organisation. Of the work of the secretary. Mr. H. T. Goldie, much could be written. Despite the calls on his time made by the various organisations and local bodies with which he is connected, he has found time to devote nine years of excellent service to the society—service that could not labought. To these enthusiasts has come the reward of success—the satisfaction of something attempted, something done. For the players there is personal success ... blue spotlights and the plaudits of a crowded house. Happy hours, these, but only too fleeting. Far too soon they will become only pleasant memories of shows long since forgotten—“when other players say their piece, and others sing your song”; when, for the old performer . . . The play is done; the curtain drops. Slow falling to the prompter's bell.