MUSIC, SONG AND DANCE

Taranaki Daily News, 18 November 1926, Page 5

MUSIC, SONG AND DANCE

COMiC OPERA “DOROTHY” SEASON OPENED AT ELTHAM. A MERITORIOUS PRODUCTION. (From Our Own Reporter.) “Nothing is so contagious as entlsu- ' siasm,” wrote Bulwer Lytton. -It is a real allegory of the tale of Orpheus; it moves stones, it charms brutes. Enthusiasm is the genius of sincerity, and truth accomplishes no victories without it.” With such a definition as a guide, the tremendous enthusiasm displayed by a packed' house in the Eltham Town Hall last night may be taken as direct evidence of,the appreciation of and compliment, to the one hundred artists who participated in the successful production of the entrancing comic opera "Dorothy” as interpreted by the Elthani Musical Society. There could be no mistaking “the genius of sincerity” in the way the applause swelled out, or the spontaneous nature of the delight so heartily shown. Indeed, the opera was keenly enjoyed by everyone and fully merited the enthusiasm with which it was received. Last night crowned with success the result of weeks of arduous rehearsals, the final three of which were under the direction of the official producers, Messrs. Cardston and Baxter. “Dorothy” is a comic opera in three acts, and,'as the initial venture of the newly-formed Musical' Society, was a somewhat ambitious production. It is redolent of eatchy airs and inspiring solos. Its demands on the principals include a good deal of choral work. It requires beautiful scenery and gorgeous costumes of varying types. It requires sustained finals and careful enunciation to disclose the plot, and, above -all, it depicts a historic period necessitating exact knowledge of the mannerisms and customs of the day. All these essential features of success are present, and among the whole cast there is not one that could be termed weak. The society, in fact, is heartily to be congratulated upon its achievement, and the musical director (Mr. A. Beesby) deserves special commendation, as it was the first time he had directed a company as well as conducted an orchestra through such a lengthy and difficult libretto. The producers also have reason to feel satisfied with their work, and should now be content to leave the rest in the hands of the public to appreciate their art, and experience. The opera opens on a joyous scene in a Kentsih village where the hop-picking season has just been completed. Dorothy Bantam, daughter of Squire Bantam of Chanticleer Hall, and her cousin, Lydia Hawthorne, join in the festivities, but are displeased to find that Phyllis Tuppitt, a girl friend, has promised to marry Tom Strutt, a village yokel. Dorothy and Lydia express their feelings and openly declare that they themselves intend to remain single. The same day Geoffrey Wilder, accompanied by his friend Harry Sherwood, arrive in the village close by, followed by the humorous bailiff Lurcher. Masquerading as the daughters of the innkeeper, Dorothy and Lydia attract the young men, and Geoffrey, now deeply in love, determines to disobey the squire’s mandate that he must marry Dorothy or lose an expected inheritance. To test the value of the young men’s protestations, Dorothy gives her ring to Geoffrey and Lydia hers to Harry, extracting promises that the rings will be preserved till returned at a future meeting. ‘ THE PLOT THICKENS. Meanwhile Bailiff Lurcher serves his warrant on Geoffrey, but is in danger at the hands of the villagers when he also attempts to serve another upon an old woman of the village. He is rescued by Geoffrey and Harry, and agrees out of gratitude to help Geoffrey in a scheme to get sufficient money from the squire to pay the debt. The second act depicts the interior of Chanticleer Hall, where the squire is giving a dance. Lurcher, disguised as the secretary to the Duke of Berkshire, enters to announce that His Grace’s carriage has broken down and to beg a night's hospitality. Geoffrey and Harry are thus made much of at the Hall and lead the company in a stately minuet, but fail to recognise Dorothy and Lydia. Geoffrey is attracted to. Lydia this time. and Harry to Dorothy. Dark deeds are done that night. Cloaked and masked, Geoffrey and Harry bind the squire and rouse the household with cries of “burglars,” but just before the half-dressed guests rush downstairs Harry ties Geoffrey to Ul9 nearest post. During the confusion Lurcher rushes in displaying an empty cash-box and announcing that His Grace has been robbed. The squire cannot permit his guest to be plundered and presses a loan equal to the amount supposed to have been lost upon the unscrupulous Geoffrey. With the third act comes the marriage of Phyllis and Tom with ominous forebodings from a collection of old cronies. Dorothy and Lydia arrange to test their lovers, and, dressed as a couple of young gentlemen from the village, waylay Geoffrey and Harry and challenge them to a duel because their conduct to Dorothy Bantam and Lydia Hawthorne while pledged to the innkeeper’s daughters. An amusing scene follows, the girls finally fleeing from the reality of leaden bullets in place of their intended blank charges. The squire, however, arrives in time to hear explanations and gives his blessing to Harry and Lydia and Phyllis and Tom, while he assures Geoffrey and Dorothy that he will forIgive the imposture provided they will settle down and keep him company in his old age. A DELIGHTFUL COMPANY. As Dorothy Mrs. Leonard Nodder delights in her part. She sings and acts her way right across the footlights and into the hearts of the audience with a carefree abandon that is irresistible. Undoubtedly her voice is a great asset; It rings out clear, strong and true and takes full advantage of the lilting cadences in her numbers. She is also an accomplished actress, thoroughly at home in her role. The opera calls for her frequent appearance with Miss Alison Wilson (Lydia Hawthorne), whose acting is more than convincing and whose voice, though chiefly harmonising in trios, quartettes or sextettes, is full of sweetness and carrying power. Jack Burns as Geoffrey Wilder and Ernest E. Carter as Harry Sherwood are surprisingly alike in stature, voice and presence. Both are real acquisitions and enter into the spirit of the opera with a fire and enthusiasm that leaves no

room for nervousness or hesitation. 'Mr. Carter is especially attractive in his solo, “I stand at your threshold sighing.”

In Mr. S. E. Carson the producers have found a genuine squire. His commanding presence, offset by a naturally graceful air, makes his part easy, while his strong nad melodious voice gives one a vivid impression of the sound social position held by a squire of old England. In the dance scene where the radiant costumes scintillate to the stately measure of an old-time minuet, he is an outstanding character, never aT a loss for a well-turned phrase or courtly greeting. Mr. Fred. E. Silver has to be funny, and, as Lurcher, the pettifogging sheriff’s officer, he is able to give full rein to his capabilities. Fortunately he possesses the build and mannerisms to carry off his part to perfection, while his pleasing voice is useful on occasions when he joins in quartettes and sextettes. His plausible tongue plays havoc on the tender heart of the much-married Widow Privett (Mrs. Ernest Carter), but she finds him out in time, and in a lively scene departs in haughty high dudgeon requiring consummate acting. Phyllis Tuffitt (Miss Mavis Burrows), whose hasty betrothal and final marriage to Tom Strutt (Mr. Charles Miller) is indirectly the cause of the love tangle on which the opera is built, does not appear as often as one would like, for her dainty appearance enhances any stage setting and her solo, “The time has come,” is full of merit.

Cheerful and echoing with song and music as the opera is, the quiet of the solo danse concentrates attention upon little Miss Peggy Wylds, whose nimble toes caper - and poise in an ecstacy of motion and balance. Her appearance also is.far too short, but is temporarily forgotten in the ballet of bridesmaids which is a finished performance. The chorus numbers 70 voices, and includes a large percentage of baritones and basses which render effectiveness to the work. There are a host of minor principals, included among which are Irene Taplin (Lady Betty), Cyril Burrell (the Parson), Frank Coward (footman), and W. C. Bicheno (blacksmith), all of whom play with distinction to themselves and credit to the opera.

“Dorothy” will be presented again in Eltham to-night and at the Stratford Town Hall on Friday. On the Thursday and Friday following the company journey to Hawera. At each of these performances the quality of the opera deserves crowded houses.