"ALADDIN."

Wairarapa Age, Volume XXXII, Issue 10082, 1 September 1910, Page 5

"ALADDIN."

AT THE MASTERTON TOWN HALL. In these days of strenuous eompej tition, when an educated public requires value for its money, and wlieen the tastes of theatre-goers are as susceptible to change as the fashions o> ' the seasons of the year, it is little short of remarkable that a pantomime creation sucli as "Aladdin," which has now been before the public for quite a lengthy period, should have possessed magnetic power sufficient to tax the seating accommodation of the Masterton Town Hall to its utmost capacity long before the hour announced for the rising of the curtain. But so it was. There is something magnetic About the whole environment of the J. C. Williamson which captivates the crowd, and, having got it there, retains its confidence and respect. From a. spectacular point of view, "Aladdin" differs only in degree from "Mother Goose" and the rest of those gorgeous productions which from time to time are sent along by J. C. ■ Williamson, Ltd., to charm and delight the public. It ] was superlatively good. Need more be said ? If one were to write a column, or two eolumns, he could not do more than scant justice to a pantomime which, for spectacular effect, was a brilliant achievement, a : triumph in stagecraft. "Aladdin" is ;so full of humorous detail, so gorge- ' ous in its setting, and so delightful in its conception that one experiences' a difficulty in pourtraying in words a scheme so mirthful and yet so grotesque. If it be true that laughter is the elixir of life, then some hundreds of Mastertonians will be spared the expense and inconvenience of translation for quite a lengthy period. Albeit the proportions of not a few will be developed if there be any reliance upon a saw which attributes obesity to a too liberal appeal to the risible faculties. But who could refrain from laughter? Who could . watch those winsome creatures, those poetic movements, v and listen to those quips and J cranks and comedies without laughter and applause'? No fewer than fourteen different scenes succeeded each other with almost bewildering rapidity. And each seemed brighter and better than the last, so that it were almost impossible to describe the most elegant"! fTihe dazzling treasures glittering in the interior of the cave; the "Fire Maiden's Home," with the weird representation of Dante's inferno; the realistic presentation of "Aladdin's Palace," and the dozen and one other delightful creations, produced a scene of splendour unrivalled in modern theatrical effects. The ballet dancers—numbering fully one hundred—were attired in superb costumes, and their vivacity was almost as charming as their movements were free. From a spectacular point of view the pantomime is par excellence. But in vocal and instrumental music it is also delightfully refreshing, and it abounds with humour. The bath scene, in which the donkey plays so important a part, is simply irresistible, whilst tlie comicalities of Harry Phydora ("Mrs Twankey"), Price and Revost (the clever comedy acrobats), Mr J. M. Campbell ("The Emperor of Japan"), and William Hassan (the best of donkey men), beggar,description. Miss Marie Baton, as "Aladdin," fully maintained the reputation which preceded lier, aiid she gave a fine interpretation of the difficult character. Miss Eva Moore, as the "Princess," was eminently successful. The whole of the characters, in fact, were cleverly sustained, and the choruses, ballet dances and chil-

dren's movements were f J rong, graceful, and artistic. "Aladdin" is a feast of humour, a pantomime of exceptional beauty, and a gorgeous presentation of brilliant music and sparkling situation. It miist be seen to be appreciated. And those who saw it last night will not regret their outlay nor forget their fun.