STATE THEATRE

Wairarapa Times-Age, 3 July 1939, Page 2

STATE THEATRE

A BRILLIANT PRODUCTION. Gilbert and Sullivan at its best was the unanimous verdict of those who attended the State Theatre on Saturday is night, crowding it to the doors, and witnessed "The Mikado.” On the stage "The Mikado” was very popular .in 10 New Zealand, being presented on •0 many occasions by such noted companies as Rolland’s Opera Company and the J. C. Williamson organisations. To the older patrons on Saturday night "The Mikado" brought back happy memories of the far-off days of Will . Percy. Harry Queally, Charlie Albert, . t Ernest Fitts, Reginald Roberts, Claud Bantock, O’Connor, Dick Shortland, _ Howard, Maud Beatty, May Beatty, r Alice Pollard, Marion Mitchell, Zoe Karkeek, Gertie Campion, Tittle Brune, "Ma” Russell, Florence Young r and many others associated with the ; legitimate stage in the days when Gilbert and Sullivan operas were in the ■ boom in New Zealand and Australia. With the presentation of "The Mikado" . on the screen there was the added advantage of the latest methods of production on a scale undreamed of in the days of the Pollard or Williamson companies. Those keen critics who on Saturday night lived over again the days of thirty-five or forty years ago when “The Mikado” reigned supreme in New Zealand and Australia on the stage, while perhaps missing their old favourites of the stage and regretting the absence of some particular verse or part of dialogue, due to the fact that the production had to be cut down from 3:', hours stage time to about 1 hour 35 minutes picture time in length, came away more than satisfied, and decidedly’ of the opinion that the screen version was altogether a vast improvement on the stage presentation. All their old favourite songs were there and the acting, singing and settings could not be improved upon. “The Mikado” on the screen was a magnificent production which the stage in New Zealand could not hope to reproduce. "The Mikado” is a gorgeous pageant of old Japan in brilliant colour. Instead of two sets of scenery, as in the opera, there are thirty or forty—streets, gardens, palaces, throne-rooms, balconies, bridges, a glittering whirl of all-en-chanting Japan. The entrance of Katisha on a palanquin borne by eight men in quaint uniforms is a thrilling stage effect, but is outdone by the magnificence of the entrance of the Mikado in the second act. This is a ceremonial of the greatest dignity and brilliance. A feature of this procession is a full band, replete with strange instruments, some of which require three or four men to carry them, and a company of grey-bearded counsellors. Kenny Baker as Nanki-Pooh is a great success both with his acting and his splendid voice. Nanki-Pooh sings “A Wandering Minstrel’’ while actually wandering through the crowded streets of a town, a stroll which concludes with a balcony scene in the manner of “Romeo and Juliet.” The role of Ko Ko as taken by Martin Greene is the most outstanding in the picture. There is nothing “set” in the manner of the opera. The musical numbers are sung more naturally, there is a greater freedom of action and expression, and in colour and costume there are dazzling effects. Two Savoyards known to New Zealand audiences are in the cast, Geoffrey Stroud as Pish-Tush, and Sydney Granville as Pooh Bah. There is an excellent supporting programme.