Theatre Production

It has been asserted, and with some degree of force, that the libretto which Messrs. A.M. Thompson and Robert Courtneidge have founded on the famous novel by Henry Fielding, reflects but faintly the spirit of that masterpiece of fiction, and that their plot would have passed muster under any other name. Granting that such is the case, there is another important factor to be considered; the English public has a great fondness for the familiar, and although not five per cent will have read the novel, the name, at all events, has an intimate sound, and makes a direct appeal to the imagination. Therefore, the title is a valuable asset, and, as the librettists have not been too free in their treatment of the original, no harm is done to the memory of Fielding, or the fame of his classic contribution to the romantic literature of the nation.

The two most notable departures that have been made from the book are the toning down of the coarser features of the age, and the alteration to suit the requirements of Mr. Dan Rolyat, of the character of Benjamin Partridge, who, as now seen at the Apollo Theatre, does not exactly realize for us Fielding's description, "faithful, shrewd, and child-like simplicity. He is half barber and half schoolmaster." Until the English public is imbued with a more genuine taste for light opera we must have the "comic man" at all costs, even as we had him in "Dorothy," a work with which "Tom Jones" has not a little in common. Let us hope it will meet with as full a measure of success.

There is nothing very exciting in the story as it is set forth by Messrs. Thompson and Courtneidge, but it has been so arranged that it is well adapted for musical treatment. Tom Jones' love for Sophia, her flight from the paternal roof, his lapse with the fascinating Lady Bellaston, the reconciliation at the Ranelagh Gardens, and the promise of conjugal happiness for the youthful lovers are set forth with that sense of clearness which is so necessary in comic opera. Useless details have been carefully avoided, and the minor incidents of the plot achieve their ends without unnecessarily getting in the way of the direct issue.

PRESS REVIEW

(The Daily Mail [London, UK] - 18th April, 1907)
SUCCESSFUL COMIC OPERA AT THE APOLLO
MR. EDWARD GERMANS FINE MUSIC

We'll drink to the Barley Mow.
In a quart pot, a pint pot,
A nipperkin, a pipperkin,
Under a green bough.
We'll drink to the Barley Mow!
Hey! and ho! and all be merry!

It was a grand idea to base a comic opera on Fielding's "Tom Jones," and Mr. Robert Courtneidge, in his production at the Apollo Theatre, seen for the first time in London last hight, has made a good deal of it. For the "book" he is himself responsible, in collaboration with Mr. Alex. M. Thompson, the Lyrics, save for the famous old west-country song quoted above, are by Mr. Charles H. Taylor, an admirable craftsman, and the music is by no less scholarly a composer than Mr. Edward German.

In addition, we have Miss Ruth Vincent, queen of the light opera stage, as Sophia; Mr. Hayden Coffin as Tom Jones; Mr. Dan Rolyat, who made such an enormous success in "The Dairymaids," as Benjamin Partridge - "the wit of the country"; Mr. Ambrose Manning as Squire Western; and Miss Carrie Moore as Honour.

The result "is a genuine comic opera that does credit to the London stage. The second act is too long and drags a little, but the first is splendid, and the third rounds of the evening in spirited fashion. The feature of the piece, of course, is Mr. Edward German's music. It may not prove quite to the taste of the vaster multitude. Little of it will be found to whistle satisfactorily. Lovers of exquisite orchestration, however, of melodies that are musicianly rather than catchy, of sincere, admirable work that never stoops to the commonplace, will go again and again to the Apollo while "Tom Jones" holds the boards.

The story is set forth in bold style, and is seldom thrust aside for incidental "turns." Mr. Courtneidge, as we have shown, has selected his principals with shrewdness, and the chorus is thorough and painstaking. The entertainment would benefit, perhaps, by the introduction of a little more humour. The adapters have not always caught the extraordinary rush and vitality and broad humanity of Fielding's novel. But the lyrics are especially noteworthy.

Since the days of Gilbert we remember no lyrics as good as these written by Mr. Charles Taylor. He, at any rate, has caught the mood of healthy, happy humanity, laughing for sheer joy of living.

Mr. Charles Taylor is the lyricist for whom the musical stage has been waiting. The success of the opera is due, in a great measure, to Miss Ruth Vincent, Miss Carrie Moore, and Mr. Hayden Coffin. Miss Vincent's beautiful voice lingers in the memory long after the curtain has fallen and the lights are out. It is not without reason we call her "queen of the light opera stage," for she has been wonderfully endowed. Hear her phrase "Hey, derry down!" and then deny her charm if you can.

Miss Carrie Moore tills in another field. She is all gaiety, and sparkle, and laughter. To her falls the line with point in it, the mischievous prank, the gay dance. Miss Moore, though, can sing, and she have a mind to. "The Green Ribbon" is a proof of it. And her dancing is delicious.

Mr. Hayden Coffin was in fine voice last night, and his vast experience was invaluable. He is not, of course, Tom Jones. Poor Tom had no such wonderful manners, and savings, and eye-castings. But Mr. Coffin is a pillar of strength in comic opera, for he can sing the music to the satisfaction of a composer, act to the satisfaction of the adapter, and throw a leg to the satisfaction of the gallery.

Mr. Dan Rolyat is nimble, both in body and brain. But he is too fond of tumbles. Mr. Ambrose Manning makes a fine old Squire.

In his choice of a composer, Mr. Robert Courtneidge could not have secured one more qualified for the work than Mr. Edward German. In the first place, Mr. German is warmly in sympathy with the old English school of musicians, and he has a natural aptitude for reproducing their characteristic melodies. But in his case it is not mere imitation. Mr. German has a distinct vein of originality, and this is pleasingly in evidence throughout the whole of the opera. To this indispensable quality is added that of consummate musicianship, which will be obvious to the most superficial, if they give but passing attention to the part-writing and orchestration.

Mr. German has undoubtedly given us of his best in the first act; indeed, outside the sphere of abstract music, he has written nothing better. The trio, "Wisdom says;" the septett, "Tbe Barley Mow;" the madrigal, "Here's a paradox for lovers"; with the brilliant finale, which contains that ear-haunting refrain, "For aye, my love," provides a musical treat of a very high order; and it has the further advantage of being as attractive to the man in the street as it is to the connoisseur.

In the second act, Mr. German has been less prodigal of his part-music, but such an excellent number as the trio, "Let's be merry," would redeem the act from the charge of mediocrity, even if it had a less effective finale. The barcarolle, "Beguile, beguile," in the last act, is another number which calls for special mention. Nor has Mr. German been unmindful of the demands of his soloists.

Miss Ruth Vincent, who appears in the role of Sophia, has three solos of much beauty, and her last,"Which is my own true self?", in waltz rhythm, with a cadenza fiorita, was most brilliantly rendered, and was quite the vocal "hit" at the premiere. It is a long time since we have heard an artist on the light opera stage with a greater command of the art of coloratura singing.

Another popular actor-vocalist, Mr. C. Hayden Coffin, has been equally well served by the composer. Mr. Coffin is a singer who takes his art seriously, as anyone understands who has assisted in the past at his vocal recitals at the Steinway Hall. Therefore, it must afford him no small amount of pleasure to be in the cast of an opera of something more than ephemeral interest. Mr. German has given him good music to sing, and he sings it with the zest of a true artist. "The West Country Lad," which comes early in the piece, and "If Love's Content," in the last act, suit his ringing baritone voice to perfection, and it tells with equal charm in the duet with Sophia, "For aye, my love," in the finale to the first act.

That bright little comedienne, Miss Carrie Moore, easily makes a popular success with a daintily humorous song, "The Green Ribbon," and she plays the part of Sophia's maid, Honour, with delightful piquancy. The breezy, bucolic life of 18th-century England is well suggested in such ditties as "The Maid and the Cuckoo," sung by Mr. Ambrose Manning; the concerted number, "The Barley Mow," for Honour and Gregory, with Betty, Peggy, Grizzle and Dobbin; the song for Gregory, with male chorus, "Uncle Jan Tappit," given with true, unctuous zest, by Mr. Jay Laurier.

The least grateful part, and perhaps the most difficult, was that of Lady Bellaston, but a very satisfactory exponent is found in Miss Dora Rignold. The eccentric humour of Mr. Dan Rolyat made Benjamin Partridge highly entertaining, and Mr. Rolyat gave plenty of point to the song, "A Person of Parts." Mr. Walter L. Rignold and Mr. Reginald Crompton were excellent as the two rustic servants to Squire Western, and the remainder of the company left nothing to be desired. A capital chorus has been got together, and Mr. Hamish McCunn is at the head of a very efficient orchestra. Mr. Chas. H. Taylor is to be congratulated on the lyrics he has written and which are so much in keeping with the general tenour of tbe story.

Admirable scenery has been painted by Messrs. Stafford Hall and Conrad Tritschler. Mr. Courtneidge himself is responsible for the stage management and the production generally, and great credit is due to him for the consistent excellence of the ensemble.

The extreme right-hand side of the dress circle is not the most satisfactory place in the world in which to acquire the details of the various frocks gracing the boards, and when at the Apollo my view was still further obscured by a bevy of charming ladies in front, whose elegantly coiffured heads displayed a regular forest of waving and aggressive ospreys, the task began to assume Herculean proportions.

For students of present-day modes I felt sure the delicious blending of mauves and pale blues worn by the powdered beauties in the last act would come as a delightful revelation of the charms of those two tints, which, by the way, mark one of Fashion's latest vagaries. Such a combination was beloved of Madame la Pompadour, and I remember seeing an exquisite portrait of this famous lady shown in our own Guildhall a few years ago, in which the combination of these two tints was effectively portrayed.

The cloak worn by Miss Carrie Moore in the second act also gives us a correct idea of the newest and most fashionable shade of blue, which just now is of paramount importance in the wardrobes of fair women.

With regard to the other costumes I noticed that Miss Ruth Vincent as the charming Sophia had a very pretty frock of pink fancy gauze, with a plain skirt and a pointed bodice laced across with pink ribbons, which were tied in a fantastic bow in front, and fell above a white muslin apron with its dainty frilled edge. A string of pink coral beads and a pink La France rose tucked into a frilled white muslin fichu gave Miss Vincent the appearance of a pink and white china figure, an effect which was enhanced by the quaint little lace cap which was surmounted by a large Leghorn hat tied and bound with soft pink satin ribbon, and turned up at the back in picturesque fashion to display the lace cap beneath.

A very vivid shade of cerise goes to the composition of Miss Carrie Moore's first frock, which was completed by the orthodox theatrical cap and apron suited to the waiting maid of the period, an effective black velvet bow appearing on the fichu, and a black velvet wristlet on one arm. I also was charmed with a dainty costume of pale blue and mauve floral silk, the bodice being edged with mauve ribbons, and displaying mauve bows down the white front. A coquettish lace apron and white under sleeves completed the gown, while a large cream Leghorn hat was picturesquely perched above the orthodox lace cap. Equally pretty was another gown which displayed a skirt of tan and cream striped material, with a quaintly cut bodice decorated with wide gathered bands of tan coloured silk, a black velvet bow adorning the white fichu and apron.

That is a truly lovely grey costume which Miss Ruth Vincent appears in in the second act. The skirt is long and plain, while the deep waistcoat of white silk is elaborately embroidered in silver, her cloak with its simple shoulder cape being of grey, finished with white fox fur, and this should prove an admirable model for evening cloaks suited to the maiden of bashful fifteen and upwards.

Miss Carrie Moore's fawn-coloured gown has its plain skirt edged with three rows of ribbon in the same shade, while her short cloak is in the new periwinkle blue mentioned above, and is fastened with ribbons to match.

Perfectly lovely is that elegant pale blue costume worn by Miss. Dora Rignold and a thousand pities it is that we cannot adopt it in toto among our present-day modes. The skirt, which is quite plain, is surmounted by a long tight-fitting coat, bearing beautiful silver embroideries for its ornamentation, a long kilted jabot of white muslin and lace falls from the neck beneath a black velvet bow, while perfectly fascinating is the tricorne hat of black beaver bound with a broad band of silver, and completed by a long waving ostrich plume of pale blue.

One naturally does not expect to gather much in the way of modern modes from a play of this period, so I trust that the hints given above, when taking into consideration of the difficulties I encountered in the acquiring, may be accounted unto me for righteousness.