MUSIC AND THE DRAMA

BY THE PROMPTER

["THE PENNY ILLUSTRATED PAPER", 22 Dec. 1894]

CHRISTMASTIDE can offer theatregoers no new musical piece more enjoyable than the mirth - moving and melodious comic opera of "The Chieftain," right worthy the genius of Mr. F. C. Burnand and Sir Arthur Sullivan, and an unmistakable success upon its production by Mr. R. D’Oyly Carte at the Savoy. The very first pair to collaborate in the diverting form of entertainment which has since become famous as "Savoy Opera," Sir Arthur Sullivan and Mr. F. C. Burnand delighted us many years ago with "The Contrabandista” (of which "The Chieftain” is a completely fresh and an elaborated version) and with the rollicking musical edition "Box and Cox" known as "Cox and Box." Hence it is but a welcome act of poetical justice find them now reunited in "The Chieftain" at the Savoy. It was thoroughly relished on the first night by the brilliant audience, which comprised Lord Russell of Killowen, Lord Chief Justice of England, Sir Edward Clarke, Q.C., M.P., Mr. and Mrs. Henry Labouchere, and many other notabilities. I defy the veriest stoic to keep from laughing at the perplexing pickle the Clapham snap-shotting tourist in tweeds, Peter Adolphus Grigg, finds himself in when he is compelled against his will to join the band of Spanish bandits, and, with an assumption of gaiety he little experiences, to endeavour to keep step in a jaunty bolero. This excruciatingly funny trio occasioned much mirth, and was vociferously redemanded. The romantic interest aroused in poor Grigg deepens when he is, although blessed with a wife at home in Clapham, literally forced to wed the Carmenesque bandit chieftainess, who is beloved at the same time, awkwardly enough, by her lieutenants, José and Sancho (Mr. R. Morand and Mr. Richard Temple). But it is when wife joins wife in the second act that the tug-of-war comes. With the masterly dexterity of the dramatist who wrote "Ixion" and "Black-Eyed-Susan," the most triumphant burlesques of modern times, Mr. Burnand crowns one intensely comic situation with one still funnier, ever helped by the lively, sponaneous strains of Sir Arthur Sullivan, whose airs are delicious—so delicious as to cause Messrs. Boosey and Co., 296, Regent Street, to be inundated with orders for the music. The quaint and eccentric Peter Adolphus Grigg is a well thought out, original bit of good characterisation on the part of that admirable young comedian, Mr. Walter Passmore, at once capital patter-singer, a humorous actor, and a wonderfully light and skilful dancer. Grigg was, indeed, to me the life and soul of "The Chieftain"— a never-failing source of mirth. Well played indeed, Mr. Passmore! Splendid burlesque earnestness did Miss Rosina Brandram, clever artiste to her finger-tips, put into the Carmen-like part of Inez de Roxas. I didn’t know Miss Florence St. John, looking positively enchanting as she sang sweetly with her dulcet Devon voice, possessed such powers of humour as she displayed in her chic imitation of a Parisiennc café-chantant songstress in her highly appreciated and repeatedly encored duet with Mr. Courtice Pounds. (See Sketch by the P.I.P. Artist.) Mr. Scott Fishe as the refugee Spanish bandit chief, Miss Florence Perry (clever sister of clever Mrs. Ben Davies), and merry Miss Emmie Owen, with the well marshalled Savoy chorus, also contributed to the success of "The Chieftain," the scenery and costumes of which are feasts of colour. Well did the pale composer, on crutches, and jovial Mr. Bumand, deserve the tempest of cheers that greeted them. Mr. Charles Harris was cheered for skilful stage direction. Heartily likewise was Mr. D’Oyly Carte’s appearance hailed. Book for “The Chieftain,” and enjoy a merry musical evening.

Archive Home | Sullivan | Major Works | The Chieftain

Page modified 12 November 2020