“His Excellency.”

The Theatre vol. 33 no. 6 Dec. 1, 1894, pp. 310-313 (vol. 33 = n.s. 24)

The success of the new comic opera by Mr. Gilbert and Dr, Osmond Carr, entitled His Excellency, was a foregone conclusion, as soon as the first-night audience assembled at the Lyric Theatre began to realise the many possibilities involved in the librettist’s brilliantly comical notion. Even without any music at all, such a subject, treated as Mr. Gilbert treats it, would have been equally sure of good fortune. Music, however, has been duly supplied by a new co-worker, who has the disadvantage of succeeding no less a composer than Sir Arthur Sullivan. In common fairness to Dr. Carr, it is essential to avoid comparisons, which in any case would be unnecessary, and to consider his music scrupulously on its own merits. Even after a careful observance of these conditions, however, it is impossible to pronounce favourably upon the new-comer’s qualifications for the post of musical interpreter to a writer of Mr. Gilbert’s originality. It seems to be carrying the subtlety of Gilbertian humour to a length at which it defeats itself, when the prince of comic librettists chooses for his colleague a conventional, well-read musician, capable, as Dr. Carr has in several cases shown himself to be, of seriously working away at his score with little or no attention, apparently, to the whimsical turns of thought provided for him. Let it at once be added that Dr. Carr is often melodious, even sprightly; and his work, though lacking in dramatic quality, shows the hand of a trained musician. But his musical humour, when forthcoming, seldom rises to the full comicality of the situation; and, taken as a whole, the musical portion of His Excellency may fitly be described as belonging to that most terribly facile form of all commonplace—educated commonplace. As a glaring example of the dearth of humorous perception adverted to, we may cite the setting to Nanna’s song “My Wedded Life.” On the other hand, the broader, less subtle comicality of the ballet-dancing Hussars, of the chaffing lines addressed by the two girls to their lovers in the first act, and of the patter trio and other numbers in the second, is brightly and successfully dealt with. Very pretty is the “Bee Song” for Christina, with its guitar-like accompaniment: it found immediate and deserved favour with the audience. The mock-dramatic duet between Griffenfeld and Hecla is also well devised, and much of the music assigned to Christina is refined, tuneful, and in character.

Having once hit upon an idea so full of comic suggestiveness as that of an inveterate practical joker caught in his own toils, Mr. Gilbert, it will readily be imagined, heartily revels in it. His lyrics are delightful; his story has a consistency not always vouchsafed by him in previous works of this class; and his conclusion, instead of being brought about by the weak expedient of a verbal quibble, is in this instance effective and satisfactory. George Griffenfeld, the practical joker in question, has, as Governor of Elsinore, unlimited scope for the indulgence of his facetious propensities. He distributed sham honours among his subjects; compels his Hussars, in two exquisitely funny scenes, to practise the steps of ballet girls during their daily drill, “from ten till two”; makes butter-slides for Mats Munck, the Syndic; promotes fictitious matrimonial arrangements; and generally sets the town by the ears. His eccentric doings are brought to the knowledge of the Regent, who, with a view to make independent observation, turns himself into a Vigilant Committee, and surreptitiously visits the town in disguise as Nils Egilsson, a strolling player. One of the first objects that meet his view is a statue of himself—an outcome of the Governor’s practical jokes—the commission for which had been given to Erling Sykke, a young sculptor. There also he sees Christina, a ballad singer, who having already fallen in love with the Regent’s statue, has little difficulty in transferring her affection to one who so strangely resembles it. Griffenfeld, also struck by this resemblance, conceives the idea of bribing the apparent vagrant to impersonate the Regent himself, and for that purpose supplies him with a cast-off uniform of the Regent which has come into his possession. Visions of unlimited opportunities for practical joking float before his eyes. He is particularly tickled by the notion of causing the sham Regent to receive and pronounce judgment upon the plaints of the townspeople---by this time grown inconveniently insistent—and his two daughters, Nanna and Thora, who are aware of his project, share in the fun. In accordance with this scheme, the wrongs of two of his victims—the young sculptor and the young doctor—are redressed by the simple expedient of confirming their appointments; all matrimonial complications are set right; the peccant governor is reduced to the ranks, and the governorship transferred to Mats Munck, the Syndic, all which proceedings, to Griffenfeld’s horror, are found to be valid when the identity of his august visitor is disclosed. The pretty love episode between Christina and the Regent is brought to an equally pretty ending; and when the curtain falls, all the actors in this hilarious story of hoax and counter-hoax have been made happy, with the exception of the chief culprit Griffenfeld, who is last seen performing sentry duty in the middle of the stage.

As a matter of course, Mr. George Grossmith was cordially welcomed on his return from drawing-room to stage. In the part of Griffenfeld fair scope is afforded him for the display of his humorous style; but Mr. Rutland Barrington has still better opportunity. By far the most comical figure in the piece is Mr. John Le Hay’s Syndic, which suggests the idea of a sort of humanized, innocuous Quilt. As Erling and Tortenssen, Messrs. Charles Kenningham and Augustus Cramer acted creditably and sang better, and Mr. Arthur Playfair, as the Hussar, greatly contributed to the merriment by the manner in which he led the military ballet. Miss Jessie Bond, as Nanna, sparkled through her little part, and generally brightened the piece by her archness and unflagging spirit, while Miss Ellaline Terriss, in the sister-part ofThora, made a successful début in comic opera. If the singing of Miss McIntosh was not all that could be wished, her graceful and sympathetic personality caused her presence on the stage to be always welcome. Miss Alice Barnett in her impersonation of the volcanic Dame Hecla, though perhaps a little over-emphatic, was quite successful, as were also Miss Gertrude Aylward and Miss Mary Cross in the minor parts of Vivandière and Peasant Girl. The staging of the piece was in all respects admirable.

Transcribed by Arthur Robinson

Page modified 23 October 2020