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THE SCHOOL "MARM" UP TO DATE.
A CHAT WITH MISS ROSINA BRANDRAM.
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| Rosina Brandram as Miss Sims in Jane Annie |
Apart from her long connection with the Savoy Theatre — for she shares with Mr. Rutland Barrington the honour of being the oldest member in point of time of Mr. D'Oyly Carte's brilliant little company — Miss Rosina Brandram is one of the most interesting figures on the English lyric stage, and a chat with her, whether in her own pretty home or in one of the cosy Savoy dressing-rooms, is always a pleasure, for her work has brought her in contact with many of the most striking personalities of the day, and, unlike many lady members of the profession, she has been able to find time to keep abreast of all that is being achieved and contemplated in other worlds besides her own.
The first few performances of a new opera are always attended with anxiety and heart-beatings to the principal performers, and Miss Brandram is no exception to this rule. It is easy to see that Jane Annie's schoolmistress takes her duties very seriously.
"Although the public have been always very good to me," she confessed, smiling, I am so nervous, not only on the first night, but more or less all the time, that the strain makes me positively ill. Fortunately, my voice is an entirely natural one, and so is not unduly affected by whatever state of mind I happen to be in."
" But, I suppose, this very diffidence on your part adds to the naturalness of your acting?"
" Well, I do not know it has been my luck always to be given more or less elderly parts. You see, a contralto has no choice; she must either act a boy's or an old woman's part. I am, as you know, Jane Annie's schoolmistress, the prim Miss Sims, and ought by this time to be quite familiar with the duties of the principal of a young ladies' seminary, for this is the third rôle of the kind I have taken."
" I suppose that in your parts, Miss Brandram, it must be no easy matter to preserve a mean between exaggerated farce and too solemn realism?"
" It very much depends upon what kind of piece I happen to be playing in; for instance, I had a delightful part in 'Haddon Hall,' and one which may be said to have been entirely serious. In the Gilbert and Sullivan operas a vein of sarcastic humour ran through every line. I think that each actor and singer should make a point of trying to see the subject from their author's point of view. If he or she cannot accomplish this, they will never really interpret him in a satisfactory manner."
" I suppose you yourself prefer singing to acting?"
" Singing comes to me quite as naturally as talking. I have .always sung; but, you know, I was not intended for a professional career, and received a very elaborate vocal education both at home and, later, in Italy, without any thought of ultimately turning my talent to practical account. People have imagined that I was related to Mr. Brandram, the reciter; but, although we were very good friends, we were not connected in any way, and I think I may say that I am the only one of my family who ever went on the stage. I never was taught acting, but, of course, I studied intensely by myself. People who come to see light operettas probably imagine that the performers have a much more easy time of it than those who take a part in regular operas. I should like to point out that this is a great mistake. If a prima donna has a good voice and a certain knowledge of acting, her path is clear before her. She does everything by rule and rote, and can hardly get out of the right path. But a light opera singer has to act, sing, and recite — to say nothing of dancing and all kinds of side business — equally well. Even the staid Miss Sims joins in the final dance in 'Jane Annie.' Oh, yes, many of us must envy the prima donna her comparatively easy life."
"Yet, I imagine, Miss Brandram, that you prefer your line of singing to any other, and if a would-be vocalist came to you for advice you could wish her no better fate than to become like yourself a star of the Savoy?"
"Certainly, I consider my own branch of the profession preferable to any other, and there can be no doubt that it is far the best line for a beginner to take up — that is, of course, always supposing that she has a good voice, a certain amount of dramatic talent, a natural gift for elocution, and her share of good looks. I myself at one time thought of becoming a regular operatic singer, and as I deliberately chose my present kind of work I can but speak well of it. But it is a great mental and physical strain, especially to an actress who throws herself heart and soul into her part."
"I believe that ballads are your forte?"
"Yes, I have always been very fortunate in my songs. As Miss Sims I sing a very pretty ballad, which has already, it seems, quite caught on. 'A Girl Again I seem to be' has just the semi- pathetic touch which is always popular in a ditty sung by a woman supposed to be no longer in her first youth."
"Audiences," she continued, in reply to a question, "do not differ much at the Savoy; they appreciate the same points and ask for the same songs night after night. When a popular opera is on I receive scores of letters, some of them most extraordinary epistles, and more from women than from men. Not a few are from obvious lunatics, who apparently address me hoping to find a sympathetic soul to whom they can confide their troubles or imaginary grievances. Pure burlesque and comedy are always more popular than a semi-serious play; yet you will generally find that the performers themselves prefer an opera with some body in it. I need hardly add how fond I am of this theatre; it is in a certain sense quite like home to me. I am devoted to this little dressing-room, which I consider the best in the whole theatre, for, as you see" — and Miss Brandram, opening the door, showed me a vista of stage, wings, and machinery, within a few feet of where we stood — "I am practically on the stage, which is far pleasanter than having to run up and down draughty staircases and passages."
And so, bidding a cordial "An revoir" to Jane Annie's delightful schoolmistress, The Sketch interviewer vanished.
Page modified 26 July 2019