Review

“The Examiner,” issue 3253, June 4, 1870, p. 361

Those who have heard and seen Ages Ago at the Gallery of Illustration will anticipate the nature of the lively little operetta-bouffe which Messrs Gilbert and Clay have prepared for the Charing Cross boards in The Gentleman in Black. The grotesque idea which serves the slight purpose of a plot is, if we recollect rightly, taken from one of Mr. Gilbert’s ‘Bab Ballads.’ A certain German baron, with a very guttural cognomen, very Don Juan-like propensities, and a very bad temper, is attracted by the charms of a rustic beauty, much to the annoyance of her village swain who, fearful of his revival’s influence, indulges the not unnatural wish that he were the baron; the latter, not making progress in his suit, also wishing that he were the handsome peasant boy.

A certain gentleman in black opportunely appears, and obliges the discontented souls with an exchange of bodies. The grotesque difficulties which ensue from this proceeding are too intricate and humorous to describe. The compact of change has been for one month. A fortnight only has elapsed, and both parties are tired of the bargain, when an edict of the Emperor, ordering a change in the calendar, justifies the gentleman in black in restoring things to their original state, with this difference—that the gentle peasant has been discovered to be the rightful baron, and the burly baron only a rough peasant.

Fun and frolic, smart dialogue, and pretty airs run throughout the piece; the mirth and attention of the audience never flag, and the encores are frequent.

There is a decided tone of Offenbach about the music, and a few bars here and there are strongly suggestive of the best modes of the French maestro. Mr Clay has the happy facility of writing essentially light and characteristic music without any pedantic endeavours to attain novelty or grandeur of style. His melodies are always grateful to the ear, because they harmonise with the impression on the mind from seeing the piece. Two airs, “Once he loved me,” and “Am I to blame for that,” may be specially singled out as likely to become popular. There is also a quaint concerted piece, “Who are you,” in which the rakish baron questions the identity of all the rustic beauties in succession, and the chorus at the end of the first act, both of which are charming specimens of part writing.

Having objected to Mr Danvers in the previous comedy, we are the more pleased to acknowledge his excellent performance as the Baron Von Schlachenstein; he is at home in the part, and sings, speaks, and acts with fitting humour. Madame Emmeline Cole makes her first appearance at this theatre in the part of Bertha, the village beauty. Her voice, well toned, is suitable to the capabilities of the house, and she sings the music with intelligence and archness. Miss E. Fowler acts the peasant lover with her usual vivacity and grace, and Miss Helen Maxe takes the minor part of the Baroness very creditably. Mr. W.M. Terrott, a new actor here, with a good baritone voice which he uses effectively, supports the character of Grumpff, the baron’s steward, in a thoroughly operatic manner; and Mr. F. Robson plays a German syndic most laughably, recalling recollections of a similar character he supported in The Field of the Cloth of Gold at the Strand.

A very fair chorus, with an enlarged and superior orchestra, support the soli cast, and with two pretty set scenes contribute to the genuine success of a highly entertaining little piece.

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