Christmas Novelties

GAIETY

The Sunday Times, 31 December 1871, p. 3

A strong bill was undoubtedly put forth by this house. First, Mr. J.L. Toole sustained with his unsurpassed blending of humour and pathos, his old character of Michael Garner, the hero of Mr. Byron’s touching and effective drama, Dearer and Life [sic]. …

To Dearer than Life succeeded the Christmas novelty par excellence—Thespis; or, The God's Grown Old [sic], a grotesque opera in two acts, written by Mr. W.S. Gilbert, the music by Mr. Arthur Sullivan. The plot of Thespis, though undeniably slender, affords many opportunities for laughable situations, satirical dialogue, and beauty of scenery, in the present instance animated by the presence of human loveliness equipped with every fatal aid of costume that taste and fancy can devise. On entering the orchestra, as conductor, Mr. Arthur Sullivan was received with the ardent demonstrations justly due to so celebrated a composer. We may record at once that the music of Thespis was, throughout, fanciful, charming, and suggestive, songs on humorous themes being given with marked success by Miss Farren, and by Miss Loseby and Madlle. Clary, and a sentimental ballad being subsequqntly given with such dreamy tenderness by the last-named lady as to elicit applause both loud and deep. Of vocal triumphs, however, the hit of the night was undoubtedly Mr. Toole’s ballad:—

The entire company join in the chorus, the music of which admirably expresses the whirl and thunder of a railway train at express speed. The effect to the ear is aided by that to the eye, all the performers, led by Mr. F. Payne, whose arms represent a flying wheel, conveying by droll and significant gestures the tremulous energy of the locomotives that “rush and roar through all the shires.” This ballad was rapturously received and redemanded, and, so far as the songs were concerned, was the success of the night.

As to the play of Thespis, we have already said that it is sufficient for the purpose of a Christmas fantasy, even if we do not place Mr. Gilbert’s present effort in the front of those achievements which have justly won for him a high and distinct reputation. When the actors become a little quicker in the dialogue greater effects of wit and satire may be produced than were obvious on the first night. But it cannot be denied that the mere design of Thespis has of itself no inconsiderable measure of humour.

The gods of Olympus also are represented as quite “used up” and decrepid, [sic] feeling that their power is waning upon earth. Thespis (the founder of the stage) and his company hold a pic-nic on Olympus, and there meet the Deities. A conversation ensues, in which Thespis proposes that the gods should visit earth for a year and a day to learn the cause of their declining authority, while he (Thespis) and his histrionic associates govern the world from Olympian heights. The proposal is acceded to, and with the departure of the worn-out gods for earth and the accession of Thespis and his delightful company to the relinquished dignities, ends the first act. In the second act, we find that Thespis, as supreme governor, is too much inclined “to take it easy,” and that he has allowed the members of his company (deputy gods for the time being) to play all kinds of pranks with the political constitution of the universe. The proxy for Mars has abolished war, in consequence of which the most unscrupulous do just as they like. The representative of Bacchus has taken the pledge, and the juice of the vine being only ginger-beer, the vine-growers are menaced with bankruptcy. The genius of Time has taken it into her head to abolish Saturdays, and finds as the result that Sundays grow restive, and refuse to follow the direct lead of Fridays. These instances exemplify the fatal effects of histrionic rule, for which the gods on their return to Olympus sentence Thespis and his fellow comedians to become “eminent tragedians,” for ever after—a terrible doom, and rather unjust, as involving actors and audiences in the same penalty—if indeed audiences were likely to be found.

The extravaganza, with the charm of Mr. Sullivan’s music, the rich quiet vein of Mr. Toole, worthily seconded by the abilities of Messrs. Maclean, J. Sullivan [sic], Soutar, Taylor, the Messrs. Payne, and by the sprightliness, vocal talents, personal attractions, and charming costumes of Miss E. Farren, Madlle. Clary, the Misses Loseby, Tremaine, L. Wilson, and Behrend, and provided (certainly not the least element in the enjoyable whole) with a scene delicious both in subject and treatment from the pencil of Mr. Gilbert, proved, what it could scarcely fail to prove, a success, gratifying alike to the manager and to the public.

Page modified 21 August 2018