Mr. Henry S. Leigh, the witty verse-writer, has furnished the Alhambra with the English version of M. Offenbach’s opéra-bouffe, “Le Roi Carotte”.
THE STORY
may be told in a few words. Fridolin, Monarch of Carymaria, has, unfortunately for him, fallen under the evil eye and displeasure of Coloquinte, a sorceress, who decides not only to interfere with his matrimonial intentions concerning Princess Cunégonde, but also to work him every possible trouble. Accordingly, Coloquinte raises up another King – King Carotte, who is by-and-by exalted into Fridolin’s sovereignty. King Carotte – despite his vegetable origin and general hideousness, to say nothing of brutality – bewitches all the Court, turns away the allegiance of Fridolin’s subjects from that much-persecuted ruler, and, lastly, enslaves the heart of Fridolin’s betrothed, Cunégonde. Having said thus much regarding the plot, the progress and sequel may be at one gathered. There is, of course, a good genius who proffers aids to Fridolin when driven out of his dominions, a very worthy damsel, of much truer heart than the fickle Cunégonde, and other friends, who ultimately send the usurping King Carotte about his business, and reinstate Fridolin on his throne, his partner being, naturally, the amiable young lady who loved him for himself alone. Such, divested of surplusage, is “Le Roi Carotte.” Of
THE MUSIC
we may say that it is no better and no worse than other productions of the prolific Offenbach; more often than thinly yet noisily instrumental, but not unfrequently giving instance of melodic power, graceful cadence, and ingenuity. The quartet in the second act, sung by Fridolin, Robin, Rosee, and Truck, in the ruins of Popeii, is the best of all the numbers, giving proof of true musician-like instinct; one of those exceptions which, among much poverty-stricken detail, M. Offenbach occasionally gives us, as if to prove that he can do something real if so it pleases him. This quartet, moreover, was capitally sung by Mdlles. Seesi and Savelli, Mr. Celli, dans Mr. Worboys. The encore was well deserved. Of
THE SCENERY
and general appointments of “Le Roi Carotte” it may be said that they are truly magnificent. Every picture is more or less perfect ; but of the dazzling brilliancy presented in the “Kingdom of the Ants” it is almost impossible by any description to give an adequate idea. Here we have a truly wonderful arrangement of colour and a ballet of remarkable excellence; one specialty of its many attractions being so peculiarly beautiful that of itself alone it should render “Le Roi Carotte” as presented at the Alhambra a success.
THE ACTING
Mr. F. Celli, as Friolin, made a splendid appearance, and, for the most part, sang well. Mr. Harry Paulton à King Carotte was exceedingly clever, and at times did wonders with his strange part. Specially may be instanced his remarkably effective pantomime – almost horrible in its grotesqueness – when called up out of the earth by Coloquinte. Melle. Cornelic D’Anka as Cunégonde, looked very handsome. Mdlle. Elisa Savelli, as Rosée du Soir, was much to be commended as to her singing. But certainly the highest honour among the ladies were taken by Mdlle. Annetta Seesi, who, gifted with charming distinctness and true phrasing, but acted with an earnestness and verve which left nothing to be desired. A special detail in the splendid ballet is the dancing of Mdlle. Bertga Linda. Anything more perfect has not been seen for many a day. Endowed with charms of person, Mdlle. Linda is simply a delightful dancer, and, moreover, strikingly original. At the finish of her pas she was greeted with a positive storm of applause. More enthusiasm could not have been evidenced, and it was entirely justified. Of the minor characters in “Le Roi Carotte” we may say of Miss Alice Hilton and the Misses Harold and Beverley, as the wives of the Ministers, that they had nothing to do but to look very pretty, and that they were well able to accomplish. We would advise less freedom in some the costumes on the stage, and less freedom in some of the manners off the stage. The Sorceress and the Pompeian Beauty may be, and are, able specimens of the female form divine, but that is no reason for over-display.
