Ss The second and third representations of Dorothy by the Lillipatian Opera Ca. on Thursday and Friday night drew satisfactorily large and delighted audiences. A. sense of amusement and surprise at the business-like way in which the smallest of the performers go through their parts at the opening of the opera, soon gives way to appreciation as the careful training of the youthful layers develops itself in every character, whilst flashes of really clever spontaneous acting deepen the sense of enjoyment. On the other hand the music suffers somewhat from being interpreted by nothing but treble voices, whilst in dialogue some of the youngsters treat the vowels in a way not usually associated with the Queen's Englis!
There was avery large and enthusiastic audience at the Lyceum Theatre on Saturday night when Pollard's Lilliputian Opera Company played Audran's La Mascotte for the first time. There were but very few vacant seats in the house, and the gallery was exceptionally crowded. The youthful performers proved themselves very capable actors, and carried through the opera with great "go" and spirit. All the parts wore well filled, but Master Alfred Goulding in the part of Rocco was undoubtedly the favourite, his precocious talent as a comic actor having caught the public fancy. His self-possession on the stage, facial play, and the facility with which he can make the most of a comic situation, stamp him as certainly the most clever of the troupe of gifted juveniles. His singing of a comic song that was introduced in the Ist Act was excellent, and was redemanded. The Pippo of Miss Annie Moore and the Bettina of Miss Elsie Norwood were also highly commendable, their rendering of these parts was throughout warmly applauded, and at the conclusion of the piece the latter presented with bouquet. Little Miss Ina Pollard also succeeded in securing the favour of the audience, and her treatment of the part of Finmetta certainly deserved it. Master Willie Stewart was very good as Laurent, and Miss Connie Pollard gave a very effective representation of Prince Fret-telling. It could not be expected that the opera would receive entirely effective treatment by youthful treble voices only, but the juveniles did their best, and though their young voices have been somewhat strained out of natural beauty, the youthful artists have at least learned to sing in tune. The "Glow Glen" duet met with great success, and had to be repeated, and the march of the youthful army in the 3rd Act also appealed strongly to the audience, who redemanded it.
Text read from the printed page and cleaned; old type leaves the occasional error.