From personal photo collection.
A Runaway Girl
The Colonist of the 8th October 1913 informs their readers that the Theatre Royal has been booked for the 15th, 16th and 17th of October by the Nelson Operatic and Dramatic Society when ‘The Runaway Girl’ will be staged. The article states that this production will eclipse all the previous performances of the society. The scenery came from Dunedin which ‘may be classed as a very fine sample of scenic artist’s work’. It goes on to say that ‘Herr Lemmer will again be musical director, and the orchestra (specially augmented) will be worth hearing alone. The pretty dresses, dainty dances, scenic effects and ballets, and the clever songs, witty sayings and bright choruses (also augmented) should provide a splendid evening’s entertainment’.
Another article in the Colonist on the 14th October writes that “A Runaway Girl’ should be a great success. The operetta was in rehearsal for three months.
In the Nelson Evening Mail on the 14th October 1913 there is a letter to the editor which deplores the fact that some of the chorus girls are expected to smoke cigarettes in a certain scene. This, according to the writer is ‘vulgar and shocking to the finer feelings of many who will witness the performance’. On the following day there is another letter to the editor on the same subject. This writer does not agree with the person from the previous day stating that they ‘were struck by the advertising of the production, which prescribed it as a remedy for drooping spirits, distemper etc’.
On the 15th October 1913 the Colonist tells that the first performance was fully booked and that the second performance should be the same. It then goes on to say that ‘ A Runaway Girl’ as a musical comedy is always popular, being characterised by no great depth of plot, but lucidity of style. The romantic element is presented with deft craftsmanship, combining with humour – cynical burlesque and engaging of an unconventional pattern. Thhe story tells of how Winifred Gray leaves a convent in order to escape marrying the nephew of her guardians, Lord and Lady Coodle. She joins a wandering band of Italian musicians, and on the first day in her new environment she meets Lord Coodle’s nephew, who her guardians desire her to marry. The two fall in love’. The plot becomes a little complicated from there but of course there is a happy ending. Because of the success of the production the society decided to give a fourth performance. At the end of the third performance the stage manager was presented with a silver mounted flask and a silver mounted ebony clothes brush in recognition of ‘his efforts, his great initiative, and his powers of organisation, also referring to the fact that he had devoted three weeks’ holiday to working up the piece’.
Also in the Colonist on the 15th October 1913 there is another resume of the plot. It states ‘the plot dwells on the love affairs of an English schoolgirl in France, her guardian’s resented scheme of matrimony, and the girl’s subsequent flight amidst romantic surroundings. Then enters the hero, whose reciprocated affection for the runaway brings in its train complications of a monetary nature. How these two, with the pair supplying much of the comedy element, eventually reach Venice and find a happy issue to their difficulties is a story told with much melody and action’.
Another letter to the editor on the 15th October 1913 in the Colonist discussed the ticket pricing for the production. The letter writer states ‘according to the papers the prices of admission ore 4s, 3s, 2s and 1s but actually they are nothing of the kind, being entirely dependent on the number of fools available. If a sufficient number of the latter can be found, and induced to pay 4s for a 3s seat, then straightaway the 3s seats cease to exist and the unfortunate holders of 3s tickets find themselves crowded into 2s seats, the 2s people we suppose will be in the shilling seats and the shilling people accommodated on the roof. If a three shilling seat is a three shilling seat, then let it be procurable at the figure named, while, if it is not, then why not say so in the advertising and be done with it?’ This letter was given to the secretary and treasurer of the society and his reply was ‘ owing to the unprecedented demand for reserved seats it has been found necessary to start and book seats at the rear of the orchestral stalls. There are no seats booked at less than 4s. The society is naturally unable to refuse patrons the opportunity to book a seat whilst seats remain’. And then on the following day the first writer states ‘from Mr Palmer’s reply yesterday it appears I was right in stating that some alleged three shilling seats have been booked at the price of four shillings. What I should like to see is a definite assurance from Mr Palmer that everyone who has bought a three shilling ticket at a day sale will be able to obtain a seat in that part set on one side for the sum named, as if one is to pay three shillings , and find one’s place usurped by someone else who has bid a shilling more for his seat, what is to prevent the writer paying 15s for three seats in the reserved part, and in spite of protest from the original bookers, sitting down on one seat and resting his legs on the other two. If one had a little spare cash to lay out his way, one could get almost as much fund before the curtain rose as after’.
In the Colonist on the 4th November 1913 there is an article about the staging of ‘The Runaway Girl’ that the Nelson Operatic Society staged in Blenheim. It states that ‘the piece went exceptionally well, the curtain being raised again and again in the final scene in response to hearty cheering of the audience. It is expected that the takings will cover the heavy expenses incurred on the trip’. The article then goes on to say that the ‘Marlborough Express’ had this to say about the opening performance. The reviewer commended the production on the stage management and appointments generally. It states ‘the scenery was effective and well placed, and there was an absence of those distressing little details which tend to mar many a scene in amateur theatricals. The dressing and ballets were features of the night, and the chorus must have been exceedingly well drilled. The voices were good and the orchestra of twelve performers, under Herr Lemmer, assisted materially in the general effect, although a few woodwinds would have given it more body and the tympanum was rather too prominent in some of the solo accompaniments’ The article goes on to say that ‘the ballets were all effective, those outstanding being the castanet dance, with the swinging rhythm of song and the band march to the “Listen to the Band” song’. It then goes on to describe the singing and acting.