Programme 1920 – Marama

SOUVENIR PROGRAMME

Municipal Theatre – Hastings
Tues. Wed. Thurs. NOVEMBER 16th, 17th & 18th 1920.

Hastings Amateur Operatic Society

Present for the first time on any Stage
THE ORIGINAL COMEDY OPERA
“MARAMA”
OR, THE MERE AND THE MAORI MAID.
IN TWO ACTS

Words by H.S. RIBBANDS   Music By ARCHIE DON

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Mr. H. S. B. RIBBANDS, Author

Mr. A. R. DON, Composer

Mr. LEON FAIL, Producer

Mr. HARRY TURNER, Secretary

Mr. FRANK TUCKER, Property Mechanician

MISS MERE AMOHAU, as Marama

Mr. REG PEARCE, as Lord Aucklington a Student of ethnology

Mr WHARE CARROLL as Huia

Mr. W. H. NIKERA, as Tohunga

Page 1

FOREWORD

MARAMA is primarily and finally a New Zealand Opera, the first of its kind, and is intended to depict, with musical adornment the every day life of some of the inhabitants of these happy islands. Although it was inevitable for the construction of an interesting and cohesive libretto that there should be introduced a certain amount of fancy and improbability, yet there is no impossibility about a story wherein the actors are everyday persons, picnicking on the beach near Auckland, or sight seeing near Rotorua. The theatre-goer must not therefore expect to see the sheep farming hero attired as a picturesque Prince Charming, or the chorus dressed as Watteau swains and shepherdesses, but whatever disappointment may be felt through lack of spectacular display will, it is anticipated, be fully compensated for by humourous dialogue, bright songs and choruses and above all by tuneful music. The play is written as a Comedy Opera and not as a Musical Extravaganza.

– The Author.

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Page 3

THE PLOT

THE Story of “MARAMA”, as the sub title suggests, centres in a famous greenstone mere – a mere being a Maori jade hand weapon of chieftain rank. This mere, named Matua-a-Tiki-Pounamu, belonged to an old time Rangatira called Puanga, who in his leisure carved a tiki in the likeness of a small deformed idol from the handle of the mere, and gave it to his wife as a mascot on the eve of a great tribal battle. In the conflict the mere disappeared, Puanga was slain, and the battle lost.

THE tiki, carefully preserved, and handed down from generation to generation in the direct female line, is now in the possession of Marama, a native princess, who has been brought up to believe the legend that although her tiki may protect and bring her good luck, yet she will never experience perfect happiness until wedded to the owner of the long lost mere.

WHEN the play opens, this mere a few months before, has been ploughed up by a sheep farmer, Alan Dale, on whose property is the site of the ancient battle field. Alan, unaware of the weapon’s history, is profiting by the Christmas holidays to get down to town for the purpose of selling it, mainly because through a series of petty misfortunes he is beginning to suspect that the mere is cursed, or, as the Maoris say, ‘tapu.’

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Page 5

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THE PLOT – Continued

MARAMA, hearing that a mere corresponding to one she seeks, is in the possession of Alan, hastens to see him with the sole intention of securing it for her lover, Huia, but, a few moments before her arrival, Alan has made a present of it to a stranger, Lord Aucklington, with the proviso that the latter should permit friendship with Lady Betty Cantago, his daughter. Alan, unwilling to ask for the return of the mere, and not saying what he has done with it, leaves Marama and Lord Aucklington alone. Lord Aucklington is an earnest student of ethnology, and it is for the purpose of scientific investigation in the racial characteristics of Maoris that he has come out from England, so naturally he is interested in being brought into contact with the pure blooded princess Marama. Marama, on the other hand is much bored by the Lord’s technical phraseology. So to attract her attention the mere is produced. Marama is greatly shocked on discovering who is the possessor or an object on which her whole life’s happiness is depending, and more so when she learns that Aucklington will not part with it for worlds. Concerned as to the best thing to do she invocates the help of her tiki, and on her knees received the inspiration – which to her child-like mind seems a command – that her duty is to marry Aucklington and trust to luck that some great disaster will speedily happen to her involuntary husband, so that she may be left with the mere, free to wed the man of our choice.

FORTUNATELY, in Comedy Opera nothing tragic can happen, so, instead, a series of escapades humourous to all but the noble Lord himself, carry the story along to the final curtain, where through the intervention of His Excellency The Governor General, the ending is happy for all concerned.

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Page 7

The Opera produced under the stage direction of
MR. LEON FAIL

“MARAMA’
OR, THE MERE AND THE MAORI MAID

CAST OF CHARACTERS:

PAKEHAS

His Excellency The Governor General   Mr FRANK BYRNE
Lord Aucklington, F. R. S. An Ethnological Student   Mr REG PEARCE
The Honourable Tony Cantago Aucklington’s Son   Mr. HARRY POPPELWELL
Alan Dale A Sheep Farmer   Mr WILLIAM HARRISON
Jack Hastings      Mr H. TURNER
Ted Nelson    Allan’s Chums   Mr. C. SLATER
Inver Cargill      Mr F. COWRICK
Pat Palmerston      Mr H. GRUZELIER
Lady Betty Cantago   Aucklington’s Daughter   Miss MARIAN BAINBRIDGE
Nancy Napier      Miss E. RICHARDS
Sally Sumner   Nelly’s Companions   Miss D. COOPER
Kitty Gisborne      Miss E. COULSON
Nelly Britain   A Squatter’s Daughter   Mrs ERIC MANSON
Picnickers, Bathers and Tourists.

MAORIS

The Tohunga   A Native Priest   Mr W. H. NIKERA
Huia   A Young Chief   Mr WHARE CARROLL
A Rangitera   A Chief   Mr W. H. PUHARA
Rangi Taihoa   An Old Woman   Mrs. A. WAHINE
Marama   A Princess   Miss MERE AMOHAU
Warriors, Poi and Haka Dances

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Page 9

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ACT I – THE SEA COAST NEAR AUCKLAND

SCENE I – AFTERNOON   SCENE II – NIGHT
(A fortnight is suppose to elapse)

ACT II – THE THERMAL REGION AT ROTORUA

SCENE – A NATIVE PAH.   MIDDAY
TIME – The Present, during Christmas Holidays

PLEASE NOTE – The Curtain will be lowered for two minutes only between Scenes I and II, Act 1.

Interval of 10 minutes between Acts I and II.

PICNICKERS, BATHS AND TOURISTS
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Messrs. L. Carter, D. Ellingham, A. Gruzelier, M. Hammonds, D. Maggin, C. Marriott, G. Salmon.

BALLET
FIREFLY : Miss Mildred Fail.   MOON MOTHS : Misses D. Cooper, D. Flinn, E. Herbison, E. McKay, M. Nelson, M. Watson.

POI GIRLS.
Misses Hirani Toki (Leader), Huia Hohe, Pora Horomona, Waengarangi Otent, Maata Peeti, Nora Te Monro, Karararina Nikera.

The Haka and Poi Dances arranged by Messrs W. H. Nikera and P. H. Tomoana.

The Taiaha display in Act II, by Mr. W. H. Pouharo.

Stage Settings designed by the Author, and painted by Messrs Swain and Crook, and Mr. Lindvahl of His Majesty’s Theatre, Auckland.

The Bathers’ and Ballet Dresses designed and executed by Madame Delamode et Cie.

Scenic and Electrical Effects by Messrs Frank Tucker & Dave Rees.

Photograph taken by J. Lovell-Smith.

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Page 11

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MUSICAL NUMBERS – ACT I.

1   Opening Chorus   “Tell us Truly if There be land”   CAMPERS
2   Song   “Romping”   NELLY
3   Song   “The Coo-ee Call”   ALLAN
4   Duet   “Looking for Somebody”   BETTY & ALLAN
5   Song   “No Observers Present”   TONY
6   Chorus   “By the big, deep, bright, blue Sea”   CAMPERS
7   Quartet & Chorus   “Billy Tea”   CAMPERS
8   Song   “Manuka”   BETTY
9   Song & Recitative   “My Greenstone Tiki”   MARAMA
10   Duo and Ensemble   “Kiss, Rapturous Kiss”   MARAMA & AUCKLINGTON CAMPERS
11   Entnact   “Old Maori Melody”   ORCHESTRA
12   Song   “Marama, Maid of the Moonlight”   HUIA
13   Duo   “Oh! Cruel Man”   MARAMA & AUCKLINGTON
14   Dance   “Moon Moths and Fireflies”
15   Duet   “A Place in he Moon” NELLY & TONY
16   Chorus   “Hush”
17   Finale   “I have found you again and To Koro-koro”

INTERVAL OF 10 MINUTES

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Page 13

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MUSICAL NUMBERS – ACT II.

18   Opening Chorus   “Ka-pai the life, etc.”   MAORIS & TOURISTS
19   Song   “A Maoriland Maid”   MARAMA
20   Duet   “No one ever loved as I love you”   MARAMA & AUCKLINGTON
21   Duet   “Go Slow”   NELLY & TONY
22   Chorus   “Hail to the Governor”   TOURISTS & MAORIS
23   Poi Dance   MAORI GIRLS
24   Song   “The Fourstarred Ensign”   ALLAN
25   Song   “Come Canoeing down the Wanganui”   BETTY
26   Scene – Governor, Tohunga, Marama, Aucklington, Tourists & Maoris
27   Finale

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Page 15

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ORCHESTRA – Conducted by the Composer.
Mr. A. R. DON

First Violins –
Mr H. S. SALT (Leader)
Mr D. G. KITCHEN
Mr N. E. WATSON

Second Violins –
Mrs DUFF
Mr H. WATERS

Viola –
Mr P. W. TOMBS

Bass –
Mr F. COLLINGE

Flutes –
Mr. C. WHITE
Mr G. ROACH

‘Cello –
Mr C. PALMER

Oboe –
Mr C. FERBRACHE

Clarinet –
Mr O. SCHATTKY

Trumpet –
Mr F. C. WILKINSON

Horn –
Mr R. STEELE

Trombone –
Mr P. GEORGE

Tympani and Effects –
Mr C. COOPER

Pianiste – Miss RUBY SCHATTKY

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Page 17

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Hastings Amateur Operatic Society
(INCORPORATED)

OFFICIALS

Patron :
H. M. CAMPBELL, ESQ., M.P.

President :
GEORGE EBBETT, ESQ., MAYOR OF HASTINGS

Vice-President :
W. C. WHITLOCK, ESQ.

Committee :
Mr H. C. BAIRD (Chairman)   Messrs A. R. DON, F. J. FERBRACHE, W. HART, H. S. B. RIBBANDS, F. L. TUCKER, W. WHITE.

Hon. Treasurer :
W. HART.

Hon. Stage Manager :
Mr LEON FAIL.

Hon. Secretary :
Mr HARRY TURNER.

Hon. Auditor :
Mr A. I. RAINBOW.

Hon. Pianiste :
Miss RUBY SCHATTKY.

Hon. Solicitor :
E. H. WILLIAMS, ESQ.

Wardrobe Mistress : Miss GEORGE.

Hon. Electrician :
Mr H. J. M. ROGERS

Property Manager :
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Page 19

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GLOSSARY

NOTE – The Maori language has but fifteen letters its alphabet. Five Vowels and ten consonants. The Vowels are precisely like those in French –

a, pronounced ah
e, pronounced ay
i, pronounced e
o, as in English
u, pronounced oo

The following are a few of the Maori words used in the play with their meaning :-
Marama – Moon or Lighting
Tohunga – A Priest
Taiaha – A Weapon
Tapu – Sacred, Holy
Tiki – A Neck Ornament worn by high rank
Mere – One Hand Weapon
Poi – A Ball made from Swamp Rushes
Rangatira – A Chief or Leader

MAORI CHORUSES

HAKA – FINALE ACT I.
To koro koro, to koro koro
Tanuku kau, tanuku kau,
E tanuku, ana ki te pai o te wahine
Kia riro ia koe,
Nowhia! Nowhia! Nowhia iho.

OLD MAORI SONG – OPENING ACT II.
Hoki hoki tonu mai,
Tewairua o te tau,
Kite awhi reinga ki,
Tenei kiri e te tau ei.

HAKA – ACT II.
Kamate, kamate,
Ka ora, ka ora,
Tenei te tangata puhuruhuru
Nana nei tiki mai whakawhiti te ra;
Hupane, hupane
Hupane, kuapane
Whiti te ra.

MARAMA meaning moon or moonlight is pronounced with a slight accent on first syllable, and not as Ma-rà-ma.

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Page 21

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THANKS

The Operatic Society desire to express their thanks:-

To Messrs. Baird & Co. for the gratuitous use of their store room, for practice purposes. This has been a boon to the Society and is much appreciated by the members.

To Messrs. Roachs’ Ltd., and Mat. Johnson for donations.

To Rev Fred Bennett for use of the Native Maori Carving.

To The Hastings Orchestral Society for valuable assistance of playing Members, and to the Members individually for their generous help.

To The Management of the Municipal Pictures for kindly permitting their Orchestral Leader Mr. H. Spencer Salt to assist the Society.

To the many who have kindly given their assistance is so many ways to further the interests of the Society.

To Mr. W. H. Nikera and Mr. P. H. Tomoana for their invaluable assistance in connection with Maori chants, pois and hakas, and to the Natives for their active co-operation on the stage, for without this help correct interpretation would have been impossible.

The Author and composer thank the Society for taking up the work in such a whole-hearted manner, and especially Mr. Leon Fail, Producer, Mr. Frank Tucker, Property Man and Mechanician, Mr. Harry Turner, Secretary, and all who have worked so unselfishly to bring to finality the performance, and lastly, to thank the Audience in advance for the generous support and kindly interest in the first performances and production of “Marama”.

To Miss Ruby Shattky for fulfilling her duties as pianiste faithfully and well.

To Mr. Scott, caretaker of the Municipal Theatre for his willingness at all times to assist in every possible way.

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