Cirrus@Austlit

Based on a libretto by W. J. Curtis, a young amateur actor and member of the junior bar, with additional material by journalist/essayist John I. Hunt, this was the first of two comic operas composed by W. Arundel Orchard in collaboration with Curtis - the other being The Emperor (1906). The pair also produced the cantata, Uller the Bowman (1913) and the opera, Dorian Gray (completed in 1916 but never staged as a while work).

Finding much to praise with the production, the Sydney Morning Herald theatre critic nevertheless noted how difficult it was for Australian works to compete against the imported show:

The Coquette, as it stands would represent the kind of comic opera which runs for about fifty nights in London, which is tantamount to admitting that it is not equal to the only standard with which Australian playgoers are acquainted. That is to say [it] would be quite favourably reviewed by the London critics… but it would never reach Australia. The only pieces with which our audiences are acquainted are those which have made gigantic successes in London" ('Palace Theatre,' 29 August 1905, p.8).

The Theatre Magazine critic, who was similarly impressed with the collaborators' first up effort, went so far as to describe the production as an event of almost national importance:

Despite the belief to the contrary, a local product suffers in no way by comparison with the imported article, in fact, placed beside some recent alleged comic operas which have been foisted on Australian audiences, the new work is miles above them, both from a musical and literary standpoint. The book… displays a certain amount of originality though lacking somewhat in comedy… Mr W. Arundell Orchard's music is tuneful, bright and original, and what is most gratifying, appropriate, the music seemingly suggests the surroundings and words. His choruses are a regular musical feast of harmony, though at times extremely complicated (1 September 1912, p.12).

Australian Town and Country Journal also found much to like about The Coquette:

As to the piece itself, the various situations are cleverly managed, the development of an original plot, though run on conventional lines, is ingenious and humorous, while Mr. Curtis has written some good lyrics, and he and Mr. Hunt have evolved some distinctly amusing dialogues and witticisms. Mr. Orchard's important share in the opera shows much musical taste, particularly with regard to the orchestration of the work given to the band, the accompaniment to the dances and choruses being rich and taking, but there is rather a want of melodies of the "catchy" order, for with the exception of the 'Colombo' refrain there are few airs that suggest that they will shortly be whistled about the streets, the surest touchstone of popular favour ('New Comic Opera.' 30 Aug. 1905, p.10).

Perhaps the most negative review came from Sydney's Daily Telegraph with the paper's critic writing:

Whatever success comes of the new opera is derived mainly from its music… [the composer] displays a gift of melody and harmony which finds expression, for example, in such tuneful ballad music as the solo for soprano in the first act, 'Love and Duty,' or the sparkling trifle, 'If I Were You,' a quintette in graceful dance measure or the rousing toast song in the last act… Mr Orchard has dealt lightly with his orchestra, so that the voices are never overweighted."

The same critic reports that the 'libretto is distinctly the weak part of the work. The lyrics possess no overwhelming literary merit and their metre is halting here and there' (qtd in 'Musical and Dramatic Notes,' West Australian 19 September 1905, p.9).