THE OPERA HOUSE.

Auckland Star, Volume XVIII, Issue 201, 29 August 1887, Page 5

THE OPERA HOUSE.

The reproduction of the great historical play "Elizabeth, Queen of England," by Signor and Signora Majeroni, on Saturday evening, was, like the first performance, an unqualified success. The audience was largo and appreciative, and at times evidently carried away by the many telling and admirably-conceived incidents in the great drama. Such a treat is afforded the people of Auckland very rarely indeed, and those who omitted to seethe "Elizabeth" of Signora Majeroni havo much to regret.

"Fedora."

Another great masterpiece is announcec for this evening, when Sardou's "Fedora' will be produced. There is a fascinatior about the story of "Fedora " which is partly due to the materials upon which the authoi has worked. The author has cemented the foundation of his story with blood, the whole fabric of the fiction being built up on the murder of the Count Vladimir, son oi the Inspector-General of Police, and beloved by Fedora. Upon this man's apartments the curtain rises, and shortly after, Desire, Vladimir's valet, admits Fedora, who has an appointment there with his master. Suddenly the door opens, and the police enter, carrying the senseless body of Vladimir in their midst, assassinated, and at the point of death. An inquiry is held in tho room. The story is learned that Vladimir had beon driven, as was his custom, to an empty house in a deserted part of the town ; that, as usual, the coachman waited for him a few yards from the house, that he heard shots fired, entered the place in alarm and found in it only his master's body. The polico learn from the servants that a woman called on their master that morning with a letter, and that he read it and threw it down in an open drawer in the room. The drawer is opened during the most intense excitement of all present, and is found to be empty. The letter then has been stolen, and probably by the assassin to whose detection it might have led. But one person has been in the room since the morning, and ifc is Loris, Count Ipanoff. The second act shows the grand saloon of the Countess SoukarefF in Paris, where tho Countess, who is a leader of fashion and gay society, is entertaining her friends. Loris enters, and is introduced to an intimate friend of Fedora's, Do Siriex, who recognises his name as that of the supposed Nihilist who assassinated Vladimir. He says nothing until he hears that the Princess Fedora is living in Paris, and is expected by the countess. For her he determines to 'wait, and they have an interview, in which Fedora tells him that "Loris has but one dream, but one ambition—herself." Ho loves hor, and she will uso this love as a means of extorting a confession from him, which will enable her to hand him over to the police. De Siriex leaves, and Loris takes hi'- place. She entraps Loris at once into an avowal of his love and of his guilt. She affects an ardent lovo, and lures him to her by granting an interview in her private apartments for the following night between 12 and 1 o'clock. During the interview she gives him letters implicating the brother of Lori3 in a Nihilist plot. Loris then enters nnd tells her his history, showing that he had tracked Vladimir and his (Loris's) wife to a lonely house, and had there confronted them and shot his rival in his mistress's arms. He gives Fedora proof of her lover's faithlessness, and turns her horror into gratitude and love. The curtain falls at last upon the lovers in each other's embrace, and Loris is safe. The last act shows Fedora and Loris together and happy, the latter pardoned through Fedora's influence, both unconscious of the evil that is to befal them. Loris's brother Is seized by the police and drowned in a dungeon, and his mother, oii hearing the news, dies of grief, The samo mail that brings the tidings to Loris, tells him that his brothor was betrayed by a Russian lady of rank, living iv Paris, and the writer announces his intention of telling him hor-name shortly after his arrival by 'the same, train which carries the letter. The scene which follows is the most powerful in tho play. Fedora sues for rmdon for the betrayer .and is savagely spurned by Loris. "By tlio living God, I will hunt her down," he"cries ; and Fedora, seeing pardon and explanation alike impossible, takes poison, and dies in his arms confessing her guilt.