STAGE JOTTINGS.

Auckland Star, Volume XLI, Issue 31, 5 February 1910, Page 12

STAGE JOTTINGS.

(Booking subject to ottexatlon.) HIS KAtfESOT'S THBA.TBB. Jan. 24 to Feb. I»— ff. C Williamson. Dramatic Co. Feb. 21 to Mar. 12—Carter, the Magician Mar. 14 to 24—Allan Hamilton. Mar. 26 to Apr. 16—Marlow Dramatic Co. Apr. 18 to 23—Amy Oustlee. Apr. 28 to Mar. 14— J. C. Wllliameon. May Iβ to 3D—Allan Hamilton. May 30 to June 18—Meynell and Grain. OPBKA HOUSE, ROYAL, ALBERT HAXi AND TIVOLiI THEATRE. Pictures—(Nightly. The Williamson Comic Opera Company will give the Sydney public a revival of "The Girls of Gottenberg" after "The Merry Widow"—then "A Waltz Dream." Miss Tittell Brune, the American actress, -who toured New Zealand and Australia with such success, and who came to London a few months back, made her first appearance on the English stage this week (writes my London correspondent by the latest English mail). Her name was quite unknown to London, and when it was announced that she was to take Miss Violet Vanbrugh's part in "The Woman in the Case," there was considerable curiosity as to who the new leading lady might be. One paper published her photograph with the title "Unknown Actress as Leading Lady," and others wrote of her as a young Australian. But on Monday night Miss Tittell Brune did not take long to make the critics realise that the unknown actress possessed both talent and experience. She handled a difficult part with striking ability, and scored an instant success. As one critic puts it, "the friendly desire of the audience to give her a good start was quickly swamped in the real enthusiasm at her undoubted merit." There was a strong colonial element in the audience that night, and many "eoo-ees" mingled with the hand-clapping with which the new actress was acclaimed. And the verdict, remarks the "Evening Standard," was that the new star had proved her merit and won her laurels. It will give an idea of the impression made by Miss Tittoll Brune on her first appearance ■when I mention that Miss Ellis Jeffreys, "the other woman in the case," led her before the curtain eight times at the end of Act 2, in response to the repeated calls of the audience.

It is now announced that the place selected by the Pollard Opera Company for the production of " Miss Hook of Holland " will be at Masterton on Feb. 7th.

After playing " Sergeant Brue" In Sydney and Melbourne, tie Clark and Meynell Comic Opera Company will disband. The story of " Sergeant Brue" concerns the attempt by a London sergeant of police, who has been left a fortune of £10,000 a year, to woo a lady of title.

Mr. Cyril Maude has taken a plunge into vaudeville. The London Coliseum is the lucky management who have secured the services of the popular actor, and he takes part in their Christmas play at a "living wage" of £300 a week.

In the course of a conversation •with a " Press " reporter, Mr. Tom Armstrong, now appearing at the Christchurch Opera House, called, attention to a. number of points in which American theatre managers are considerably ahead of thoso in Australasia. One of these was in the matter of so lighting up the front ol their theatres aa to prove one of the beet advertisements that could bo got. In Australia, Mr. Armstrong says, it is difficult to discover from outside appearances where the theatres are. He instanced one theatre in New York wliere " Havana," the comic opera now being played by the Williamson Opera Company, was playing. On the front of the house were three life-size figures of Spanish girls in electric light, with fans, moved by machinery, and the words " Off to Havana." " The theatre-going public," he said, "are like moths, they go where the light is." It has always been inexplicable -why here the managers turn down all the lights in the theatre, making the people sit in the depressing influence of darkness instead of increasing the power of the stage lighting and leaving the house lights up. It is ema.ll wonder that there is little or no enthusiasm at modern plays under these circumstances. Another thing is that it reduces the period where ladies who go to see and be seen have an opportunity of displaying their dresses, which is half: the zest of an evening art; the play.

Miss Maud Allan ie finding some severe critics of her dancing in that fashionable centre of the classical-barbaric dance, St. Petersburg. The " New Roos " does not know what to make of the " English. Barefoot," as it designates her. It says: "Miss Mod-Allam (sic) danced last evening in the hall of the Conservatoire, which was crowded. She da,nced to Chopin, Mendelssohn, Rubinstein, Grieg, Sadnt-Saens, and the works of other composers. And this is the thought that first crossed one's mind after her performance —the compositions were all different, each with its own defined peculiarity, but the dances with which they inspired Miss Mod-Allam completely astonished one by their uniform monotony. She danced not only uniformly in detail and in the rendering of the ' romance,' but even her principal gestures were lacking in variety. The whole performance resolves itself into that of a young, well-developed girl, certainly not destitute of grace or refinement, giving way to the inspiration of the music winch, speaking justly, she does not spoil." Another critic sums up with the .statement that Miss Allan dances with her liands rather than with her feet, and adds that she is " only at the threshold of her art. If she wishes- to become really famous, then she has much serious and thoughtful work before hex."

Mr. Harold Ashton, who Is iback In Sydney, brings good news of Australians in the States and of Americans \riio have mimed for us. Miss Irene Dillon, the Melbournian, ia with the Schuberts in musical comedy. Her dancing feet and singing voice keep her high, in the salary list. The Majeronis have..etiddy jobs. George Majeroni is studying music The handsome, languorous-looking girl, Mies Dina. Cooper, who did, or was done by, " The Fatal Wedding" in Sydney, was met hy Mr. Asbton in the gold and platinum lift of some noted building or other. She abides with her married sister in New ToTk. You may remember Orlando Daly —he who was for a while a shearer and made quite a name with the Broughs? He is a quite distinguished mummer nowadays. The Eagle screams loudly with joy at sight of him behind the footlights. Our one-time friend Kolker is playing heavy lead to Mrs. Nazimova, the famous Russian actress. Cuyler Hastings is in " The Dollar Mark," a play on the same lines as " The Lion and the Mouse"; and Waldron, whom we liked so well as " The Squaw Man," is leading He in "The Fourth Estate." Mr- Ashton was at the first night of the play, and so great was " Charlie's' , success that his salary was raised fifty dollars. Miss Nance O'Neill {• in Bejajwo'e latoly.jfomed. All Star Combinations.—j" EwueUa.'^,

Miss May Beatty was the'principal boy in the Britannia's, production of "Sick Whittington" at Christmas. Mr. Edward Lauri was also in the caste as Idle Jack.

On January 17, Lady Constance Stewart-Richardson was to be seen at the London Palace in classical dances. A daring sportswoman, intrepid traveller, and belonging to a noble family, this engagement would draw all society.

Sir Charles Wyndham and Miss Mary Moore left Euston on Saturday for New York (writes a correspondent of the "Scotsman"). Looking like a man of 55, although really 72, the veteran actor, who had been chatting cheerily to friends on the platform, jumped lightly into his carriage after the train had started. He expects to open at the Empire Theatre about the third week in January, and return to London in spring.

Probably for the first time in hie theatrical career Mr. Julius Knight has the gallery "against him." In "The Lion and the Mouse" Mr. Knight plays the part of a brutal millionaire. The actor got up so much steam in one of the scenes recently that a man in the gallery hissed, while another called out "You brute!"

Mrs. George Lauri is playing a small part in "The Lion and the Mouse," and another small part in "The Merry Widow," both of which are now running in Sydney.

Miss Eva Balfour (Mrs. Lawson Balfour), of Christchurch, has gained a footing on the London stage, and recently she appeared in two of the big productions at Sir Herbert Tree's Theatre, His Majesty's. She was one of the Nile maidens in Brieux's powerful play "False Gods," and also understudy to Mrs. Pat. Campbell in that drama. In "Beethoven," Mrs. Balfour represented the Sixth Symphony in a sympolical pageant in the last act. She was to begin work again at His Majeety's after Christmas in Sir H. Tree's next production. Mr. Lawson Balfour has meanwhile taken a studio in Chelsea, and is busy with his pictures.

The new Gilbert Opera is, to judge by the following extract* from an account by my London correspondent, not over successful: —"Nothing is more difficult to live up to than a good name, he writes, and this reflection comes home forcibly to the onlooker of 'Fallen Fairies,' the opera of which we felt entitled to expect much merriment and jollity and excellent verse, because the book la by Sir W. S. Gilbert, that very king of lyric -writers. The music is by Edw. German. The first disappointment came with, the setting. 'Fairyland—on the upper side of a cloud, , is distinctly promising as scenery, but a scene that is to last all the way through must be very appropriate and charming indeed, if it is not to tire the audience. Ten. minutes on the upper side of a cloud makes the eyes ache, however—gaudinees rules and conglomeration, and the effect is anything but restful; looking at it, one would never mietake it for anything hut what it is—scenery in a play. The Etory is lnid in fairy realms where sinless beings in happy ignorance of all attributes worldly, such as love, hntred, suspicion, jealousy, and all other ills thai ile-vh is heir to. Into this cloudland perfection thp Fairy Queen, in answer to the p'?ad : .ng3 of the inquisitive fairies, her subjects, calls a couple of mortals. Sir Ethias and Sir Phyllon, Hunnish Knights, and it is around the havoc wrought by the introduction of these inhuman humans that the story is buiit. The plot is slander, ths ending 'unexpected and somewhat tame. As a matter of course, a fairy—and that the Queen —falls violently in love; in fact, all the fairy maidens are possessed speedily by the love microbe; but they find the hirmans very unsatisfactory and unworthy. The mortals, on their part, are not satisfied, and return to earth. Then follows, in absolute eilenco, the prettiest and most pathetic scene of the play, for, like wounded butterflies, the fairies fall to the ground, their long hair lying around them like seaweed, their exquisite silken wings extended limply. Then with a shivering flutter of wings, one arises, then another, and tJien all, and we realise that the end of the play has come. General reinstating takes place; the Queen, who has Been dethroned for loving unworthily, is once more crowned, and fairies decide to be fairies, and not human beings. But it is all very unconvincing — representative mortals would not be altogether bad, and representative fairies should surely be more fairy-like—more light and airy and fascinating—less human and sorrowful. The music is charming, though it haa not much ecope for originality."

Sarah Bernhardt appeared in the light of an author at the Theatre dcs Arts Paris, in December. The house sympathetically received "Un Coeur dun Homme." Perhaps it is not a great play (writes one well-known critic), but it has' points of originality in it; and there is the personality of the author. It describes the adventures of a young man suffocated by the affection of his wife. When she discovers the identity of the lady who has endeavoured to- console him during hie absence from home—whioh happens in the fourth act—there is a great scene between the two women. This is one of the best features of the play as well as one of the most original. Few authors have represented a scene in •which one woman confesses to have wrongpd another, and the other lashes her with a virtuous indignation. In the. end—it is the denouement of the play— the mistress commit* suicide. Interviewed on the lesson to be drawn from her dramatic work, La Divine declared that she wished to warn people against inexperience in marriage. The art of being happy though married is an art like any other—it requires an apprenticeship, or at least preliminary study. In other word's, Mme. Bernhardt believes that early mttrriages are a mistake, and lead to nnhappiness, because neither the man nor the woman understand human nature.

Mass Olga Steab, a nineteen-year-old girl, of Los Angeles, California, U.S.A., has ibeen pronounced by conservative German crdtros to be the world's greatest living pianist. Mr. Charles H. Keefer, bhe leading professor of music in Berlin's foremost conservatoire, claims the merit of having discovered Miss Steefo. He caused her to play before the severest musical critics in Berlin, and, after collecting their opinions, Mi. Keefer summed them up as follows:—"This marvellous young artist ia in many respects superior to any living pianist. No living pianist surpasses her, and I .believe that none equals her." Miss Steefb plays from memory all of Bach's compositions, about 250 in number, and besides this astonishing repertoire plays from memory a.bout 400 standard classical and modern piano compositions. Miss Steeb is small in stature and childish in appearance. For the post twelve years she has devoted six hours daily to piano practice, and at the some time lias taken a regular academic course. She has made a deep study of astronomy as a hobby. Paderewski predicted several years ago that Miss Steeb would become one "of th (world's greatest artinta, . - "" ■■-■■■. ri'Hßl TYIEATVH-PUTI