STAGE JOTTINGS.

Auckland Star, Volume LV, Issue 188, 9 August 1924, Page 18

STAGE JOTTINGS.

There seems to be an impression that tho performances this week of Mr. A. A. Milne's delightful play, "Mr. Pirn Passes By" by the Vanbrugh-Boucicault com-1 •nany, were the first in New Zealand.; This is not so, for the play was staged j hero by Miss Maria Tempest and Mr. Graham Browne, Mr. Browne taking the part of the husband. An amusing item not in the programme convulsed the audience at Jruiler'a Opera House on Monday nigut. "Mrs. Muggins," (Jim Gerald) was getting much "back talk" from one of her "family" while she laboured at the washtub, and, picking up a good soapy wad 0 white underwear, threw at with full strength. It missed the offending member, and landed in a packed orchestra stalls. The house roared with laughter and the fun was renewed at Mrs. MugKins' next appearance when the clout was returned with vigorous aim, just missing tho comedian by inches. Ho joined in the chorus of laughter. "The Conservatorium String Quartet," says the "Sydney Evening News," "should have been gratified with the large gathering at their second chamber music con- j curt. Tho programme was a delightful j one. Miss Mary MacCormiek, daughter of Judge C. MacCormiek, of Auckland, rendered songs by Schumann and Liszt. In the Bongs the voice is only part 01: tho composition, like 'cello is in the orchestra, and Miss MacCormiek was set a difficult tusk. To remain tone-true was ■111 achievement, and Miss MacCormiek was faultless. Her enunciation, too, was an example for other soprano* "Every time I sit in that barber's I chair 1" take my life in my hands, I said Cecil Kellaway. who gives a fine character study as ilorridgo, the hatter, in " Whirled "into Happiness," at His i Majesty's, Melbourne. The comedian was referring to the scene in the barker's ealoon in the musical comedy I which sets the audience rocking witn laughter. "You sec," explained Mr. Kellaway, " Frith insists upon using a real instead of a 'prop' razor, and I'm afraid that one night in his enthusiasm he will lop off an ear, or cut a wedge out of mv cheek, or snip off the end o mv nose." I have begged and implored him to discard the razor for an imitation affair, but no—he insists that t»e real thing is necessary in order to make the scene appear as real as possible. 1 , only hope he will not draw ; real blood : with it one of these times. \n interesting advent in Auckland vaudeville will be the first appearance in the near future of F. Gayle Wyers Band Box Revue Company. In addition to Mr. Gayle Wyer, who is an American producer, the combination includes many clever artiste, the principal comedian being Walter Cornock, who will be especially remembered tor his creation of "The Sentimental Bloke" in C. J. Dennis' famous Australian play. The leading lady is Miss Vera Benson, who possesses a beautifur soprano voice, and Mr. Gayle Wyer is very fortunate in possessing a soubrette witn the talent of Miss Sadie Gale. Other well-known comedians with the company are Billy Bovis and Frank Perryn. Mr. Gayle Wyer specialises in original ideas in production, and special attention has been paid to the staging and beautiful costumes of his revues. In the meantime, at the conclusion of the Jim Gerald season, a etron<* all-vaudeville programme will occupy the stage at the Opera House.

The Auckland Choral Society will give its second concert of the season on September 4, when Sir Edward Elgar'a fine work, "The Dream of Gerontius," will be given. "The Dream" ia extremely difficult for the voices, as well as for the orchestra, but by sheer hard work at longer, as well as extra, practices, j excellent headway has been made, so i that a particularly good rendering of j this inspired composition is confidently expected. The first performance of Elgar's setting of Cardinal Newman's celebrated poem was given at the Birmingham Festival of 1900. The next was given in Germany the following year, being most enthusiastically received there. Since then it has been recognised everywhere as one of the world's greatest musical compositions. I The first performance in this Dominion 1 was given by the Sheffield Choir on its i world-famous tour. The Wellington : Choral Society, under Mr. Maughan Bar- ! nett, also gave it several years ago, and 'an idea of the difficulty of the work > may be formed from the fact that about 180 were held before it was performed. The soloists for the forthcoming production will be: Mrs. Cyril Towsey (The Angel) mezzo-soprano, Mr. H. Gasquoine " (Gerontius) tenor, and Mr. Len Barnes, of Wellington (The Priest) bass.

Miss Stella Murray, the Christchurch contralto, has now fairly established herself in the affections of London concert goers, and her recital on June 25 was in every way a success (writes the "Star's" London correspondent). She earned, too, the opinion of the critics, of whom we may cite as an example that of the "Daily Telegraph." "Miss Stella Murray's programmes," ho says, " can always be relied upon to possess some item of special interest. Last night at the Aeolian Hall she began with a group

of old songs, of which only the first

was thoroughly familiar to us all. The other four—Thomas Ford's "There is a Lady Sweet and Kind," Rosseter's "When Laura Smiles" and "What, then is Love but Mourning," Purcell's "There's not a Swain on the- Plain" —arc less known, but certainly not less lovely than Pcrgolesi's "If thou lov'st mc." The second group consisted of songs of Hugo Wolf, iof which ono at least —"On an Old

Picture" —we heard last night for the first time. In the third group thpro was the "first of Mr. Harold Craxton's "The Snowdrop,* a clever and tasteful setting of a poem by Mr. Norman Gale.. Of this excellent programme, Miss Murray gave an interpretation remarkable both on account of the general finish of the performance and of the insight shown into

oach composer's stylo and mood. Wβ now take certain things for granted from this singer. Wβ know that we can trust her to do perfect justice to such things as Wolf's "The Gardener," or Stanford's "Johneen." But, like all good artists, she has ever some unexpected turn of phrase, some refinement which quickens our interest and delights us. Last night, for instance, in singing Wolf's "On an Old Picture," there was

in her voice a loveliness of tone and a restraint which cannot be praised too highly. And how admirably Mr. Craxton played his part! In all these Wolf songs the understanding between the voice and the piano was a pattern of what ensemble should be. In the last group there were also some most charming performances. Mr. Herbert Hughes' "The Terrible Robber Men," had to be repeated, as had happened before with Mr. Craxton's '■Snowdrop" and Wolf's "The Gardener." There was a large and