THE THEATRE.

Dominion, Volume 4, Issue 1138, 27 May 1911, Page 9

THE THEATRE.

Tlie World's a theatre; the Earth a stage.— Lleywood. (Bγ Sylvius.) "Henry of Navarre." Perhaps in no other play dealing with the Huguenot period in French history is the "atmosphere" of the religions frenzy, the intrigue, and the picturosquo splendour of the Court of Clinics IX of franco so excellently simulated as in William Dcvereux's romantic drama, "Henry of Navarre." There is a picture in the 'fate Gallery in London in which the artist admirably recalls the ominously silent reception accorded the French Ambassador after thn bloody news of the massacre of St. Bartholomew had reached Queen Elizabeth's court. Queen and courtiers, and ladies-in-waiting, unite and in unbroken black, stand while. the. brilliantly-elothed Parisian is bowing unabashed in their midst. There is something in this picture, that calls to mind Paris on the eve of the massacre of the Huguenots more than all the reading of. that grim story, with its plottings, and fiendish murders that reddened the streets of the French capital. It is remarkable what one gets from a picture like this. Of course, it is the artist who has caught the "atmosphere." Ho has typilied France in the time, of one man. In the play there are stage groups, the dresses of the period, finely appointed interiors of the Louvre and a dramatic story. The new play is said to be crowded with historical personages. Catherine do Medici, Charles IX, the Duke of Guise, Henry of Navarre, and Marguerite of Valois. This love story of Marguerite and Henry do Bourbon is to be presented by Mr. J. C. Williamson's Company at the conclusion of the run of "The Whip."

An Ambrose Manning Story. Mr. Ambrose Manning, of "The Whip" Company, tells a good story of his early days when he was appearing in a melodramtic performance. Tho leading lady had a marked propensity for addressing her lines to the audience instead of to the characters who were associated with her. One evening, however, this habit led to a little incident which cured tho star of addressing her audience. She was on in a sceno with tho villain, who was trying to make, love to her, and, following her usual custom, she stood right at the footlights, and declared emphatically: "I can never lovo you I" A youth in evening dress who had just come in from somo convivial dinner party, and who was consequently somewhat unsteady in his gait, was just taking off his cloak preparatory to seating himself in tho front stalls, when 'this emphatic statement greeted his oars. He turned to the actress, and, in an audible voice, said: "Well, that settles it," and, putting on his cloak again, walked out of the theatre. Tho Abasoment of tho Natural. Use is second nature, and second nature is tho unnatural. So used aro tho playgoing public to the. declamatory, iieroic pedantry vf certain accepted typas of character of melodrama that the strange- departure from the natural is seldom noticed by those who make a habit of witnessing them. Few actorr attempt to speak naturally in a melodrama (unless it bo the comedian, whose jokes are always bad enough to be natural), least of ail those'entrusted with tho leading roles. This fault—and, of course, it is a fault—is not so much the fault of tho players as it is that of tho lines which they are called upon to speak. They arc, for the most part, a string of cant phrases which have done yeoman service in hundreds of other sue I .', plays, and, if they were spoken natural]};, they would loso tho false ioroo which, tones up the play and emphasises a situation. So it is perfectly logical, and perhaps paradoxical, tliatj to be effective in melodrama, tho player has to be unnatural. A melodrama has to bo toned up by declamatory utterances, and stained-glass attitudes'to cover the deficiencies of tho play itself. Such methods aro just as native to poor melodrama as they would be foreign wore they attempted in an Ibsen or Pinero play. So the literary quality of the play dictates tho method of tho player to a very great extent. The exception occurs in a play of poetic character-or in blank verse, whioh is deliberately written to be declaimed. It would .never do, for instance, to recite any of the speeches of Henry V, Hotspur, or Macbeth in conversational style, where a ringing dramatic appeal is demanded. But tho arguments hold good oven in such cases, as they are as unnatural as the flambuoyaneo ot some of tho melodramatic literature ol the day. One may believe that King Harry addressed encouraging words to. his troops before Harfleur, but the time and occasion were too-momentous for even a King- to declaim such splendid lines as were written about the occasion by Shakespeare. In any case, Shakespeare, though full of truth, was never natural. For tho perfectly natural in the drama one must turn to Ibsen or Hauptmann, and, for the perfectly unnatural, to modern melodrama. A Full Hand. Clarke and Mcynell havs a "full hand" in tho matter of attractions, their bookings carrying them well into 1914.' Those- that will be sent here includo "The Arcadians" Comic. Opera Co., tho "Gay Gordons" Comic Opera Co., "Chocolate Soldier" Opoia Co., Oscar Asche-Lily Brayton Co., "The Woman in. the Case" Dramatic Co., Ethel Irving and her complete London Co., "The House of Tcmperky' , Co., Lewis Waller and his London Co., "Dick Whittington" English Pantomime Co.", "Swiss Express" Panto. Dramatic Co., and others. Each of the productions will be staged on exactly the same Ecn.le as in Sydney and Melbourne, which will b? reproductions of the London representations. "Vcuil Hommo." Porto Riche, tho great French dramatist, whose works have always created a deep impression, and aro received with as much excitement as Rostand lyrical tragedy, or "a Massenet opera, has penned another great play after a very long period of rest. The new play is entitled "Yicuil Hnnvmo," and his a motif which one might call peculiarly Parisian in sentiment. The story concerns Michel Fontanet, his wife Tiiercse, Augustiu their son, and Brigitte Allain. Fontanet, a fond but morally slipshod parent, is given to indiscretions, to lying, hypocrisy, 'and loose living. Yet ho is beloved by his brave, struggling, long-suffering wife, who fancies that their forced departure from Paris to a village in the mountains must effect some kind of reformation. So it does. Tho environment and lack of temptation keep Fontanet fairly straight, and there is something distantly approaching happiness in the home. Augu.stin grows up in these surroundings into a youth of high ideals and poetic temperament, watched carefully by his fond mother. Then comes Brigitto Allain into tho household, a brilliantly pretty and young Parisian, with all the.arts and perfumes of the boulevards and cafes in her laces and muslins. Ho succumbs, and Thercso knows it, and knows it with poignant anguish. This would be bad enough, but to her horror she seos her IG-year-old drop his books to pursue the same lure. Eventually the whole position is disclosed to the young man, and, on learning it. he throws himself from a cliff, and the play ends with a terrible scene between tho husband ami wife, acted during a storm in the mountains in the presence of tho i body of the boy, The topic of Porto

Rieho's play is unhealthy in tone, hut an American critic gives the assurance that the play has grandeur and solemnity, and leaves an effect like the prefect rendering of- a Beethoven symphony. Scena Painting Extraordinary. Mr. John W. Alexander, president of the National Academy of Design, NewYork, has invented a new method of "producing" scenery which he considers will revolutionise tin , manufacture ot scenery, whilst reducing its cost considerably, and has proved his ideas in the New York production of "Cliantecler."

"Instead of having painted scenery on the stage—a back drop showing a landscape, for instance, with painted trees in the foreground supported from the wings or suspended from the Hies — I find," said Mr. Alexander in an interview, "1 can get better results, give tho audience a better picture, by merely throwing coloured lights on a black velvet back drop and gauzo scenery whieJi is unpainted and merely toned. I suppose this could bo spoken of as a sten-: cilling process, and it can best be explained by saying it- is exactly the reverse from what is done at present o/i the stage. At the present time everything is painted to closely resemble whatthe author wishes to represent. If a tree is to be shown, a tree is painted, pasted on gauze and suspended from tho wings. With my plan, if a tree is to be shown it is outlined on' a piece of gauze. Tho outline is left transparent, with the rest of the gauze made opaque. It is not painted at all. When the right light is thrown on it from tho flics or supported from tho wings in front of it, it givts the appearance of a real tree. The opaque part of the gauze takes on the appearance of the skv.

"Instead of building solid trees, as is often done, gauze that is merely toned —not painted, mind you —can bo used. In 'Chantccler,' which is the first production in which this idea has been employed, the setting for the last act. in the forest is not painted at all. .Tho back drop is simply a black velvet curtain. The huge trees which look so massive are made of unpainted gauze. They have the form of trees, and by throwing the proper lights on them they ta'ko on tho appearance of trees. All the effects are obtained by lights on gauze forms. Those big trees can be folded up and packed in a trunk.. Attractions to Corns. Mr. Frank Tait % of J. and N. Tait, is at present in England engaging artists for Australian tours. It is mainly duo to his energy that his firm has engaged tho Hiuldorsficld Bcllringers, Ben Davies, and Miss Esta d'Argo for early Appearances ill the Commonwealth. Ho has also been active in securing the services of Miss Margaret Cooper, the brilliant and beautiful society entertainer; Madame Kirkby Lunn, the great contralto in the British Isles; and General Sir Robert Baden Powell, who has gained much English fame as a military lecturer. Tho;j last three personages, it should be noted, will open their season in Australia during 1912. Notos. Miss Margaret Anglin is now appearing in.New York in a play called "The Green Stockings." Mr. R. A.Soares, one of the members of tho New Comic Opera Company, which toured New Zealand recently, played tho leading part in the "Walt/. Dream" for six nights in Melbourne owing to tho illness of Mr. Roberts. Mr. Soares was complimented by tho management upon his performances. For the Australian production of "The Chocolate Soldier" Mr.' W. A. Peterkin, the well-known basso, who was out here with Ada Crosslcy on her first Australian tour, has been engaged by Clarke and Meynell. Mr. Peterkin has appeared in tho opera in London. Another special engagement for this musical comedy is Miss Rita Presano, who is "lent" for a limited time by her London manager. , _^