THE THEATRE.

Dominion, Volume 5, Issue 1324, 30 December 1911, Page 9

THE THEATRE.

The World's a theatre; the Earth a stage.—Heywood. With Apologies to G.B.S. It is an interesting fe.ct that, when Bernard Shaw was shown the oomic opera. "The Chocolate Soldier," which is an adaptation of his brilliant comedy, "Arms and the Man," ho impolitely and firmly refused it acknowledgment. It was accompanied by a cheque for some thousands of pound's, which was promptly returned. Then the adapters, in despair, threw themselves on the author's mercy. The great man. finally capitulated, and gave consent to the use of his play. But tie made the stipulation I hat in all advertising matter apologies lie made to him. So it comes about that on tho powers and programmes issued by the J. I'. Willinm.-.on management then" is a line under tho tide to this effect, " "The Chocolate Soldier,' with apologies to .Mr. George Bernard Shaw." and it is a strange commentary on the silnation that the opera lias made fortunes for several managers, while "Arms and the ."Mia," clover as it is, never drew houses. When it was first produced the latter averaged ,C 2.1 is. oil. per representation. On the other hand. "The Chocolate. Soldier" is in its second year in London, and is still also the. reigning success in Paris, Berlin, Vienna, and New York.

"The Chocolate Soldier" will be given here by the Now English Comic Opera Company under the .1. C. Williamson management on Wednesday, January 3, for a season of twelve nights.

The Scotch Actors. Last week I gavo au idea of wliat was being done by the Abbey players, of Dublin, under tho skilful"direction of the poet-playwright, Mr. W. B. Yeats, to establish something approaching a national drama. Although established for some time, it was not until the company decided to test America, that the Abbey plavers became known to the world at large. ' It is coincidental that, at (lie same fimo thnt the Abbey players opened in New York, the Scotch actors gave a delightful performance in that city of a purely Scotch comedy, bv Graham Molfatt, entitled "Bunty Pulls the Strings"—a play which was quite successful when produced in London.

Tho play makes a demand that everyone in the cast should speak Scotch— legitimate Scotch, not tho vaudevillo variety—so that the company of players are all genuine children of Caledonia. "Bunty Pulls tho Strings" is not a great piece of theatrical workmanship, but is n capital little domestic story, told with potent charm and a deal of naive, humour. Bunty is a young Scotch girl, shrewd, reliant, executive, albeit somewhat dictatorial. Her father is a bigoted Calvinist, who even pulls down the blinds on a Sunday that tho sun may not cheer things up. Canny and intolerant, Tamraas Biggar is a pillar of tho church, but ho has utilised .El2O of a trust fund, given to him by Miss Susie Simpson, to pay the gambling debts of a son driven from home by his harshness. Miss Susie suspects, and boldly proposes marriage as an alternative, but in the meantime turns up Eclen Dunlop, whom Biggar bad jilted twenty-five years before. When Susie finds that Tammas's old sentiment is awakening, she makes a scene in front of the kirk, accuses Biggar of theft, and insists that tho local policeman arrest him. but Bmity says sho shall be paid the following day, and this is done, but with the money that her fiancee, Wcehini Sprunt, has saved up for their marriage. Then, as before, Bunty proves her ability. She shows' that the money really belonged to AVealuui, side-tracks the vengeful spinster, arranges ;for the marriage of her father with tho long-dosert-ed Eelen, and gets the latter's niece a place with the local milliner, thus paving the way for a romance between that young woman and her (Bunty's) brother Tiab. Of coursa. she does not overlook hoi- own interests, and her wedding to Woelmn is carefully arranged for in tho near future.

All this is deliriously told in scenes of quaint, rjniet humour, instinct with real local colour, and with a knowledge of the Soot which is as unerringly truthful as. it is frankly unflattering.

The east, was a= follows:—7?ab Bicsrnr, Edmond Beresforrl; Bunty Biggar. Molly Pearson: Susie Simpson. Jean Cadell; Tammas Biggar, Campbell Gullan; Weelum Sprunt, Sanderson Moffat; Eelen Dunlop. Amy Singleton; Teenie Dunlop. Margaret Nybloc; .Teems Gibb,. Genrgo Tngleton; Maggie Mercer. Mariorie Davidson; Da.n Bin-ell, Will Jaxone.

"Every woman." Of "Every woman." Walter Browne's modern morality play, produced at Melbourne on December 17. the "Age" said:— "Regarded as au experiment in drama, 'Everywoman' most bo considered highly interesting. It leaves out a great deal that, the modern stage usually insists uoon. The American author was a man of courage; ami those who elected to produce his work were certainly not less courageous. The ■ plar goes boldly on the assumption that the theatre can, with success, bo turned into an illustrated lecture room. . . . "In 'Everywomnn' there are some beautiful stage pictures. Each scene is a study iu-itself. Each nhase nf cxistenco is a highly-coloured tableau. In the first act "Everywoman' is attended by three. grace;, named respectively Youth, Beauty, and Modesty. In possession of these, she i« naturally haopy; but she wants something more. She wants love. AVbo is to tell her that the quest, of love is be=et with danger? The answer is—Nobody. It must be understood that tbis Nobody is an actual character, who walks the stage in the guise of a cloaked mate figure, and tells the lady what she has to expect.- A time wall come when slk> will lore Nobodv; n time will come wlien she will .want to pillow' her head on the hrea«t of Nobody. This and other cheerful information is furnished grntuitoushbv the cloaked figure, until she sends him awav. But he preserves his part of Gre»k Chorus fo the last. The woman in h°r C|ii»st of love noes out info the world. She is met with inside tho nrecincts of a. theatre. Modesty ha.' been manacled, and is no longer in ntlend-

Why, Indeed? An American actor cites a certain melodrama, produced a few years ago in New York, as containing the busiest and most inconsistent villain ever created. In the first act he tied the beautiful heroine to a railway track just as tho exprc.-i. was due. In the second he lured her lo au old house, locked her in au upper room, and set the place on fire. In (lie third he strapped her under a buzz saw. and set tho machinery in motion. In the fourth he tore (he planking out. of the Brooklyn Bridge, so that her motor-car nlunged through fo the raging flood below. In the fifth act ho started to mat" love to her. She shrnnk frori him. "Why do you fear me, Nellie r" he asked. Max Reinhardt, Playwright. Apparently Max 'Reinhardt, tho German playwright and stage-manager, who is said to have tnado a wonderful impression at thoOlympia Theatre, London, with his 'wordless drama "The Miracle," is a genius as a producer. Over a year ago he staged Sophoolos's "Oedipus" in the ring of a Berlin circus, ami aneo: Youth U still there, but is less oxiilwnnt. and Beauty i-. lying sick. Wealth and Bank, however, are in constant ullejidance. There cmor- n figure cloaked ii! red velvet, and with a singing voice; a figure si range, seductive, young, prepo-cssing. The woman wonder* a I first whether I-lis be Love; she is half inclined to yield; but (lading tli-,1 il is onlv Passion. =he dismisses it with scorn ami 'oplempt. "tn the (il'lli net the wanderer comes home. She has lo={—tcmpirarilv. at any rate-boMi Youth and Reality; but she has no sooner re-entered the portals of her own house than she find o Young Love lying there aslcp. And then, by some strange coincidence. Modesty is restored; and another allegorical figure, Conscience, is made easy; and a marriage is to lake place in the morning; and the lesson i« duly proclaimed that if you want Love you must not go abroad In seek him. but wait for him at home." Nothing could havo exceeded I lie <ordialitv of the welcome given to Miss Hilda Spong on Saturday. As a gifted actress, a- a graceful woman, and as vlx Australian, she \ra.- greeted with genuine pleasure bv ph overflowing house. tn portraying the part ol "I/rsrywonnn." she tos ifH7, successful*

with his masses of performers, his strange iirjlitliiK effects, etc.. ho succeeded in creating a profound sensation, and introduced lino Hashes uf modern paviion into the classic wort.

After Berlin, other German cities clamoured for the production, and on tho strength of the great achievement a, society for the promotion of a National dramatic festival, to bo held in all the large German towns, was established with UeiT Keinhardt as art director and producer. Notes. George Portus. the well-known theatrical manager, who (in conjunction with (he Piekards management) has just concluded a profitable lour of Iho Dominion, went to Auckland la.-t week to meet Countess de Ci.-nrrn--. the mezzo soprano of the Alclba Company, who is on her way to New York to i'ullil grand opera engagements. Mr. T'ortus has arranged for a tour of Australasia, commencing in May next at. Sydney, by Countess Cisneros, supported by a complolo operatic, party. Grand opera and oratorio (including ''Samson and .Delilah") will be features of the reperloire. Jan-en. the American magician, with a complete company, comprising twenty-two artists, is to commence a colonial tour in New Zealand in March, next, under the direction of George Partus: and Frank Talbot. Several other important attractions under the Portus b.mn'or arc to follow. They include (he Empire famous band "The Grenadier Guards." Mr. Allen Donne and Miss Edna Kcelev will open'the New Zealand tour in Auckland next March. They will have with them a company with a repertoire of proved Irish-American musical dramas. Cyril Keightley plays '.ho hero in the now Drury Laue spectacular drama, "Tho Hope." There are sixteen scenes in the four acts, including representations of tho running of the Dorbv, an earthquake, and other striking spectacles. The Australian rights of the plav have been secured by J. C. Willamson, Ltd.

A forthcoming attraction to be presented by the ,T. C. Williamson management will Ihj the first Australian production of Conan Doyle's great play, "The House of Temperloy." The play, which is based on the novel of "Koduey Stone," has been an cnorms'is: money-maker in England and America. One of the many notable scenes is the realistic representation of a light, which is fought iu the old way, without gloves.