MUSICAL AND DRAMATIC.

New Zealand Herald, Volume XLV, Issue 13781, 20 June 1908, Page 4 (Supplement)

MUSICAL AND DRAMATIC.

BIS MAJESTY'S THEATEE. Jane 8 to June Meynell and Gunn. June 29 to Jnly s—" Ths Tea Girl.' July 6 to July 25—Allan Hamilton. OPEEA HOUSE. June 1 to 27-World-Wide Pictures. HOYAL ALBERT HALL. June 22 and 23-Kubelik. TnE musical attractions for next week are the two recitals to be given at the Royal Albert Hall by Kubelik. The booking has been exceptionally heavy, so that a big reception is assured the great violinist. Kubelik's wife, who is a member of an old Bohemian family, uer title being Countess Craky Czell, is accompanying him on the tour," and they are a very young looking couple, he being 27 years old, and she some years vounger. At the conclusion of the world tour they will' spend some time at their home at Castle Bychor, in Bohemia. Dining the week the Harcourt Beatty and -Madge Mcintosh company has been plaviug "Fedora" to big houses, and tonight they stage "A Beggar-on Horseback." The playing of " Fedora has given rise to a curious controversy. Frequently one hears such remarks as "She cannot/play it as Bernhardt played it,""and "Of course, you know, Sara Bernhardt played that part with the utmost reserve." In nine eases out of tan those declaring these emphatic opinions have never seen Bernhardt, and their world travel has been confined to a solitary trip to Australia, or perhaps even to Whangarei. Mies Mcintosh never claimed to play the part as Bernhardt played it, and no one ever claimed for her that she did. but she is a clever and capable actress, and puts good work into the part, thoroughly sound work, and her conception throughout is an artistic one. The intense manner in which she identifies herself with the character has . offended some who declare that Bernhardt "played with the utmost reserve, . but, as a matter of fact, the great feature of the famous Sara's work in that part, was the absolute intense realism, the utter abandon, with which she threw herself into it, and no one who has ever seen her play "Fedora" would dream of speaking of " utmost reserve." Those who have seen " Fedora" played in many different countries have given most cordial praise to Miss Mcintosh's work in the part, but then, of course, there are always some people who consider it good form" to adversely criticise anything produced in this country. Generally their knowledge of others is gained from the pages of a guide book. I often wonder what is the nature of the particular complaint afflicting some of the " gods" to whom intense tragedy on the stage. seems occasion for ill-bred giggles, and inane remarks. Some diagnose it as nervousness, through a too literal following of the incident in front, and some speak of it as ignorance which prevents the interrupter; from intelligent appreciation, of the artistic portrayal so essential in tragedy. At any rate, while the diagnosis is in doubt, a pretty effectual remedy is the presence of one or two ushers, who will request the interrupters to " step outside."

An erroneous impression is current in the citv that "The Tea Girl," Mr. Thomas Humphrey's latest work, was written in collaboration with the author . of " The Golden Wedge." " The Tea Girl" is entirely Mr. Humphrey's own work, _ and the Auckland theatre-going public is looking forward to its production with keen interest.

Messrs. J. and N. Tait made every provision for a fitting introduction of their new musical " find," Stgnora Franca Revillo, who made her Australian debut at the Melbourne Town Hall on Juno 6. Anticipation had run high regarding the advent of this new Spanish soprano, who counted appearance at La Scala, Milan, and the Grand Opera House, i Barcelona, among her triumphs. She more than fully upheld this reputation before Melbourne music lovers. The fine quality of her voice, her temperamental treatment of the music, ranging from the most intricate bravura passages of grand opera to a comparatively simple ballad, such as Frances Allitese's " Song of Thanksgiving," her sympathy and her technique all made a profound impression on the audience.

Miss Irene Ainsley, who lias had a brilliant career in England since her London debut, before the Prince and Princess of Wales, in 1906, has decided to make a tour of Australia and New Zealand, for which purpose she. has relinquished her engagements at the Birmingham and Norwich Festivals.

Miss Katharine Goodson, whose abilities as a pianist of the highest standing, both in England and America, have been recognised for some years past, is to visit Australia in a few* months with her husband {Mr. W. F. ninton), who is coming out as examiner for the Associated Board.

Mark Hambourg has left London for America, en route for his Australian tour under the direction of Messrs. J. and N. Tait, which commences in Sydney about the middle of next month.

Mevnell and Gunn's "'Little Breadwinner" and "Stepmother" Co., which is having a very successful season in Queensland at present will open in Cliristehureh on August 6, and visits Wellington on September 2, and Auckland on September 30/

Every notable violinist of the present day owns to the tutelage of Seveik. Marie Hall was one, Kubelik another, and a third is M. Leon Sametini, who will be out in a few months to tour Australia with the Ada Crossley Concert Company. He was indead one of the famous master's wonderchildren, beginning a two years' course with him at the age of 15, in 1903. That occasion he commemorated by composing a fantasia for the piano and violin. With Seveik he stayed two years, making his debut with the Prague" Philharmonic Society in 1903, and achieving a most emphatic success. On returning to his native country he devoted himself to the compositions of Wieniawski, and it was the latter's daughter who advised'him. to go to London in 1904. There his first appearance in the Bachstcin Hall and his brilliant attainments gained immediate recognition. He quickly sprang to tho front, and though still,only 22 years old has already won an acknowledged position in tho front rank of to-day's violinists,

After very ucarly nine years' absence, Mr. G. S." Titheridge, one of the most popular actors the Australian stage has ever known, has returned, arriving at Fremantle. He will travel round to Sydney, joining Margaret Anglin there, and opening on June 27 in "The Thief." Since his departure he has been engaged in most interesting work, including that famous study of his Aubrey Tanqueray, his rendering of which won a richly-deserved compliment from Pinero, who told him that he had revealed more sides to the character than ever he (Pinero) thought there were. A goodly portion of his time was spent in the company of Mrs. Patrick Campbell, with whom he appeared in London, the English provinces, and the United States. In the last-named country, too, he toured with Margaret Anglin, so that he is renewing an old friendship. He also toured with the Sothern-Marlow combination. His latest engagement was with Sir John Hare last year in "Caste," "A Pair of Spectacles," etc.

Ever since " The Merry Widow" made it* entry upon an Australian stage at Her Majesty's Theatre, Melbourne, the audiences which greet it nightly have been larger and more enthusiastic than have faced the Royal Comic Opera Company for many years past. Now that Lehars famous work is in process of growing familiar to music-lovers on this side of the world it is not difficult to understand the fascination which has carried it around the world. And, so far ss Australia is concerned, the understanding is all-the easier in view of the trulv great cast which J. C. Williamson has selected for its interpretation in the Commonwealth and New Zealand. It is doubtful whether a more evenly balanced company, or one in which more individual hits have been made, ever essayed the opera—certainly none have done so with better results. ~ Mt/sico-DRAJU'ricirs.