PLAYS AND PLAYERS.

New Zealand Mail, Issue 1214, 7 June 1895, Page 17

PLAYS AND PLAYERS.

“ Here come the actors, Buz, Buz.” —Eamlht The theatrical editor of the New Zealand Mail will be happy to receive and print route dates and any other information concerning the movements of companies. A P° fat U route dates ” for the week isrecom- - mended. - Address all communicationsforttiis New Zealand Mail office. Lambton quay, Wellington.

NOTES by lorgnette.

The death of poor Mrs Tapley (Miss Vi. Varley) in childbirth is a very sad affair, and will cause a very widespread feeling of regret in the theatrical world throughout the colonies. Mrs Tapley was Si charming woman both on and oft the stage, and, being quite young, had presumably a fine professional future before'her. -It was well known that she was to rejoin the Royal Comic Opera Company before long, her reappearance to be made, so it was said, in bus Excellency,” Gilbert’s latest comic opera. Her husband, Mr Tapley, is a talented artiste',-' an educated gentleman, and a thorough good fellow, and life seemed full of pleasant possibilities for the clever young couple. King Heath, however, has edrrie down with his iron hand, and shattered the. husband’s happiness with a doubly, ’cruel suddenness. Mr Tapley will have the sincere sympathy of thouof colonial playgoers in his lamentable loss,;, the news of which has been received With special regret in Wellington, where Mrs Tapley was a very great favourite.

“Piripi” writes as follows “ Dear Lorgnette, — Be the death of poor Vi. Varley, which will be so deeply regretted by both personal friends and those who have only made her acquaintance across the footlights, your readers may be interested to know that the deceased lady was a grand-daughter (on her mothers side) of the late John Distin, the celebrated performer -on the saxhorn and trumpet, and who was the principal trumpeter at the coronation of Queen Victoria. ; The lady was married as recently as April 11, 1894, at the Australian Church, Melbourne, to Mr lapley, about a week after she had nearly lost her life by falling down the lift shaft at Buxton’s Buildings, Melbourne. As one who has watched her progress from the ranks of the juveniles to an important position in such an excellent organisation as the Royal Comic Opera Company—a position won by sheer merit and hard work— fallow mo to pay my humble tribute to the memory «f a sweet singer aud a conscientious actress. The following were some of the principal characters impersonated by the deceased lady . Miiiestra and Nita, in ‘The Mountebankslolanthe, in the opera of that name; Chopinette, Paul Jones > Marton, ‘La Cigale ’ ; Fiamebta, La Mascotto’ ; Pitti Sing, ‘Mdado ; Gianetta, ‘Gondoliers’; Inez, ‘Pepita ; Little Red Ridinghood, in the Princess Theatre pantomime of 1894; and many ethers that f daresay will occur to you.”

Mr Phil Stuart writes me from Auckland to say that the George Darrell Company open at Napier on the 7tb insfc. for a -week’s season, and thence go straight to. Dunedin, commencing a season there on the 18th prox. Mr Stuart says ho is not yet qufce certain whether Mr Darrell will play Wellington, as “ there is some difficulty about dates.” Th® difficulty, I feel sure, will be got over, it Mr Darrell can manage it, for he is just as well aware as 1 am that Wellington is the best “ show town “ in the colony.

The production of “The Guv’nor" was, l am glad to say, a great financial success, over £IOO clear being the amount to be handed to Mrs Marshall. From an artistic point of view “ The Guv’nor " was also ati undoubted success, although I icannot. altogether agree with the unmeasured eulogies passed by the critics of the dailies. It is true that some allowance must be made ror the shortness of the time available for rehearsals, but there wbre faults in the production which cannot be explained on that account. . 7 • ' * • Mr Sayers seems to me to completely misunderstand the way in which the character of the deaf old boatman should be played. The part is a “character part, not a low comedy part, and the chief efforts of the performer should be to | bring out the quaintness of the old

fellow’s mannerisms and eccentricities. Instead of thU Mr Sayers constantly indulged in an exaggeration not far removed from the vulgar clowning of a corner mau in a minstrel companj 7 , and introduced gags and by-play which were quite out of place, and which in one or two mo3t noticeable instances completely spoilt the more artistic efforts of liis fe low performers. His make-up was excellent, and I admit that he pleased his audience, but it was neither an exigeant nor critical house, and Mr Sayers, as one possessing no small experience in amateur acting, must have known that he was getting laughter by unartiatic ineaiis, and by devices quite out of keeping with the author’s conception of the character. So much for the boatman.

Mr Marter’s Butterscotch, sen., was a most meritorious effort. The actor had some trouble, I noticed, with his voice, the “ character " voice drifting every now and then into the natural tones of the player, but nevertheless it was a careful and honest study, The part is nor. a good one, and in the first act especially some of its dialogue might be cut down with advantage. Mr Marter, however, scored a complete success, and is to be congratulated thereon. Mr Clark disappointed me somewhat. His stammer was just a trifle too pronounced at times, and once or twice went perilously near wearying the audience,’ though for this, of course, part of the blame rests with the author, whose first act is very dull. But in any. case Mr Clark was too stiff and stilted, and the same remark applies to Mr Waters, who played young Macclesfield.

Mr Hall made quite a hit as the Yorkshire lad, and Mr Woolcott was a satisfactory Mr Vellum, although he seemed a trifle shaky in his lines when the curtain went up. „Of the ladies I shall only say that all did fairly well, some very well. The honours must certainly go to Miss Watson, whose Mrs Macclesfield was altogether admirable. Mrs Marshall was a graceful Carrie, and Mrs Marter a most satisfactory Mrs Butterscotch. Miss Pilcher was scarcely arch enough in her soubrette part, but Miss Hill (who should wear her own hair and abjure light and ugly v/igs) was a very charming Kate. Taken as a whole the performance reflected great credit on all concerned. Mr Allan’s scenery was excellent,. and the stage management, for which Mr Sayer 3 was responsible, left nothing to be desired. ; v

The Mostyn-Dalzeil Company were to open at the'Princess Theatre, Dunedin, on Wednesday last. Mr Wheeler, the advance agent for the company when they were here, returned to Wellington last week, en route for Sydney, having severed his connection with the company.

On Wednesday, also, the Gwen Davies’ Sketch and Concert Company were to make their first appearauce at the Dun-, edin Choral Hall. The company includes Miss Gwen Davies, Mr M. Marcus (tenor), Herr G. Raudke (viola and violin), and Herr Rubl (“ solo slide trombone ”). Mr Marcus acts as manager. He will be remembered as acting in the same capacity for the Belle Cole tour;

The Rev. H. L. Haweis drew Targe audiences iii Dunedin. Tho Christchurch season commenced ou Tuesday last. Mr Haweis gives his first lecture in Wellington, at Thomas’s Hall, on Tuesday next, June 11th.

Mr Smythe’s other importations, Mr Fred YilJiers, the war correspondentartist, and the Rev. Haskett Smith, “ the greatest living authority, and most eloquent lecturer on the Holy Land," have both been attracting large audiences in x\ustralia. Mr Viiliers created an excellent impression during his brief season in Sydney, and the views of the war scenes are said to have been most awe-inspiring. Mr Haskett Smith has also been most successful at Ade'aide. Iu the “ Holy City/’as the South Australian capital is familiarly called by snowmen, a lecture on Palestine was sure to prove a diaw.

Sydney shows : —“ IMa Mie Rosette at the Lyceum, “Struck Oil ” and “ The' Chinese Question " (Maggie Moore) at the Royal, “ Shamus O’Brien ” (with Mr Vernon as the hero) at her Majesty’s, and Rickard’s Variety Company at the Tivoli.

Melbourne programmes (—“ The Shop Girl " (Gaiety Company) at the Princess’, Bland Holt at the Royal, and Varieties at the Opera House and Bijou, the former run by the great Rickards, and the latter by Frank Clark.

The “ Gaiety Girl ” Company were due at Adelaide, for one week, on the Ist June.

The Brough and Boucicaulb Company, after doing good biz at Brisbane and Newcastle, have returned to Melbourne, after which they play Adelaide, and then return to Sydney.

Some of the dialogue in the pieces produced by the “Gaiety Girl" Company were somewhat high-flavoured. One, from “ In Town,” ran thus : “ Oh, yes, she’s very French. Her father and mother are to be married next week, and she’s going to keep house for them." This, says the Bulletin , “gave great

offence to French people in Melbourne, who regard it as a gratuitous and unwarranted insult to their country which might well have been left behind in Loudon.”

A feature of the Melbourne Bijou variety show is a big “promenade" at the back of tho stalls. Hum. Wonder whether the “ promenade ” audience is as mixed as at some London ’alls ?

The latest Wellington street nusiance i 3 a huge “ piano organ," in an express and drawn through the town as an “ ad." for a “ galloping horse" show.

The Dacres, so unsuccessful in Mel bourne, are to appear at a Sydney theatre shortly, probably in “Jim the Penman."

During a recent performance of “ Hamlet" up Smith. “ Hamlet: Thus bad begins, but worse remains behind." Unfeeling person in the stalls : “ Oh, does it! Then here goes.” And he left. Bulletin .

Clifford Halid, son of Sir Charles Halid, is giving lectures at Melbourne Atheneeum on the art of sinking. Some of the professional singers over there could do with a little more instruction, and a little less self-esteem.

Harry Rickards, who has been coining money with his variety shows in Melbourne and Sydney, leaves for “ Lending ’’ on June TO to secure fresh talent.

Buffer, here with Dampier, is running a small dramatic company (with partner Leston) round Sydney suburbs.

The show busi ess must be getting a little overdone in South Africa. When the la3t mail left tho Jennie Lee a Com pany, Fillis’ Circus, and our old friends, the Payne Family (who were to have “retired" but thought better of it) were all at Pmt Elizabeth.

Mr Robert Brough, of Brough and Boucieaulr, now in England, has cabled cut that he has secured the colonial rights of Pinero’s latest success, “ The Notorious Mrs Ebbsroith."

At the Railway Institute, Sydney, a fortnight ago, a company of amateurs staged a new and original comedy-drama, “The Swagsman,” the author of which is Mr Q. W. Anson, son of the great G. W. of that ilk. " 'T . .. Marie Luella and Horace Wheatley are both with The Firm’s big “Cinderella” Company, now at Brisbane. It is possible the company may visit New Zealand later on. A female Hamlet is not always properly appreciated. Says the Bulletin :- “ The night Mrs Lewis played Hamlet there was alarge trapeze hung from the ceiling in readiness for Frank Clark's Company on the following night. During the too-long dreariness of the melancholy Dane, the ‘ gods ’ often impatiently asked when she was going to do the trapeze act. • • • • Mr William Elton has been appearing at Adelaide in Dion Boucicault’s racing drama, “The Flying Scud.” Elton played Nat Gosling, the jockey.

The Australasian (May 25) says : “ Theatrical matters are very duff in Tasmania and New Zealand at present' There is no leading company in either colony.” What will Mr George Darrell say to this ?

The Esty-Marsh Concert Company, a high-class combination, including Madame Enriquez, Mias Alice Esty, Mr Alec Marsh, all of whom bring a high reputation from the Old Country, and Mr Robert Cunningham, the well known tenor, did a terrible “ perish " in Mel bourne. The company will not, 1 hear, come on to New Zealand a 3 had at first been intended.

A daughter of that popular actor, Mr George Titheradge, is to make her debut shortly with the Brough and Boucioault Company. GOSSIP FROM LONDON STAGELAND. From Our Special Correspondent. London, Good Friday, 1895. The real Mrs Ebbsmith being a woman with some sense of humour would probably have postponed her departure “ beyond these voices ” sine die had she learnt the true origin of the christening of Pinero’s heroine. It seems the dramatist invented (as he thought) Ebbsmith, founding it on the analogy of the well-known name Flood-Jones. There was also, Mr Hare’s secretary told an “ interviewer,” a real Mrs Tanqueray, who made a fuss concerning the use of her name on the stage. She would have liked to make some money out of the coincidence, but, as neither Mr Pinero nor Mr Alexander saw their way to oblige her with any, the subject dropped.

In New York the news of Oscar Wilde’s arrest sufficed to end the runs of his plays, which I imagine were not paying over well. Here in London we are less particular, and the managements of “ The Importance of Being Earnest ” and “ An Ideal Husband ” have simply erased the author’s name from the playbills. Some of the papers are very indignant on the subject. The Weekly Sun says :

“ Is it good taste, to say the least of it, for a fashionable house to seek to attract ladies and gentlemen to a work by a man who stands in the position of this author ? Is it good taste to allow English ladies to speak the words of such a man ? “ The erasure of his name from the bills and programmes is mere trifling. The excuse that people would be thrown out of work is not to the point. A revival, a stop-gap of any kind, could surely have been provided, and successful managers could afford tp pay their hands for a little while until the theatre could be re-opened. “It is a very terrible business, and it seems remarkable that London managers cannot see matters in their true light. “ Does the action of such managers help to remove from this city of ours the stain, the stigma, and the disgrace that recent events have brought upon it ? If there are managers who ask the public to patronise such a man through his work, if there is a public to support such plays—does it not show a decadence in Englishmen, a blunted feeling, a suspicion that we are saying, ‘ What does it matter ?’ ”

Respecting the foregoing, Mr Sydney Grundy has dealt a coup de grace to the controversy in the following epigrammatic comment: —“ I wonder on what principle of law or justice, or common sense, or good manners, or Christian charity, an author’s name is blotted from his work. If a man is not to be credited with what he has done well, by what right is he punished for what he has done ill ?”

Mr Kyrle Bellew is responsible for a most extraordinary stage incident. , When Mrs Brown-Potter was playing the part of Lady Macbeth in an Indian city—the name is not given—the darkness of the house being only faintly illuminated by a candle which she carried in her hand, the audience were horrified at the sudden entrance through a window of a hideous vampire, which fastened upon Mrs Potter s bare arm in the sleep-walking scene and sucked her blood until the people became mad with excitement. The lady, it is stated, was so absorbed in her part that she did not even feel the bite, and it was not until she had gone through her soliloquy and retired from the stage that she became aware of the presence of the horrid creature, which then flew away, Mis Potter fainting with exhaustion. The writer who tells this story second-hand in “ Green Room Gossip ” in the Weekly Sun prudently refrains from giving certain details which are germane to the authenticity of the yarn. For .example, he does not mention what time in the morning it was when Mr Bellew narrated it, or what special brand of whisky had been most in demand during the evening. Moreover, we should like to have the vampire’s version'of the affair.

It is said that Sarah Bernhardt is fond of reiterating “ twice told tales,” quite oblivious of the fact that she has told the same old story many times previously. One of these stories relates to the Far West. She was speeding by rail to a distant town to fulfil a professional engagement, but the train was suddenly brought to a standstill by the dangerous condition of a bridge which spanned a chasm of abysmal depth. Sarah was face to face with the dreadful alternative of risking her life or of disappointing her audience. With heroic courage she chose the former. No one should ever be able to say that she had broken an engagement. The narrator is silent as to the thrilling nature of her experience, but it is presumed that she crossed in safety from the fact that she has survived the incident.

Mr George Grossmith met a friend in the Strand’after a tour in the provinces with his piano. He was asked if ho had seen “ The Gondoliers,” and replied in the affirmative. But there was one thing which somewhat detracted from his enjoyment of the piece. “What was that?” anxiously inquired his friend. “ Why I kept wondering all the time when I was coming on,” was the funny reply.

The Westminster Gazette hits off- in an imaginary play bill the increasing fashion of puffing tradesmen and caterers who are in the smallest degree connected with the staging of a piece. The supposed house is “ The-Come-and- See-Em Theatre/ and the play “ 'the Awkwardness of Feeling Dicky.” It gives the names of the persons who supplied everything from the tea drunk in one of the acts to the bad language supplied and so, forth, while the names of the artists are obscurely printed below.

According to Mr Bernard Shaw it is just as important to be conventional as to be “ Earnest.” He has lately been banterino- press interviewers on the subject of his latest play, “ Candida,” which he claims to be the only really conventional play of modern times. He declares that be never deals in villainy, and that the nearest approach he has ever made .to that type of character was a minor poet, andas no poet who ever wrote regarded himself as belonging to that category, Mr Shaw iS in no immediate danger of becoming a martyr to the long-haired rhymsters. Mr Shaw’s heroine is an ideal wife. She does not go rampaging round to afternoon parties, where the flavour of the tea is heightened with scandal, nor does she belong to the new type of advanced females. On the contrary, she stays at home with her own husband. In fact he claims that his play is so innocuous that even the Kev. Hugh Price Hughes would license it without blinking. He talks of sending up to the Censor another play entitled “ Mrs Warren’s Profession,” which will make the public sit up.

A story is going the rormds of the provincial press which does credit to the kindly nature of Paderewski, the great pianist. When he reached Clifton he

received a curious ’letter from a lady earnestly requesting him to play one piece during the afternoon to an invalid lady whose ill-health precluded her from going to a crovvded concert room. Half a guinea was the modest sum offered for the favour. Paderewski appointed a meeting at • his hotel, the lady duly appeared,'and after greeting her he took his place at the piano and played for her successively a prelude and a nocturne by Chopin, and some Songs without Words. It is not stated whether he accepted the half-guinea.

The Kennedy - Lucas Dramatic and Comedy Company opened their season afc the Opera House on W ednesday, when there was a numerous audience. The piece produced was “The Strategist,” a four-act farcical comedy, which judging from the almost incessant laughter made a very favourable impression. “The Strategist” deals with the efforts of a young man named Jack Routledge to induce his father and his proposed father-in-law to assent to his marriage with Nellie Howard, and the strategy he resorts to is not only of the most daring kind, but. involves situations; of the most humorous description. The chief feature of his stratagem is the impersonation of his own and his lady love’s father, and in the course of his scheme he meets with a series of adventures which are irresistibly comic. The love-making of a German sergeant and his English sweetheart also causes much merriment, while an Irishman named O’Flam adds greatly to the humour of the play. Mr Albert Lucas, who made his first appearance before a Wellington audience, was remarkably good as Jack Routledge, especially in .the scene in which he personates ‘Major - Howard, whose daughter heis ' anxloifs ~to marry'. His make-up was excellent, and his imitation of the major when the latter apppared in a befuddled condition provoked roars of laughter. He was ably seconded in his stratagems by Miss' Lilia' Wilde, who is also a stranger to Wellington. Miss Wilde filled the role of Nellie Howard, the major’s daughter, with a vivacity and animation that quickly gained for her the favour of the audience, and showed her to be a really capable exponent of comedy. Miss Marie Masters made a lively maid servant as Arabella, and Miss Lily Hill was well ‘ fitted with the character of Mrs Howard. The part of Major Howard was taken by Mr Chas. R. Hill, who played the irascible old officer of militia to the life, and Mr Frank Norton made an excellent Mr Routledge. Mr J. S. Montgomery as the Rev Mr Mildman, Mr Paul Creyton as Capsicum Pepper, and Mr Milton Moss as Sergeant Grumbleton were good in their respective characters. Mr J. J. Kennedy is already well known as a comedian of ability, and he simply revelled in the character of Terence O’Flam, a wild, excitable Irishman, who, as he quaintly puts it, has just discharged his landlord for having failed to collect his rent. ’