PLAYS AND PLAYERS.

New Zealand Mail, Issue 1424, 15 June 1899, Page 23

PLAYS AND PLAYERS.

, ".The actors ore come hither,'iny lortl, ' Buz, Buz !”■ • u.' —Hamlet.

[.;/ (BY. “ LORGNETTE." .

The return visit of the Maggie MooreRoberts Company has resulted in a succession of fairly good houses. Mr Roberts ' gave a fine impersonation of “David Garprick,’’ and Miss _ Maggie Moore was as ■ amusing as ever in the lively farce “The Chinese Question.” -Mr Roberts has ' challenged comparison with Charles Arnold in “Hons the Boatman,” and emerged from the ordeal with success. He has ' nob so good a, voice os Mr Arnold, but : his acting had a charm of its own. The season terminates on Saturday. . . *** * " *

It’s a fine thing..to have a -fine voice. A successful operatic artiste makes twenty times the salary of an English Prime Minister. For instance Jean de Resks recently made an American tour, lasting leas than four months. His profits amounted to £126,000! * ’ " * *' *

At Sydney Criterion, George Rignold has been doing well with “The Three Musketeers.” One can hardly fancy the over burly Georgeas the slim, wiry young Gascon. B’Artagnan, but “Handsome George” puts a, tremendous amount of “go” into the part. A Sydney criticism says that Mr Rignold “is at his best as the fiery soldier, whose hand is on his ever-ready sword, and seen to least advantage in his love making with Constance.” Harry Diver, the ex-Welling-to-nian, said to make a handsome Athos, and Miss Lilian Wheeler lias made a great hit as Miladi, the part played by Mrs Brown Potter in Beerbohm Tree’s production of the play in London. *** . * w

Mr Williamson Is finding “The Belle of New York” a, good draw at Her Majesty's, Sydney, the receipts being large. The. Melbourne season left, a lot of “dead horse” to work off. Mr Kenningliam, 'tin: Savoy tenor has scored a great success in the Sydney production.

The Broughs are doing so well at Sydney that all thir arangements for Brisbane and New Zealand have had to beat tered. ‘Mr Henry Arthur Jones’s clever comedy, “The Liars,” drew big houses. The dialogue is sparkling, the leading scenes a, triumph of the dramatic author’s craft, and speaking generally the company are seen to- much better advantage in this piece than in any other of Mr Brough’s recent ventures. * # . * V: *

Fitz Gerald’s circus has concluded a ter weeks season in Sydney, and is now louring the provinces of N.S.W. A tour through Northern Queensland follows next, and the circus will then come to New Zealand,

Talking of circuses, I see that our old friend Frank Fiilis has got his South African show safely landed at Olympia. He brought over some 300 South African natives, Zulus, Matabeies, Kaffirs, Hottentots, and others who will give an exhibition of various phases of native life. Several lions and other animals have z. bitbeen specially imported from the Cape, and big preparations were being made v/lien the ’Frisco mail left London for the opening performance. It is vroer stood that Fiilis is “financially’ backin' in his novel enterprise by a Johannesburg syndicate. * * # ■» *

Cinquevalli, the famous juggler, still continues to be an immense draw at Rickards-’ Melbourne show. Nevertheless the Dante season continues in the same city, and the two marvel worker-: are said to be great friends, and almost inseparable. Cinquevalli is said to be a-wealthy man, holding several original shares in the Oxford Music Hall, London. ; **, * * *

According to London “Pelican,” Lord Roseberry, at one time, trifled with the pleasures of amateur, acting. He appeared. as Sergeant Buzfus in “Bardell versus Pickwick,” and was so nervous that he was hopelessly “guyed” by the audience. * * * * *

Although there is no great love for Englishmen in Paris, “little Tich,” a dwarf comedian, who is a great favourite at the London halls, has. scored an immense suecesrin-the “Gay City.” He is getting £4O a performance, and gives nine a. week. £360 a week is not a bad screw. And

the best of it is that “Little Tich" bus other Continental engagements for nearly 18 months ahead. Good business!

“Le Petit Journal” referring to Irving's prodution of Sardon’s “Robespierre,” referred to Ellen Terry as “Madame Hellen Derry.” A contemporary suggests that the name was telephoned by a, gentleman suffering from a severe old;

Apropos to “Robespierre,” Sardoifis play, as staged at the Lyceum, is warmly praised by some of the Loudon journals as the best thing Irving has yet done, whilst others are brutally frank in thenadverse comments. The ferocity of “Robespierre is said to be toned down too much, and Irving’s mannerisms are alleged to have become positively unparclou ■ able. The best feature in the play is the introduction of a supernatural incident, the appearance before “Robespierre," on the night' preceding his death, of Marie Antoinette. Ellen Terry played the part well, but- on the first nigl.it was set dreadfully nervous that she kept forgetting her lines. Kyrle Bedews acting as Olivier, Robespierre’s illegitimate son, is warmly praised by the press. * * * *

Here is the plot of the play as summarised by “The Sketch” : —“Hypocrite, cut-throat!” shrieked the young man Olivier in the face of Robespierre at the most splendid moment in the triumphant career of the “sea-green Incorruptible.” And the Guards hurried away the young man who interrupted the magnificent ceremony in which Republican France set up to a lawyer’s conception of God an altar on a spot soaked with the blood of victims of the Revoluion and of the past tyranny of the aristocrats. Now the young man happened to be the son of, Robespierre, and neither of them knew this, for Olivier deemed himself legitimate child of Clarissc de Malucon, and Robespierre did noli know that- his relations to Clarisse had resulted in the birth of a son. However, the day after the Fete of the Supreme Being, the father discovered the secret when the young man was brought' before him to be examined, and his conscience smote him heavily. So clearly was shown the intense hatred of the youth for the tyrant that- the father durst not disclose his identity, but lie was thrilling to know whether Ciarisse was in the clutches of the Committee of Public Safety and general massacre. Olivier, thinking that the tyrant only wished for further victims, would disclose nothing about his mother; but, even when he admitted accidentally that she was in prison awaiting trial, declined to disclose the name she had adopted. What a fantastic combat! Each of the combatants seeking to protect -a woman, and one, through misunderstanding, nullifying the effects of the otherEven such a tyrant as Robespierre had those whom he feared, and could not avowedly save the young man who had disturbed the famous Fete, so lie east him into prison, -and then searched successfully for .the mother, and liberated her. The enemies of “the atrabilar tormula of a man,” pilloried for ever by Carlyle, removed Olivier from prison in the hopes of finding out something against Robespierre, ancLof all the moments in the thirty-irto or thirty-six years of the man's strmige life, noirp, not even in his seventeen hours’ agony, Was more terrible than the timi when lie/ was peeping side by side with Olivier's mother through a windowito see whether the youth was with the condemned in the tumbrels of the way to death.\He was not there, and, indeed, freed by the foes of the once advocate of Arras, he watched the prodigious strife in the Convention in which Robespierre was overthrown and arrested, waiting. pistol in hand: to shoot tine tyrant if lie triumphed. There was no need foi the son to be an unwitting parricide, since “the Incorruptible” eyided his own fantastic life with a pisfoLshot that sounded a signal of life for the thousands that' overtlironged the prisons of Paris.

The Steele-Payne combination, com prising the principal members of the Payne Family, are touring the Canterhury towns with success. v- * *

Rawei. the Maori lecturer, lias beer giving entertainments in the Wairarapa and is now working the busli districts.

The Royal Comic Opera Company were to commence a four weeks season at Adelaide on the 3rd June, and then go on to Perth.

George Walton is now playing .“Skipped by the Light of the Moon” in the English provinces, under the new title of “A Good Time.”

An interesting historical anniversary is about to be celebrated at Flint. It is exactly 500 years since King Richard 11. was betrayed to Ills enemies at Flint castle and handed over to liis rival, Bolingbroke. It has been decided to give ar. open-air dramatic performance of “Riehar II.” within the castle ruins on August 21.

According to the “Daily Chronicle,’ President McKinley’s niece, Miss Herberta Pryme, will shortly appear in London. Miss Pryme lias appeared at several New York theatres in vaudeville with marked success.

« * * * *- A Sydney paper chronicles the datli of Mr W. F. Baker, an old and much respected member of the musical professionHe was one of the principal tenors oE Lyster’s original opera company, and established himself as a teacher of singing in Sydney. Mr Baker was at one time mine host of the Occidental Hotel; Wanganui.

Fred. Villers, the war artist, who lias just arrived in Australia on a lecturing tour, was sued in April last in the Wakefield County Court by the Local Mechanics' Institution for the recovery of 6 guineas. It was stated that defendant was engaged to lecture for the sum of L\. Os, but prior to delivering the lecture he demanded an additional 6 guineas. flic committee paid this under protest and now sought to recover it. Judge Greenhaw gave judgment for defendant, who. he said, ought to have been sued for breach of contract. 4t 2? The Lydia Thompson, benefit was an immense success. An epilogue specially written by W. S. Gilbert, was delivered by the beneficiaire, and was greatly applauded. Here is an extract : What changes I have seen since that Jim age. When Little Goldenhnir tripped on , the stage! The Drama,, struggling then in lodgings shady. Has made her fortune and is quite the lady. With endless hosts of highly-cultured friends. Think how she dresses now. and what she spends . . In plays that run a year to houses packed. And cost, to stage, a thousand pounds an act! Stage-management—that lias advanced i bit Since poor Tom Robertson invented it—• Tom Robertson, whose histrionic chickens We sneer at now—but then we sneer at Dickens! Knighthoods for actors of pronounced ability: Earls, countesses-engagecl to play ‘"utility” ; Stock-companies completely out of date ; Burlesque quite dead—(it never risked that fate When Talfourd, Planch©, Brough, and Byron made it And Rogers, Clarke, and Marie V< ilton played it)— Then, strangest change, of playhouses vast crops! Playhouses plentiful as grocers’ shops! Ten in twelve months will build a playhouse, per contractor— It takes at least ten years to build an actor, And, as our best authorities insist, Ten times ten years to build a dramatist! • * W ‘ *; * * Mr George Smith, a well-known Melbourne man, who went home as business manager for Mr Wilson Barrett, writes in glowing terms of the continued success which greets Mr Barrett since his return from Australia. Since his arrival in England Mr Barrett has completed his new book, “The Daughters cf Babylon,” and a large edition has been published. He is noiv busily engaged on a new play, which he hopes to produce during his autumn season at the Lyceum. Apart from the success of his other ventures. “The Sign of the Cross” is bringing Mr Barrett a handsome sum in royalties.

“The King’s Musketeer” will be the title of the version secured by Messrs Williamson and Musgrove of “The Three Musketeers." Rehearsals are proceeding busily and in all probability the piece

will lie presented at the Princess’s ar ihe conclusion of the run of “The Forty Thieves.” Miss Henrietta Watson, who was brought out for the part of Maladi. witnessed the performance at the Garrick Theatre. London, on several nights, an is enthusiastic in her praise of the version.

Mr Haddon Chambers appears to ’nave made a hit with Ids new comedy. “The Tvramiy of Tears." which Mr Char’e.

Wyndliain's company - are playing at the London Criterion. “A second Niobe, Airs Parbury lias discovered that be tears sue lias ever at command constitute the very best weapon with which to castigate or cow a refractory husband. So judicious and skilful is her use of this formidable and hitherto unfailing device, that she lias reduced Clement Parbury to that state of abject .submission which forms tire corner-stone of domestic felicity. Una by one she lias dismissed Iris old friends and associates and everything belonging to his past life and habits, until her empire in her own house is as undisputed as that of Alexander Selkirk on his island. It can scarcely be said that her vigilance is relaxed, but on old friend, the least desirable of all, passes all her guards, and finds an entrance into her stronghold. By the instigations of this man the ■ ooi craven husband is stirred to an assertion of independence." At about this juncture Mrs Parbury discovers her husband's pretty typewriter kissing his portrait, and failing to procure her instant dismissal (puts the house herself. In this last incident the lady, although she afterwards relents, seems o have been clearly within her rights.

Yvette Guilbert —she of the long black gloves and the sweetly seductive songs, who was once a shop girl, and is now the idol of the Paris "halls"—is with us again, says “M.A-P." She is singing at the Empire and staying at the Cecil. Her salary amply justifies her choice of boarc: and lodging, and the packed conditions of the Empire justifies her salary. 2? *

It is difficult, says a London society paper, to tell stories of Arthur Roberts which have not 'hitherto appeared m print. Perhaps the following may have escaped publication hitherto. It- was in the train on the way to Kempton Park Races. An absolute stranger, with a rakish air and a noisome Appearance and manner, who was seated opposite Roberts, affected to know him, talked incessantly,

and made himself generally offensive. Arrived at the racecourse, the objectionable one asked the actor to take a, drillk. “Certainly,” said Roberts, “give me split can de Cologne and sodad" Here's another: Roberts was kite at rehearsal one day. The stage-manager (it was the lute Charley Harris’) upbraided hoim severely for his ' unpunctuality. “Here’s Miss Smith a quarter of an hour behind time, then Mr Jones drops m mdf-an-heur late, and you’re three-quarters .of an hour " Then Roberts broke in - “My dear fellow, didn’t you back me an a place ? ’ * * * H, H. Vincent, formerly well-known on the colonial stage, is now stage-numapor at London St. James's. , A London p&per says : —Whether it is as the unseen ral of stage armies, or the ringleader of stage rebels, Mr Vincent is equally at home, always energetic, genial, and as ready with a happy little speech or jest as with an effective command to his numerous supers. Mr Vincent has been connected with “the' profession as loim as Mr Kendal or Sir Squire Bancroft. °ffe made his first appearance something like thirty years ago. and played Romeo in London and Manchester, to Juliet of Miss V uilis. at the ideal age or twenty-two-; indeed, he had officiated as leading mart at most of the. big provincial theatres before he had reached his first quarter of a century. ***** Afterwards. Mr Vincent was for seventeen years in Australia, where lie was connected as player, stage, and acting manager with five important theatres. Everyone who saw “Liberty Hail,” wifi remember liis inimitable sketch of Braginsliaw. But it was to play Tuppy, in “Lady Windermere’s Fan,” that he first went to the St. James's. It was to be a six weeks’ engagement, but Tuppy was such a success, and Mr Vincent such a,, capable stage manager, that the sixweeks have extended to seven years. * * * * ‘ * Sarah Bernhardt has declared against! a familiar feature of Parisian playhouses. She says she will have no rideau de publicite, or advertising curtain, in her new Theatre des Nations. When she went to Italy, not long ago, she round the advertising curtain in vogue there, and, in her usual prompt and energetic fashion, she declared another curtain must be used during her engagement. The manager, afer vain protesting, taxed the divine Sarah some two and a half guineas a night to meet the damages which the advertising butchers, bakers, and candlestick makers would demand, and the actress cheerfully paid the bill. Mine. Bernhardt has never been troubled with advertising curtains in London, nor, strange to say. in America either. It the advertising element could be eliminated frbm the programmes of’places-of amusement here as easily as Sarah got rid of the advertising curtain in Italy, one would be able to use a theatre programme in comfort. The huge blanketlike sheet at present in vogue is a weariness to the flesh, and an eyesore as well. La Bernhardt will be in London again in June, at the Adeiphi. OLD-TIME COLONIAL ACTORS. “We had better plays in the early days,” remarks Dr Neild in an interview article in “The Argus,” “and certainly belter actors than, at the present day. I should say that G. V, Brooke, Barry Sullivan, and Walter Montgomery represent three memorable epochs in the history of the Australian stage, and the companies who played with them have, in my opinion, never been equalled, and certainly have never been surpassed. Wiio that ever saw them act can forget G. Y. Brooke and Fanny Ca.thcart. who was his 'leaning lady? What a company it was that opened in the old Queen’s Theatre in March. 1855! They played Shakespeare and the higer drama, and after their performances, Sir John Madden has said, one left the theatre in a state of -fervid exaltation. “Othello" was Brooke’s greatest part. I have seen scores of actor.; play “Othello” both here and in the Old Country, but I never saw anything like Brooke’s performance of the Moor. Perfect in build, perfect in voice, magnificent in his reading of the part, lie towers overall other actors. One cannot say Fanny Catheart reached the same height as Brooke, hut she was an admirable actress, and she told me that she never played so well! as with Brooke. Brooke’s Hamlet was not his best part. I used to say to him. “Brooke. I don’t like your Hamlet.” and he replied. "I don't like it niysck. ’ He was too magnificent, too stately, fertile Dane, but as the Moor he was unsurpassable. Brooke went all the colonies, and was a success everywnoic Hint he went. Besides being a great actor, he was the most lovable and modest creature that ever I knew, and I well remember his pleasure when I showed him Staunton's Shakespeare, illustrated b.v Sir John Gilbert, and which I was then reading, and from which Brooke dressed all his characters. Barry Sullivan was the next important man to come out here. He opened in 1862, with a first-class company also, and Fanny Catheart appeared witli him in leading parts. Another very capable actress who was with him was Miss Cleveland (wife of a good sound actor named Vincent). Barry Sullivan though miles behind Brooke, was an earnest. and indefatigable worker, and a (regular martinet in his management. Next we- come to Walter Montgomery, who was undoubtedly the.finest Hamlet ever seen in Australia. On the first night that he appeared as Hamlet I was in the theatre with two or three well-known literary men, and we watched the performance

without saying a word. When it waover, I said to one of them, "I have seen Hamlet for the first time,” and with one consent they answered, “So say we all. I suppose I have seen a hundred mv.n 'play Hamlet , some horrible, some admit able, but I never saw one who played it like Walter Montgomery—never. lie as not at all a good-looking man, but he was “an adept at making up, and on the stage he could be radiantly handsome. He began life as a designer of earpt patterns in Nottingham, and he learned some valuable lessons in colour effects, which came in very useful to him afer wards. The great charm in his rendering of llamlct was his naturaliness. Off the stage he often posed, but, by a curious paradox, he was never less stagey than when on the stage. In his rendering all Jnlicultiervanished, and every point of the character came out with beautiful distinctness. “Nowadays, you never see or read burlesque. You see a good many rows of tights, but very little humour or clever acting. In the earlvy days a burlesque was what the name implies—a travesty or parody of some story or incident, and extremely brilliant many of them were, William Akhurst wrote many of the best of them. He was a clever musician, and would compose or adapt music ror his own words. His dialogue was localised and made topical, and all his production - wore excessively funny. I remember, especially, “The" Siege of Troy,” in which poor old Harwood made an immense success, and in which Docy Stewart and Marion Dunn (Mrs Marcus Clarke) both Look part. ‘ We had only tragedy, comedy, and burlesque, but we had also the genuine farce, in which Jefferson shone with the greatest brilliance. Take, for example, that excellent farce ‘ The Spitfire.” Than was mountebanking, but Jefferson gave the most deliciously ludicrous representation of abject cowardice in that farce that I have ever seen. Jefferson also did some fine work in legitimate comedy, and his Bob Acres still lingers in my memory/ while his representation of Bottom the Weaver, in a “Midsummer Night’s Dream,” was also an excellent performance. ‘I do not wish to he understood as saying that within the last ten years or so we have not seen really capable actors and actresses in Melbourne. There is Kyrle Bellew, for instance. I remember when I was made one of an impromptu jury of critics who heard Mr Bel ow give some recitations, and it fell to my lot to recommend him not to pursue the art of recitation as a means of livelihood. After that recommendation he remained in Melbourne for some time, and lectured for a modest salary every night at Mr Kreitmayer’s panorama of the 1‘ ran coGerman war, which was then not long over. When Mr Kyrle Bellew returned here with Mrs Brown Potter I found that his latent talent had been brought out. and when I saw him in the role of Scarpia, and also in that of Marat, I found him an actor possessed of much force and fire, as well as a most handsome appearance. I should say that his fore lay in the lighter characters, however, and I cannot imagine him as either Hamlet or Othello. Then, again, we have had Mr Titheradge, a comedian of rare power and individuality, quite the best comedian, in fact, with the exception of Charles Mathews, that we have ever seen here. Mr Brough, too, in his own line as an eccentric comedian is inimitable.” What do you think of modern musical comedy ?