PLAYS AND PLAYERS.

New Zealand Mail, Issue 1509, 31 January 1901, Page 29

PLAYS AND PLAYERS.

" The aetor3 are coir,.3 hither, my lord, Buz, Buz!” —Hamlet.

NOTES- BY: “ LORGNETTE.’

The Nance O’Neil season, despite the national calamity which, must necessarily interfere with ail classes of entertainments, is proving a most brilliant success, both artistic and financial. The Opera House is nightly crowded with overflowing audiences, whose keen appreciation of the brilliant talent of Miss O’Neil is openly testified by repeated outbursts of applause. “Magda,” with which the season was opened, proved a great treat. The dramatic situations, the brilliant and thought compelling dialogue, the superb acting of Miss O’Neil, notably in the third act, and the truly artistic and in every way remarkably fine character-study which Mr McKee , Rankin presented as Colonel Schwartz, all contributed to make the evening a memorable one for all who appreciate the higher forms of the dramatic art. On Friday and Saturday Giacometti’s fine but gloomy play, “Queen Elizabeth,” drew crowded houses, Miss O’Neill and Mr Kingston being seen to special advantage. On Monday the talented young tragedienne gave an extremely artistic rendering of the complex but fascinating, part of “Fedora.” On Tuesday came “La T'osea.” and on Wednesday there followed an extremely interesting production in Ibsen’s “Hedda Gabbler.” The remaining programmes for the week include “The School for Scandal” on Thursday, “Camille” on Friday, ia regrettably short season closing on Saturday with a revival of “Magda ”

On Monday next the Stanford Dra_ matic Company appear at the Opera, House in a fine melodrama, “The Power and the Glory,” which has been played with great success m Melbourne and Sydney.

After a visit to Europe, Mr Charles Holloway has returned to Sydney laden with new plays. Among the new pieces are the “Franch Spy,” and “Death or Glory Bovs,” by EL Hill-Mitchelson; “For the" Sake of a Woman,” by J. James HeAvson, the Liverpool pantomime writer ; two new plays by Frank Harvey, “The Millstones of Life,” and “A Woman’s Redemption” ; “Dangerous Women” and “A Bad Character,” by F. A. Scudamore • “A. Mother’s Love,” by Fred L. Connynghame; “The Prodigal Parson,’ by Clarke and Connynghame; and “A Daughter of the Million,” by 0 arer.ee Burnette. He expects to open iu Sydney about February. ,

“Florodora” goes to Sydney next month and “Australis’ will’ replace “Florodora” in Melbourne. Mr Williamson intends that his next new piece shall have its premiere Sydney. This will be “The Runaway Girl,” a Gaiety piece in which Miss Palotta appeared prominently in London.

The late Sir Arthur Sullivan’s romantic Irish opera was left uncompleted. The deceased composer entirely finished the vocal music of the work before his death, but unfortunately the orchestral scoring will have to be entrusted to another hand.

* * * » From inquiries made by a representative of the “Daily Mail,” it can now be definitely stated that “George Fleming’s” version of “The Light that Failed” has been authorised by Mr Kipling, and that he is, as a matter of fact, a party to the contracts that have been made. “George Fleming” originally wrote her version for Miss Olga Nethersole, but Mr Hawtrey now holds all the aoting rights cf the play. ■¥; -K- -tf.

Mr J. M. Barrie has been sufficiently encouraged' by the success of “A Wedding Guest” to begin work on two other

plays, one of which is said to have a particularly strong human story.

M. Gustave Charpentier is the composer of the beautiful opera “Louisi,” which is having such a successful run at the Opera Comique. The subject matter of his work is the Paris work-girl, and for the petites ouvrieres, or, as he prettily calls them, the “little fairies of Parisian work,” he has a most paternal interest. A fresh example of the way he is constantly thinking of them is the attempt which, he is making at the present time to obtain for them free passes to the theatres. —“The Traveller.”

Katharine Grey, who is suing for damage in the Supreme Court for breach of contract by the Richard Mansfield Company to employ her as leading actress, submits as one reason which compelled her to leave that while performing in “The First Violin,” the part she was to perform, required Richard Man.'field to kiss her, and that in the s:id act of kissing, the said Richard Mansfield performed the same in an insulting' manner.- —“Sun,” New York.

Mr Edward Lloyd has sung his last song for the British public. Jtre has said good-bye to the stage, and we may not expect to hear his magnificent tenor voice any more delighting crowded houses. For thirty years Mr Lloyd has been singing in public, and since the time when Sims Reeves was in his prime there has not been a finer oratorio singer. The devotion with which he followed his art gained for him the love and respect of everybody with whom he came "in touch. The Albert Hall was a scene of great enthusiasm when Mr Lloyd came back after his visit to the provinces to b : d farewell to bis London public. His rendering of ‘“The Holy City” and the well-known prize song, “Lend Me Your Aid,” brought back pleasant memories of the time when he sang these same scongs in this particular hall not many years ago. One was tempted to think that Mr Lloyd was retiring into private life rather too soon, and that many years of a s’ligiiig career were still left to him. When at last the great tenor came on the stage to sing his last farewell song., the scene in the hall was touching, if not actually pathetic. He sang Baife’s simple melody “When Other L'ps,” and at the concluding words of (the song, “Then you’ll remember me,” Miss Clara Butt rose, and, leading the house, every one sang “For He’s a Jolly Good Fellow,” finishing up with “Auld Lang Syne.” It was a scene to be remembered; a public’s farewell to one of the greatest tenors English audiences have ever^known.

The late Sir Arthur Sullivan was christened Arthur Solomon, but “M.A.P.” states be was not one of the chosen. This may he so; but nis brother Freddy Solomon certainly was.

M.- J. Williamson intnd* tint *s next new piece shall have its premiere in Sydney. This piece will be “The Runaway Girl,” in Avhich Miss P'alotta appeared in London.

Miss Ada Ferrar, A\ r ho played Flavia in ‘ The Prisoner of Zenda,” and Mercia in “The Sign of the Cross/’ very successfully in Melbourne, lias been playing a season in New York, Avith Mr John Hare and Miss Irene Vanbrugh. * * * * * *

Fitzgerald Bros, are launching out with spectacular ballets, and during the present Sydney season will stage one cf 200 performers. If this form of Fitzfrivol gees, it will lead music-hall opposition “a pretty dance.” * * * * « #

Torn Fitzgerald, says a Sydney paper, is just emerging from a serious illness. He looks a perfect wreck. He brought from London as a present for Dan a very swagger set of harness for Commodore. Commodore no sooner got it than he dashed its beauty by rolling over and over in the sawdust.

Joseph Carne sailed for London in the Sophocles. A conscientious performer, his poAver of pourtraying ©motion, say© “Melbourne Critic,” was very limited.

• ff. Williamson's Sydney show, “Austra|is,” the ‘‘City of Zero,” as a spectacle is not in it with the Commonwealth procession /and as a story or a sing-song it is a weariness to the flesh. The fact is that Williamson, like many other explorers, has got frozen in while searching for the North Pole.

_ Hilda Spong is back in New York, this time as a star, and is being made much of on all sides. As a rule the haughty moneyed class don’t have much truck with the player folk in the States, but they are rather partial to Miss Spong, who is declared to be so “aristocratically English,” don’t ye know. Hilda’s acting is much admired, and so are her accent, her clothes and her good looks. According to latest pictures, she has developed considerably, and looks more than when we saw her last. Her figure is splendid, and she is very fond of clothes creations in dead black, a taste-which enhances her fine curves very much. Miss Spong, who is getting a huge salary, just about six times what she drew in Australia, has her mother with her in the American capital, where at present the “Australian” actress is quite one of the topics of conversation.

Clement Scott is beginning, it is gaid, to despair of making a success of his new

paper “The Free Lance,” and in the event of its' failure talks of a lecturing trip to Australia.

The famous singing brothers, de Reszke, have signed agreements with Geo. Musgrove to appear at the Princess’s, Melbourne, th.s year.. Also, talked around the Gay Metrop -that- Melba has dene ditto. “Melbourne Critic” said months ago that Musgrove would succeed in netting iVLe(ba before anyone else.

Harry Rickards continues to import the big stars of the Loudon 'Alls.. Let tie Collins is still at his Melbourne house, where Marie Lloyd, another very expensive star, is due early next month.

C. Haddon Chambers paid a visit to the States during December to gather material for an American play. * * * *•

Charles H. Hoyt, the author of ““Chinatown.” (“The Milk-White Flag,” and other popular musical plays, diet! cn the 20tli of November at bis homo in Charlestown . It was only in August lastyear that the deceased dramatist had been released by court order from a private asylum, where he had been committed cn a worked-up charge of insanity. The late Charles Hoyt occupied an unique position as a writer cf humorous stage literature, and his place will be hard to fill. Most of his plays are (still running in America. Hoyt had made vast sums of money with his shows, and died a very wealthy man. “Chintatcwn” -is said to have been the most successful of all the Hoyt farces, and made over £IOO,OOO in five years. - * * * * if-

Bland Holt has produced a Drury Lane success, “The Great Ruby,” at Melbourne Royal.

Rumoured that Henrietta Watson will shortly return to Australia and rejoin Bland Holt’s company. * * « » » The death is reported of Miss Flo. Belcher, (Mrs John Cosgrove).

Miss Elsie Carew, who played elderly Iparts with Frank ~~ornton while touring in Australia, has made a great hit in Birmingham as Queen Bess in ‘ Queen o’ Scots,” with Miss Marion Terry as the star. The papers say Miss Carew is an ideal representative cf the part.

Some slabs of criticism on pianoforte playing from a New York daily. On numbers given during a recital by Ossip Gabriiowitsch, the Russian:—“The toccata was thunderous; the polyphonic web was spun with exceeding clearness, and there was justness of speed throughout. . Nor can it be denied that the “Pastorale’ Sonata of Beethoven lacked in lovely atmosphere or graciousness of delivery. Gabrilowitsch’s fingers are very winning.” On a performance by Sam Franko: “In a word Mr Jb ranko proposes to recall the eighteenth century within hearing distance, give it a local habitation, and restore its native atmosphere.” On a recital by Madame Cenero : “This artist has grasp, mental and physical, and her authoritative style simply overwhelms at times . . . There was no moonlight nor mist in the Barqarolle—one of Chopin’s masterpieces—but the presentation Avas none the .less nob’e, fascinating.” Rather analytical, eh? More like the notice cf a gymnastic exhibition. But it’s original ,there’s no denying. Says the NeAv York “Mirror” : “It (the criticism) is of the type of criticisms that tell you that ‘Siegfried’ is a sparkling comic opera; that ‘Cavalleria. Busticana’ is the best thing Rossini ever wrote; that Melba is the greatest contralto of the day, and that the female chorus in ‘Rigoietto” sang flat. And there is no female chorus in that opera.”

Harry Conor is supporting Miss Edna in the neAv play, “The Girl From Up,” in which she is starring under Charles Frohman’s management in New York. * * * * #

John L. Sheridan has been fairly successful with “The New Barmaid,” in Sydney. The season, however, will soon close, when the company will tout Tasmania and New Zealand t

Donald Macdonald is going to England to give his war lectures. So long as he can make his £2OOO a week clear at the lecturing game, he would be foolish. indeed, to go back to the “Argus” and the inevitable drudgery of journalism

Visiting Madame Patti’s superb castle in Wales, a guest not long since had a very curious experience. He chanced to open his window in the middle of the night, and, to his surprise, hells began to ring in every quarter of the grounds. Very much scared, but realising that he had after all only set a burglar-alarm going, the guest descended to reassure the household, when he instantly found himself in danger from a dozen roving dogs, who had obtained their freedom, nnd were growling and snapping in rhe ugliest manner. At breakfast next morning he learnt all about this curious fad of Madame Patti’s, and wondered at it. The singer has a great dread of burglars. Some time ago a gang of these gentlemen from London attempted to obtain admittance, but were defeated 1 n ther object; and slice that day Madame Patti has set up every kind

of burglar alarm that exists. The queer part about one of these is, however, well worth noticing. Her largest dog, an enormous brute, who might be relied on to cope witn a iittne army of thieves, is kept rworously chained in a patent kennel. But the chain is so arranged that should anyone attempt to open a window or a door in the castle the dog is released and free to rove at ins pie-a/-sure, it being presumed that he. would at once make tor the burglars and do his duty. The idea is ingenious, and, as the traveller discovered, not a little dangerous. Kr . * « *

Tho first thing that attracts the eye in Irvings dressing room is the place where the great actor makes up. The table is unique, for it is only a rough wooden structure which used at one time to figure on tho stage a* one of those at which, the nobles of Macbeth’s Court feasted off ‘property' 5 viands on the nighr when Banqiu/s ghost brought ihe banquet to a most unexpected conclusion. It is covered with a white cloth, which serves not only to keep things tidy, but as a ccint-m----ont means for wiping the brushes which Sir Henry uses for making up liis face. In the middle of the table is a little mirror set round with seven Avkite china saucers with various coloured pigments, two or three powder puffs, and a hand mirror, in addition to grease paints, a hare’s foot, a pincushion, a tumbler of water, and se\ r eral camelhair brushes. Sir Henry has long been famous as a past-master of the art of making up his face, and the remarkable results lie obtains are no doubt duo to the fact that his dressing-table is Lighted in mucli the same way as the stage itself, and Ins stage lighting is the standard by which all other theatres are gauged.—“The JlarmswortJi Magazine” for December. ■*€•*«■ * *

Sir Arthur Sullivan’s first great success, iu collaboration with Mr Gilbert, came about through an almost casual suggestion by Mr D’Oyly Carte, who was managing at the Royalty for Selina, Doiaro. The theatre avss not. doing wed. and Mr Carte, meeting the pair together, and catching perhaps a glimpse of the future, asked if they could not Avrite something to-give? l it a life. Mr Gilbert had conceived the notion of an operetta with a court of law as the scene. The book of “Trial by Jury” Aims finished in a few days, in a fortnight the operetta was ready, and in a Aveek or two the Royalty Avas too small to hokl the audiences that wanted to see it.

“Pinafore,” which was composed, as Sir Arthur has himself related, in the midst of intense physical suffering, raged like a fever through the United States, until a leading set in N©av York decided to impose a fine ei'cry time its words Avere quoted in conversation. One remembers the “What! Never?” nuisance in England. Frederic Clay was one Sunday in church with some friends in N©av York, when the preacher closed his sermon Avith the impressive words,. “For Ho Himself hath said it.” Clay could not resist the temptation. Pulling out half a dollar, he whispered to his friend, ‘ And it’s greatly to his credit-” The exceptional circumstances under which “The Absent-Minded Beggar” melody was Avritten Avili doubtless account for its remarkable sale and'popularity. But Sir Arthur Sullivan’s setting of Mr Rudyard Kipling will 1 e forgotten lons before “The Lost Chord” ceases to bo popular. It Avas during the illness of his brother, Fred Sullivan, that this beautiful song was thought out and Avritten. Shortly after Sir Arthur was appointed Principal of the-National School of Music (now the Royal College of Music) in 1876, he was called to ins brother’s bedside, and watched him for nearly a month. One evening lie pick ed up a, volume of verses by Adelaide Procter, and the poem “The Lost Chord” so impressed him that he commenced writing the song that same night and finished it as daAvn was breaking. A quarter of a million copies are knoAvn to have been sold, but probably another quarter of a million have been “pirated.”