PLAYS AND PLAYERS.

New Zealand Mail, Issue 1523, 28 February 1901, Page 30

PLAYS AND PLAYERS.

" The actors are come hither, my lord, Buz, Buz V’ —Hamlet.

NOTES BY LORGNETTE,’

The. Stanford Dramatic Company closed their, season at the Opera- House with a really admirable performance of Harvey’s “Shall W© Forgive Her?’” Sensationalism as represented by Mr Darrell’s highly-spiced, drama is apt to cloy the appetite when administered in too frequent doses. Every member of the clever company entered with evident enjoyment into the performance on Friday night last, and the- au'dkmce, which was not demonstrative, followed the simple story of a much-wronged' woman with surprise at first, and then, when their interest was at last aroused, with breathdess attention. A play entirely independent of far-fetched sensational effects for its attractive quality like “Shall We Forgive Her?’’ was a novelty to some of those present ana! at first they did' not know how to take it, but the consummate acting told at last, and their interest was aroused. The votaries of simple melodrama, with its villains, heroes and! wretched clap-trap are becoming fewer and fewer. Those that continue to patronise it, managers are beginning to discover, are. developing most capricious tastes. They will not be satisfied with what overwhelmed a former generation with astonishment and _ delight. Truth to tell, the mod elm pittite, with his intelligence and knowledge of the ■world, has become a critic, and old-fash-ioned managers who pin their faith on flaring posters are rapidly finding it out, although many of them appear to be too conservative! to'change-

* * * * * Mr P. R. Dix’s Minstrel and Robi-i----son Crusoe Panto. Co-, have been appearing at the Princes Theatre (Dunedin), says a Southern exchange, during the ; past week with only a fair amount of success. The show —an excellent one in many respects—deserves better patronage than it has been receiving.

Those who went to see Pepper’s Ghost as it is exhibited at the Opera House in the hope of reviving a much-cherished illusion of their vanished youth must, I think, have been disappointed, to say the least of it. The apparatus employed is painfully inadequate to support the illlusion in such a large house, nor is the mounting of either of the pieces performed sufficiently artistic to make amends for other shortcomings. The variety business included in ine programme, however,, is not. amiss.

Mr Tom, Pollard was in this city last week. In an interview with a “Star” (Auckland) representative he said oflus company’s Australian experiences : —“The papers were pretty rough on us. Thev had some cause, perhaps, because with the sudden experience of an exceedingly hot climate our people were by no means in their ordinary good form. Federation, too was in the air, and anything from New Zealand was not looked upon with much favour —that is a fact—and we were recognised as a New Zealand organisation.” My readers will he surprised to lea-m in view of the fact that the company left us for some two years that they will open a New Zealand *our at. Dunedin in August.

Pollard’s Opera Company will visit Hobart/ March 4 to. 15; Launceston, March 18 to April 1; Brisbane, April 6 to May 6; Rockhampton, May 8 to 18; Townsville, May .21 to 28; Charters Towers, May 29 to June 17. #-* * *

' Referring to the production (of the new musical play, “The Thirty Thieves ’ at Terry Theatre, London, the ‘ Daily Mail remarks:—A graceful, vivacious, anu sweet-voiced heroine is found 1 in Miss Florence: Perry, who proves herself a charming burlesque) actress. Miss Pattie Browne and Mr Shirley are unsuited..to this class of. entertainment.”

-* * •* ■■■» jt 1 The: of .the little beggar giri m y ‘A Message from Mars”.at the London Avenue is being taken by Miss Dorothy G’iC'o nnell-Clark, a. very, clever child of -11, who, 1 with her parents, was formerly very well known in Western Australia. j3ho was given her first engagement last

year by Mr Forbes Robertson and Mr Patrick Campbell.

On New Year’s Eve. Mrs Singer, the wife of the well-known millionaire, gave a musical evening at n&r— residence], Hove, Brighton (Eng.). Among the artists engaged was Miss Ada Crossley, who, as the new century was ushered in, donned the presentation i edenl badge of her native Australia. & •* * *

Those who- did the finest work in “Djin-Djin* were Mr E. Fitz, Miss Maud Beattie, Mr W. S. Percy and Mr Queaiy. —Sydney “Referee.” # ~ . * * *» *

The Maggie Moore Dramatic Company produced Tvillarney ’ at the Victoria Theatre, Newcastle, recently. The popular actress received a hearty welcome on her reappearance in Australia.

The Wellington Madrigal Society commenced practice on Monday.

y __ a ;* The Wellington Liodertafel is m full swing again, a correspondent tells us. A number of new part songs broughtfrom England by Mr Robert Parker were practised last Frida v (22nd') evening. •* •* * * '*

Mr Mcnteith Ren dal, speaking at a Society of Music’s recent conference. said that a prominent cause of vocal decadence was the modern curse of eternal vibrato. The shutting out of young women from the sanctuary was another cause. Many of our noblest singers ha d been fostered by the Church of Home, which always gave an impetus to the study of the earnest singer. Now there had been substituted a pretty little boy and a pretty little procession, and, from the vocal point of view, vocalisation had deteriorated. * * * * Dix’s Gaiety Companies in Wellington, Auckland, Christchurch and Dunedin continue to- meet with success. The same may be said of Fuller’s companies playing nightly in the same cities. Fullers’, by the bye. arc/ to open their new house in Sydney sForth’. * * * * * It was rather curious that not so long after Williamson altered the name of The Alexandra to Her Majesty’s, Alexandra, Princess of Wales, should ueconie Her Majesty.—“ The Critic/’ * * * -:t -x* The “Bulletin,” in a feeble and rather laughable effort to excuse its Melbourne representative’s abuse of Nance O’Neil, quotes “Stafford Ransom e, who was doing Australia for London “Sphere,” and who declares'* in the paper in question that Nance has only a rudimentary idea of acting, and prophesies that she will bd a failure .in London. Who in thunder is Stafford; Ransomk anyhow that the “Bulletin,” usually so self-sufficient, is grateful for his moral support P Mr Ransom© was a threeha’penny business Johnnie, who “wrote a bit,” and who owes his present eminence to the fact that he was rather thick with the “Bulletin’s” Mel’b. man during the O’Neil season. —Adelaide ‘‘Critic/’ -v- -* -:-t -:t , Thirty-three pantoraines were produced in London last Boxing Day. * * ** * * -* Mr Brosen Howard’s drama, “Shenandoah,” which has been running continuously in the United States with marked success during the past eleven years, has been re-written, with the view of rendering it suitable to the English stage. To effect this he has transferred the action of the story to South Africa, and substituted the struggle in the Transvaal for the American civil war. * •* * ■* * Among “The Stage’s” variety show professional cards appear the following . —The Baroness Christine Valmar, for Comic Opera. Coronet Theatre. Countess Russell, for Musical Comedy and Halls. Address —Bray Lawn, Bray, Berks. SB , * » * The doctors appointed to the different theatres in Paris are petitioning the Government to’ insist upon a special bureau, or room 2 being fitted up in every.theatre for their use in case of illness overtaking either the artists or the spectators. * * * * * Mr Zangwill, in his lecture on “The Drama as a Fine Art,” observes:—“The Greek stage asked only two boards and a passion; the English stage wants two sticks and a wardrobe.” In the same lecture he says : —“The actor thinks the part is greater than the whole.” “The modern receipt for a successful play is a paying compound of snivel, drivel and devil.” Mr Zangwili’s dictum may also be quoted : —“The best, two plays since Shakespeare are “The School for Scandal” and “She Stoops to Conquer.” * # *■ * Discussing the subject of sin gin o- before the Incorporated Society of Musicians, Mr J. Roekel, the writer of holad music, said:—“What was termed the music-hall system of singing could not fail to vitiate the taste of the frequenters of those places of amusement, and as a great proportion of pleasure seekers would continue to frequent such places till the millennium of cheap opera, came, it stood to reason that its influence upon the vocal art must be distinctly bad, inasmuch as, in spite of the laudable but intermittent efforts of some managers, the general character of the singing in these places remained essentially vulgar-. ■ * ' if . * ' * *

Billy Emerson, the prince of comedians, used to tell a story of how the passengers on an Atlantic liner killed time on the voyage. In order to keep the fun at top, each passenger had to

do a “turn.” There was no “bridging-” As each turn was gone through amid much laughter, Billy would imitate the pdrformer. AS the passengers had performed except one ; this was a young Irishman, making his first- voyage. He could do nothing, he said, absolutely nothing*. But the mid-ocean audience would not be denied —-he must- do something, even if it were standing on his head on the rolling deck. Driven to desperation, the man with the map o* Ireland written large all over his face, said: “Faith, bhoys, look here; I’m nota playin’ man, nor a singm’ man; a skitin’ or a- recitin’ man, but a foightin’ man, -ancl just to keep the game gain’ Oi’ll woipe the Sure wid any wan a-v yez!”

“San Toy.” “The Greek Slave,” and, “The Runaway Girl” will possibly be included in the Bollard’s repertoire in their forthcoming New Zealand tour, when Mr Pollard promises that- we! shall see many new faces.

When news of Herr Albert Friedenthal last reached Australia he was giving piano recitals in Rome, and now, writing from Berlin at the close of last year, he describes himself as still continuing his long continental tour. The German pianist, the poetic sentiment- of whose style won him so many admirers on this side, is keeping in touch with acquaintances made in Sydney. Dr. Joachim, in conversation with Herr Friedenthal, told the latter that little Fritz Mueller, the young Melbourne pianist, was likely to' make a name. Mark Hamhourg was also to the fore in Berlin, and talked ot paying his third visit- to Australia during the present year. * * *

The revival of “Djin-Djin,” by the Pollard Opera Company, is favourably commented on by the “Sydney Morning Herald/’ “As for the acting, Miss Maud Beattie was quite as effective as nee-a. be in the part of Prince Eucalyptus, and Miss Gertie Campion andl Miss • Eily O’Sullivan as Princess Iris and Ckeekee respectively and Miss May Beattie as Decle also did good work, and looked picturesque and graceful. Miss Ruby Bowring portrayed the Fairy Queen on traditional lines, and the Misses Blanche Wallace, Elsie Moore, Marie Metcalfe, Ada Page, and L. Eric-soii locked! gorgeous-as the foreign suitors for the hand of Princess Iris, and spoke their lines well. Mr Harry Queaiy was unquestionably good both in make-up and acting as Okiama, the Daimio’s maiden sister cf uncertain age. Mr W. S. Percy as Tom Wallaby, Mr E. Noble as the Daimio, Mr Alfred Stephens as the Grand Vizier, and Mr E. Fitts as the wicked Djin Bjin materially assisted in keeping the audience amused.

The news of the death of Mr C. L, Carson, the editor of r ‘The Stage,” at the early age of forty-three 1 , will be received •with great regret by his many friends in Australia.

For years the name of Marches! the great French teacher of singing, has been one to conjure with in colonial musical circles. Amy Castles, however, after studying under Madame for a short time, deserted her for a rival teacher. Now we hear that in the opinion of those who ar© competent to judge, there appears to be little doubt that if Madame Marches/s training had been worthy of Miss Regina Nagel’s voice, the young; Victorian would have made a distinct success on th© occasion of her first- appearance in London. As it happened, even the enthusiastic- friends of the young singer felt compelled t° cx_ press their disappointment. Some of the principal press criticisms are appended. “The Times.” —“Her voice, though fine, needs considerable training, as she is very liable to throatiness, a fault which, no doubt, accounted for her occasional lapses from perfect intonation. Her phrasing, too, is not above reproach.” “The Standard/’—“A genu, ine and powerful contralto voice, marred by faulty production.” The “Globe.*’ “A remarkable voice/ The “Sunday Times.” —“A pleasing contralto voice.” The “Leader.”— “A good contralto with very defective) production.” Th© “Moral; ing Post.”—“A fine contralto voice.” The “Referee.”—“A fine toned contralto voice, hut was not too successful in controlling it.” # # #

In a recent issue of the “Bulletin” I read some- remarks about the Marches! methods not too flattering to Madame. French theatrical criticism®, although they may contain a germ of truth, it has always struck me, are often either too lavish of encomiums on the one hand, or simply brutal on the other. Here is a specimen. Speaking of the first appearance of Madame’s daughter Blanche, “Marciel,” in the “Journal pour Tous,” says : —“Good God ! How has Mm e. Marches! had th e audacity to approach such famous musical number® with vocal qualifications so absolutely nil! —with an organ of such disagreeable quality—painful in the upper register/ completely wanting in sonority in the middle, and with lower notes so mean? Her voice bleats, goat-like, ; thruughout its whole extent; enunciation she .has none; and her mouth opens ©avernously in the high notes, only to emit a thin thread of voice, without consistency, and without quality. In what school has Mdme. Marchesi learnt to produce sound, in such an exasperating fashion ? Whence such cruel heaviness of style ?” # * * * -Jr A “Bulletin” writer does not ' mince matters He says : “As for the often-cited Mdjba, she was an accomplished before she went to

Europe—thanks to the late Signor Ceechi/’ etc., etc. * *. * *

Madame Marches! is a German, who married the Marches! -di Cast-rone, and her present name is -an, adaptation of his title, it seems. There i-s a moral in aH this, however, for -our young singers contemplating a visit, to Europe with a view to taking the necessary finishing lessons in their art, which need only be indicated to their sharp colonial wits. Ir the Marches! “boom,” built- up on the reputation of such exceptional _ pupils as Melba-, is doomed To burst, it only serves to show what a difficult, business the selection, of a teacher really is, andwith what care it gh. Guild be exercised..j