NOTES BY “LORGNETTE.”

New Zealand Mail, Issue 1715, 11 January 1905, Page 28

NOTES BY “LORGNETTE.”

The Opera House was packed to the doors on Saturday evening last by a most enthusiastic audience to witness the presentation of the Napoleonic play ",A Royal Divorce" by the Knight-Jeffries Dramatic Company. The play, which was received with frequent demonstrations of approval, is sure to add materially to the success of the season. The story of Napoleon and his divorced Empress, Josephine, is replete with human interest. A succession of semi-historic incidents enables the audience to follow the career of the Emperor from the glories of Austerlitz to the exile of St. • Helena. One of the strongest features of the production is the elaboration of its scenic effects. The manner in which the play is dressed and staged has seldom, if qver, been excelled in New Zealand. The opening act, introducing a salon in Fontainbleu, gives the opportunity for some very handsome costuming and in particular enables the Empress Josephine to wear a robe of dazzling magnificence. Subsequent scenes maintain the sarnie high standard. The historical tableaux that diversify the production are not unfamiliar to New Zealand audiences, but they are, nevertheless, well worthy of a second or even a third inspection. The first represents a retreat from Moscow and shows in the foreground a vast and' shadowy army disappearing against the background of a flame-lit sky; the second portrays with vivid effect the forward movement of a tremendous cavalry charge at Waterloo, the sunset flashing on the panorama of bright uniform and waving sword and recklessly exultant soldier; and the third and last shows the “man of destiny" outlined against the sky-line in the almost Cimmerian gloom and loneliness of St. Helena. These spectacular effects, it need hardly be said, hold the attention of the audience and help to make the drama more Convincing. Mr Julius Knight ably succeeded in conveying to the audience the requisite idea of the dignity and impressiveness of such a man as Napoleon. His work throughout was of an artistic and attractive character and fully sustained the high reputation he has already gained in the past. Miss Maud Jeffries also deserves great praise her artistic impersonation of Josephine. She ?layed throughout with a tenderness and eeling that gained for her the entire sympathy of the audience. Mr Arthur Wontner was unconvincing as the Marquis de Beaumont, whilst Mr Harry Plimmer wag very good as Augereau. Mr George Carey did some very effective low comedy work in the part of Grimaud, the drunken innkeeper. Miss Kitty Howard displayed great intelligence in the small part of Napoleon’s youthful aon, the King of Home. Mr Herbert Leigh did well as Tallyrand. Mies Rose Pendennis as the Princess Marie Louise, and Miss TJnie Russell ag Stephanie, were both first class in their respective parts. The other characters in the play were satisfactorily filled. The song, “Our Little Corporal," sung by Mr W. Rosevear, received the inevitable encore, and the dance of the four ballerinas, which Hollowed, was similarly "A Royal Divorce" Avill be played throughout the week, giving place to "The Sign of the Cross” on Saturday evening.

The American Travesty Stars, after an Unsuccessful season in Australia, were passengers by the last outgoing San Francisco mail steamer

The programme which is presented this week at His Majesty’s Theatre contains some very good items. First and foremost, of course, are the Nawns in their funny sketch, ‘'One Touch of Nature." Messrs Sam Wilson, Mr Ted Anderson, Carleton and Cowan supply the comic elements, whilst Miss Lulu Eugene, Miss May Rose, Miss Florrie Leigh, and the Macauley Sisters all contribute bright "turns." The vitagraph pictures shown are very fine. Next Monday evening the musical play “My Sweetheart" will be produced.

The William Anderson Dramatic Company produced the drama "Through the Divorce Court" at the Princess Theatre, Dunedin, last Saturday evening. Abomah, the Amazon Giantess, who is at present touring the Sbuth Island, will shortly visit Wellington. In referring to the lady’s first appearance in Dunedin the "Otago Daily Times" says:—On Saturday evening, at the Alhambra Theatre. Abomah, the Amazon giantess, made her first appearance before a Dunedin audience after a general tour of Otago and Southland. She stands 7ft 6in in height, is a full-blooded negress, and was born in America. She is well-pro-portioned. and, needless to say, she completely dwarfs any average man or woman, and the expectations of the audience were more than realised, for the "tallest lady" was everything that had been announced about her, and she duly defied anyone in the audience to try conclusions with her in stretch of arm. Abomah, in addition to posing, contributed some songs, chief of which was “My Honolulu Belle," and she rendered this item in a pleasing voice and Avithl good effect. Included in the programme were several ventriloquial items by Keilderson, who ha,g appeared in Dunedin before. He also introduced some remarkably good facial impersonations of celebrities past and present, those of the Duke of Wellington, Napoleon. Captain Dreyfus, President McKinley, Lord Kitchener, and King EdAvard being especially good. He concluded his part with some good imitations of animals, musical instruments, etc. During an interval Madam Abomah passed down amongst the audience, to give, by comparison, an -idea of her gigantic stature. In the second part Dr Rowe contributed a performance entitled "Mysteria," in Avhich he puzzled his audience to no small degree Avith the crystal Avater mystery, Chinese linking rings, card experiments, and spiritualistic phenomena. The programme was concluded Avith the song "All Coons Look Alike to Me," by Madaan Abomah. The veteran of the Australian stage is deep voiced Edmund Holloway, who>, although over 80 years of age, is still in harness as a member of Mr Alfred D'ampier’s company, at present playing at Adelaide Royal. Mr James Lindsay, of the Musgrove Dramatic Company, at present playing a season at the Sydney Lyceum, has been cowboy, miner, sailor, and pearl-fisher before he joined the profession. Mr A. Cowan, manager of the lately disbanded Willoughby-Geach Comedy Company, is at present enjoying a holiday at Christchurch. He Avill return to Australia in about six weeks’ time. The new theatre which has been erected in place of the old Theatre Royal, Melbourne, is iioav practically complete. The whole building has been demolished and rebuilt, and is probably the safest theatre in the Avorld. The auditorium contains two tiers —a dress circle and amphitheatre —in place of three tiers. The roof has been built on the sliding principle, and the audience in the front rOAvs of the tiers have been taken much closer to the footlights. A neAV crush-room, large and beautifully decorated, has been added, and the approaches to the dress circle a/re vastly improved. The whole theatre is decorated in a scheme of scarlet and gold, which has been worked out most effectively in low harmonising tones. Every member of the audience has a good vieAv of the stage. The ©eating accommodation is excellent, and ample room is provided, Avliile the boxes are unusually spacious. The stage is completely cut off from the auditorium by an asbestos curtain and iron doors across the communicating passages. Special attention is paid to ventilation in all parts of the house, electric fans and exit ventilators being provided. The whole of the stairs are/made of jarrah timber, under the direction of the Board of Public Health. The stalls are provided Avith two exits. The dress circle na,s another wide escape staircase in addition to that at the Bourke street entrance and those flanking the proscenium. And the gallery is now provided Avith tAvo entrances and an additional exit for use as a fire escape. The ground space occupied by the old Theatre Royal was exceptionally large, but in rebuilding the theatre an additional area has been included. Although the number of tiers has been reduced, the house Avill hold Avithin 200 persons of the number avlio have Avitnessed a play at the old Theatre Royal.

The Theatre Royal has been well patronised during the past Aveek. Mies Lizzie Kirk’s singing of "’E Means No ’Arm," "Hot," and “If She Only Knew," is nightly received with enthusiastic applause. The cycling act of the Wheelers requires some nerve to do. It is an exceedingly novel and clever ‘'turn." Mr Les Wharton is successful in his items. Mr Frank Leon gets a fair share of the applause for his singing and dancing. Mies Daisy Sylvester, Alzina, and Mr George WarsaAV contribute acceptable items to a fine programme. A copy of "The Australasian Stage Annual" has reached me. This interesting publication, which is now in its sixth year, is edited and OAvned by Mr W. A. Crawley, the dramatic editor of the “Sunday Times" and “Referee." This year’s annual excels any of its predecessors, and is printed throughout on perfection paper. It contains over thirty panel pictures of the leading artistes Avho have appeared in Australasia during the past twelve months. All the pictures are autographed. The letterpress is of a light and entertaining nature, and consists of story, verso and remr’niscence. A special feature of the "Annual" is the Diary of Dates, Avhich gives full particulars of all the happenings in the theatrical world of Australasia for the past year. The bool: is well worth the money charged —one shilling—and can be procured at Holliday’s Boole E'mporium, Lambton quay. Messrs John AndreAV and Co., Philip street, 'Sydney, deserve a special word of praise for the excellent manner in which the boek is printed. A song Avhich has become an epidemic in America, entitled "Good-bye, Little Girl; Good-bye," threatens to attain the same popularity in Eingland. In noticing the recent production of "The Sign of the Cross" at Auckland the "Star" says:—Whatever is to be said for and against "The Sign of the Cross’’ as a play, their can be no two opinions about the exceptional merit of its production by the Knight-Jeffries Company. In fact, for evenness of acting throughout the cast, for lavishnes© of production, and for general thoroughness of detail, it may be considered even to excel the several successes Avith which this organisation is already to be credited. The faults of “The Sign of the Cross" made a capital bone to Avorry at, but they are by this time too familiar to playgoers to need much comment. Suffice it to say that the horrors of the torturing of Stephanus remain too horrible, and that the temptation scene is still an unpleasant detail in a play Avhich is supposed itself to be a temptation to those innocent of playgoing. But Avhen all reservations have been made, the piece has a sustained interest and an emotional strength against which criticism is not likely to be persistent. And in the present case its brilliant interpretation and its splendid mise-en-scene must almost have eliminated coolly critical considerations from those who alloAved their hearts and their senses fair SAvay. For "The Sign of the Cross," when properly represented* does and must make an emotional appeal that occasional Aveaknesses cannot overrule. Moreover, there is some constructive skill in the play—in the development of the persecution in the AvellAvorked contrasts between the voluptuous court of Nero and the simplicity of the life of the Christians. Even the electricage fooleries of Glabrio do not spoil the fact- Mr Knight’s Marcus Superbus is little, if anything, short of ideal. For combined strength and naturalness, for skilful covering of weaknesses in his book •—.in short, for the presentation of a character that is Avhoily engrossing and almost real—the part has certainly never been much better done. Miss Jeffries’ Mercia is now world-famed, and to say that it is entirely perfect throughout is nothing more than justice. Never once did Miss Jeffries forget that simplicity wag the keynote to her character, and not once did she indulge in a cheap effect or lapse into the merely theatrical. In the final scene she triumphed over a high order of tragedy Avith an ease that is deserving of all pi*aise. AEr Varna s Nero belonged to what we consider to be the better of the two types of the character as commonly played. Physically and mentally weak, his cruelty seems more the deficiency of disease than the deliberate malice of one in possession of his senses —a view which is both, internally and historically convincing. _ Miss Pendennis was a very good Berenis —the contrast of her two natures being well and strongly brought out. Mir IVontner was a sufficiently brutal Tigellinus, and Mr Plimmer ah effectively cruel Licimus; Miss TJnie Russell was an unusually good Stephanus; Miss Quin was vivacious and natural as Dacia; and the minor characters play better than in any of the preceding pieces. The cloud effects of the apotheosis Avere singularly beautiful and real, and the whole of the staging was on a rare scale of brilliancy. The production Avas in every way remarkable.

It is safe to say that the Reception Room of the Town Hall will be packed to the doors next Saturday afternoon to witness the second performance of the morality play "Everyman." Mr Juliua Knight, who plays the name part, is excellently supported by the other members of the company. A special feature of the performance is the excellent singing of Moss. The box plan for the performance Avill be opened at the Dresden this morning. The management of the Knight-Jeffries Dramatic Company has decided that the last seven nights of the Wellington season will be devoted to the production of "The Sign of the Cross" (three nights), "The Silver King" (three night), and "The Lady of Lyons" (one night). The followmg are the full cast of characters of "The Sign of the Cross" and “The Silver King" : —"Sign of the Cross” : Pagans —Marcus (Prefect of Rome), Mr Julius Knight; Nero (Emperor of Rome), Mr H. W. Varna; Tigellinus (Nero’s Councillor), Mr Arthur wontner; Lueinius (gEdile), Mr Harry Plimmer; Glabrio, Mr G. P l . Carey; Philodemus, Mr Norman Jeffries; Metullus, Mr Nbtt Osborne; Servillius (spy and informer), Mr Herbert Leigh; Strabo. Mr Percy Walshe; Viturius (Captain of the Guard). Mr Frank Stirling; Slave to Marcus, Mr William RoseA'ear; Berenis, Miss Rose Pendennis; Dacia, Miss B. Guilford Qum; Poppea (Empress of Rome), Miss Ada Humphries; Anearia, Miss Marie D’Alton; Da ones (with dance), Miss Katie Toivers; Julia, Miss Nita Moss; Eidonia, Miss Alice MeCarron; Zona (Avith solos), Miss Alice Stanley; Catia, Miss 'Vivi Spence; SlaA r e to Nero, Mr Walter Pattison ; ■ Christians —Favius, Mr George Chalmers; Titus, Mr Leonard Willey; Melos, Mr E. M. Beresford; Stephaims (a boy), Miss Lme Russell; Mercia, Miss Maud Jeffries. "The Silver King’’: Wilfred Denver, Mr Julius Knight; Dan’l Jaikes, Mr Herbert Leigh; Captain Skinner (alais The Spider’), Mr Arthur Wontner; Geoffrey IVare, Mr Frank Stirling; Sam Baxter (Detective), Mr Leonard Willey; Henry Corket, Mr Nott. Osborne; Bliah Coombe, Mir George Chalmers; Cripps, Mr Harry Plimmer; Gaffer Pottle, Mr E. M. Beresford: Parkyn, Mr Percy IValshe; Binks, Mr El. M. Berry; BroAvnson, Mr A. Spence; Bilcker, Mr Norman Jeffries; Bragging, Mr Arthur Rose; Cabman, Mr A. Rosevear; Tipsy Passenger, Mr A. Richards; Leaker (a Porter), Mr Arthur; Landlord Tubbs, Mr IV. Percy; Inspector, Mr S. Franks; Newsboy, Master Alex Wilson; Olive Skinner, Miss Rose Pendennis; Tabitha, Miss Marie D’Alton; Susey (Waitress at ‘The Chequers’), Miss B. Guilford Quinn; Mrs Gammage. Miss Vivienie Spence; Lady Passenger, Miss Alico Stanley; Maid to Olrte Skinner, Miss Alice MeCarron; Cissy Denver, Miss Kitty Howard; Nellie Dem'er, Miss Maud Jeffries. The Messrs Fuller haA r e decided Vo close down the Opera House, Auckland, for a few weeks, during which time Mr John Fuller, senr., Avill enjoy a holiday in the South Sea Islands, Sydney and Melbourne, arriving in time for the re-open-ing.

The Driscolls are at present appearing at the Tivoli Theatre, Sydney. Miss Ida Roslyn and Mr Jack Kearns are in the bill at the Melbourne Opera House at nresent.

I have to acknowledge with thanks from Mr William Anderson a copy of the handsome souvenir published as a memento of the opening of the new Theatre Royal, Melbourne. The souvenir is in the form of a book of the pantomime “Sinbad the Sailor/* and contains, besides the full text of the libretto, eight beautiful full page photo-gravures. It is a really excellent production. The Sanford Company of American Players are at present touring Tasmania. According to the following list of names there are not many * Mur kans left in the company now: —Misses Maud Lita, Mary Bancroft, Elsie Austin, Ada Clare, Nellie Harcourt, Messrs Geo. Ivunkel, Johnston 'Weir, and V. T. Johnson. It is stated that a company ivas recently formed in Australia by an irresponsible individual. The members of the company rehearsed assiduously for three weeks, and at the end of the first week's imblic performance the ‘“ghost” walked to the extent of half-a-crown each ! ! A matinee was given at the Tivoli Theatre, Sydney, on December 21st to provide a Christmas dinner for 1000 poor people. The takings amounted to <£47, and Mr Harry Rickards intimated that he would make up the <£loo by giving <£s3. Mr Roland Stave ley, the hrfs®tsome and deep-voiced member of the Titt.ell Brune company, has joined the ranks of the benedicts, having led to the altar one of the most charming of Sydney's society belles.—"Newsletter.** The Eisk Jubilee Singers commence a five nights’ season at the Wellington Town Hall on Wednesday, the 18th inst. In referring to the company’s performance on the 2nd at the Garrison Hall, Dunedin, the “Witness” says:—A holiday audience filled the Garrison Hall in every part on Monday evening, when the Risk Jubilee Singers gave another of their most popular concerts, and in the programme was included £he popular Scots songs “The Land o* the Leal,” "The Bonnie Banks o* Loch Lomond,” and “Annie Laurie.” It is scarcely necessary to remark that encores were frequently demanded. The high character of the Jubilee Singers concerts is already well known, and the performers were as great favourites ae ever, each one receiving a most flattering reception, while the audience was delighted with the chorus singing, in which the company displayed its varied and peculiar talent to the beet advantage.

Miss Mollie Ventry, of the Royal Comic Opera Company, leaves for England in a few weeks time.

“The Cingalee” celebrated its 250t1i performance in. London on the 10th November.

Mr Edwin Geacb is at present enjoying a holiday with his parents at Mossman’s Bay, Sfydney. Montgomery’s Entertainers are. doing first-class business on the West Coast. Mir A. *W. Rinero has departed from the offensive “doll” mood, and is now engaged in writing a serious play for Mr George Alexander at Bt. James’s Theatre.

Mies Minnie Tittell Brune’s farewell speech to Sydney playgoers was, says “The Newsletter/' nicely put. Especially the last phrase: “I thank you, intelligent Sydney audiences, for your unvarying kindness and consideration.”

Lots of people prate nowadays at the degeneracy of the stage. Maybe in some instances they are right, but alter watching and listening to Miss Elaine Ravensberg, the new principal boy at the Melbourne Royal, says “Punch,” one must admit that the burlesque actrc-ss of to-day is far ahead of her sister of, say, ten years ago. Very few burlesque “boys” nowadays are lacking in a fair voice, and they know how to sing as a x - ule. Theii' appearance has improved, and so have their acting and elocution. Where, formerly, we got a trying, “talky” voice, a horrible twang, big hips and outrageous costumes, we now get sweet singing, repose and taste in clothes.

The Melbourne “Age” thus refers to the recent production of “The Silver King” in the Victorian capital by the Knight-Jeffries Dramatic Company In these days of superfluity in play writing, when the success of one year becomes the end of the season revival of the next and the stop gap of the third, a melodrama that can endure for twenty years and still remain fresh and living to its audiences is somewhat a marvel. Yet there are a few such pieces, held, for that reason, in affectionate regard by theatre managers, and of these ‘‘The Silver King is one of the most reliable. The story of Wilfred Denver, gambler and drunkard, who descends to the depths and lifts himself again therefrom to reunion with his loving wife and children, and a happy issue out of all his afflictions, is one of recurrent popularity because of its strongly human interest, ita. pathos and its sentiment, its true dramatic (not even melodramatic) proportions —in short, because it is a story of a man as we know h.m from day to day, not of an impossible hero and his exaggerated trouble;. The present production may certainly be placed alongside the best that Melbourne has hitherto seen, and whatever else- it does it shows what a company such as the Knight-Jeffries combination, trained to a higher standard of acting, can accomplish with a piece that is frankly melodramatic. Mr Julius Knight, whose “absolutely first appearance” as Wilfred Denver, was watched for with some interest, may congratulate himself on adding to his repertoire a part to which he is eminently suited. The strongly marked emotions of the character, the hate and horror of his supposed crime, the reaction -when his better feelings prevail, the sincerity of his redemption—all these were portrayed faithfully and forcefully, and Mr Knight earned for himself the well deserved tribute of emphatic recalls after every act. The pitiful story ox Nellie Denver was told by Miss Maud Jeffries, and her interpretation of it was in every way worthy of her reputation. The wife’s trust, the mother’s love, the woman’s tenderness, must all be brought out, and whether she was strenuous or sentimental, braving sorrow or welcoming joy, Mies Jeffries was equally impressive. Always consistent, Miss liose Pendennis makes the most of her few chances as Oliv© Skinner. The trinity of villains were all in capable hands. Mr Wontner was effective as the cool, calm, calculating Spider, the embodiment of satanic wickedness, Mi* George Chalmers played well as the oleaginous Eliah Coombes, and Mr Harry Plimmer made a ruffianly Grippe, the locksmith. From a long cast favourable mention may also be made of the Cissy Denver of little Miss Kitty Howard, and the quaint Tabitha Durden of Miss Marie IPAiton.

When Madame Sarah Bernhardt played the Duke in “L’Aiglon,” the romantic and clever play staged at the Princess’s, Melbourne, she cut off all her hair, and Pi aced it in an envelope with the words, “Pour la patrie” on the letter. Miss Tittell Brune also has beautiful hair, and is practically Fre nek in manner and temperament, but although her impersonation of the character is said to be a triumph of acting, a display of power, to be ranked amongst the most pronounced successes of the world, j r et she has not fouud it necessary to have her hair cut off to satisfy the requirements of art. Dan Barry, with his company, played Christmas dates at Aibury, staging ‘‘The Prisoner of .. ar” or “The Russian Spj%” a melodrama based on the present Japa-nese-Russian war. The author is said to be an English writer, whose name, with characteristic modesty, “Dan” does not disclose.

Mr J. C. Williamson’s Repertoire Company have met with excellent success right from the opening night of the Sydney season at Her Majesty’s Theatre. Last Saturday evening the company produced the ever-popular ‘ r H.M.S. Pinafore.” The oast was an exceptionally strong one, and included Miss Alexia Bassian, prima donna from the Carl Rosa Opera Company and Mr Charles Danby, the popular comedian who visited Australia with the Fred Les-lie-Nellie Farren Gaiety Company. The following is the cast of characters: —Sir Joseph Porter, Mr H. Vernon; Captain Corcoran, Mi - F. Wilson; Ralph Racket raw, Mr C. Kenningham; Diftk Deadeye, Mir B. Fitts; The Ros’n, Mr J. Ralston; The Bos’n’s Mate, Mr C. Danby; Josephine, Miss Alexia Bassian; Little Buttercup, Miss Aggie Thom; The Midshiomite. Miss Irma. Caron.