DRAMATIC NOTES.

New Zealand Mail, Issue 9, 1 November 1907, Page 14

DRAMATIC NOTES.

(By “Panurge.”)

The extraordinary success of "The Dairymaids” was being fully maintained when the last mail left Melbourne. Seems as if J.C’.W. is enjoying a general run of prosperity. Which is a thing to rejoice over.

Australia’s fine contempt of hyphens has driven Miss Elbert-Orton to such a frenzy of irritation that her name now appears on the hills as Miss Elbertorton —which, as a name, is frankly ridiculous. There are several million better actresses than Miss E. Orton; but there never was another with such a passion for the hyphen.

La Svlphe, Richards’s latest importation in that kind, is said to have "reached the absolute limit of graceful dancing.” This was the verdict of a friend of Melbourne "Punch.” "Punch” itself goes oiie- better: "It need hardly he said that she achieved an instantaneous success by her easy graceful, sinuous, and insinuating display of higli-class terpsichoreanism.” Language like that ought to bo actionable, but probably isn’t. The law is a liass.

Miss Dina Cooper, formerly with Meynell and Gunn kid-drama, now leads in Allan Hamilton’s “Home, Sweet, Home” Company. She now bills herself as Miss Kbadvah Cooper. No reason for the change of name is authoritatively given, but Mr Robert Barr, of the “Otago Witness” (who is a devout authority), presumes that the lady is in mourning for her aunt.

According to an Australian paper—- " Messrs .T. and N. Tait have iust had prepared for them a most interesting biograph film, telling the story in pictures of "Robbery Under Arms,” Rolf Boldrewood’s greatest novel. The film is said to be superior botli in detail and excitement to the famous Kelly Gang one.” As precisely the same claim is made by the long-established New Zealand theatrical firm of McMahon, McMahon and McMahon, somebody has apparently got mixed.

Miss Henrietta Watson is in the cast of Henry Arthur Jones’s new play, "The Hypocrites,” at Hick’s Theatre, London.

Miss Millie Everett, now in Wellington with Fuller’s, is a sister of Miss Daisy Harcourt, who has become a vaudeville star of the first magnitude, with an established vogue in London, Paris, and New York.

'ihe, libretto of "Mother Goose” was written by Mr J. Hickory Wood. If Austin dies in time, Wood ought ccrtamly to be the next Poet Lauroto.

.Surgical item from Melbourne "Punch”:—"On- of the most interesting surgical experiments tried in Australia has resulted from Mr Victor Gourict’s accident during the Adelaide season of the Musical Comedy Company, when lie slipped and broke the tendon of his heel. The sinews of a wallaby wore used to bind the torn parts together and so far as can be judged with complete success, the wound having knitted well, and the injured parts being quite healthy again, so it may confidently be anticipated that Mr Gouriet will take his place as the leading comedian when the company begin their Sydney season on the 2nd November.”

Mr Caleb Porter, Australia’s effective dribbling "Nero,” of some four years ago, is in the oast of “Atilla,” at His Majesty’s, London. He now wears liis teeth.

In ’way hack, Victoria, the Lynch Family Bellringers are still performing, but in Egypt the Great Pyramid slhows signs of wear.

Miss Elsie Moore is playing leads with Frohman in New York. In the same village, Miss Irene Outtrim—the girt whose figure used to suggest a paii of stout compasses—stars in "The Pilgrim’s Progress.

Much-travelled par., parentage unknown:—“Atilla” (Oscar Asche, from Sydney, responsible), at London, His Majesty’s, is not a go. Artistic, loosely written, and over-boomed, it just fails. A tyrant king loves a slave, kills his wife to obtain possession, is ruined by a lady, who has been ruined herself, and talks, and there you are. The lady who puts her trust in trusts is left And the other lady and the king pass hence

Mr Fred Graham and his wife are starred with Sayers and Orenier’s Show at Broken Hill.

Among well-known English players advertised "disengaged,” on Sentembor 12, were:— Misses Marie Stoddart, Mabel Love, Beatrico Roby: Messrs Wilford Esmond, Arthur Williams, Augustus Cromer, Arnold Lucy, and Fred. Rolls.

Extraordiny professional card, front page of "The Stage”:—

MISS ADA WARD Arrives in London in September. Perm. Add., Penshurst, Quilter Road, Felixstowe.

By last advices. Miss May Moore Duprez was starring at the Palace, Cork: La Milo was starring as Lady Godiva (per bioscope) at Attercliffe Royal and seventy other places; Hackenschmidt was starring at the Palace, Bradford; the sisters Caselli were at the Empire, Bradford; Miss Peggy Pryde was starring at the Empire, Coventry ; Carrie Moore was starring in lorn Jones” at the Gaiety, Douglas; Rudinoff headed the bill at the Grand’, Halifax; the Fisk Jubilee Singers (which P) were at the Music Hall, “Inverness ; R. G. Knowles was star at the Pavilion, Newcastle-on-j yne, and the Sivronis were also in the bill; Eugene Strattan was at the Empire, Nottingham : Miss Florence Esdaile was at the Empire, Sheffield: Fred Lindsay, stockwhip expert was at Her Majesty’s, Walsall ; the “Australian duo, Nellie and Agnas,” were at the Hippodrome, Liverpool; Ted E. Box was at the Olympia, Liverpool. On the Moss-Stole circuit, Spry and Austin were at the Empire, Newcastle-on -Tyne; Edward Land and May Beatty at the Empire Palace, Birmingham ; Gourtice and Louie Pounds were at the Empire, Liverpool; G H Chirgwin was at the Empire, Hackney ; Fred Lincoln was at the Palace, Leicester ; Austin Rudd was at the Granville Walliam Green ; Bert Gilbert was at the New Empire, Coventry. There are a lot more of ’em about; but this paragraph lias got tired.

The American critics received "The Dairymaids’ 5 coldly on tiie recent production in New York but the public came along, and there was every prospect of a long run.

New York Hippodrome has installed a wireless plant and all incoming steam-

ers on the Atlantic are kept posted as to the Hippodrome bill.

In tlie country —it is no good blinking the fact—things are about as bad as they possibly can be. Of course, there are some good touring companies. There are a few serious productions like Mr Flanagan’s at Manchester. But taking together everything that may be described as decent, intelligent drama that goes into the provinces, it is but a small drop in an amazingly huge bucket.—Mr Granville Barker interviewed.

A Venetian journalist states that there are existence at least three Italian operas founded on "The Second Mrs Tanqueray,” hut Mdme. Eleonora Duse, who holds the Italian rights, will not permit the production of an operatic setting of A. W. Pinero’s play.

Miss Alice Pollard has been very ill in Johannesburg with rheumatic fever, but when the mail left was well on toward recovery. She has good engagements ahead.

Mr Ernest Snewin, of Messrs Meynell and Gunn’s staff, has been staying some days in Wellington. His first acquaintance with New Zealand has seemed to consist mostly of improving his acquaintance with Mr G. Homan Barnes —who lias been much occupied in consequence-.

Tasmania has been cut out of the “Mother Goose” itinerary, and the company will go from Wellington to Sydney direct after the Christchurch season.

The Fisk Jubilee Singers are doing pleasantly good business in the southcoast towns of New South Wales — Where, as a rule, nothing liapens with aston ishiiig regularity.

By last advices Mr Julius Knight was booming in Melbourne, where he is accepted seriously as the greatest actor on earth. Melbourne always would exaggerate.

Wirtli Bros.’ new building, Olympia, in which their circus will shortly be installed in Melbourne, is one of the most luxurious abodes which the ring has attained. The comfort of the audience lias been studied in every direction, and when fully lit promises to be the most brilliantly illuminated building in Australia.

The engagement of the majority of the principals for Messrs Meynell and Gunn’s new musical comedy company has been completed. Air C. M. Wenman is coming out as stage manager and producer. Mr Appleby, who is to lie the principal baritone, has had experience in good companies. Mr Davidson lias played in “The Belle o-f Mayfair”; and Miss Riissen was likewise appearing in that musical comedy. Messrs Cromwell and Hay will be the comedians of the company. Engagements still pending are those of Miss Ruth Lincoln as leading lady, and one or two others. The members o-f the chorus will be engaged in Australia. In addition to "Miss Hook of Holland,” still running successfully at the Prince of Wales’s Theatre, in London, “The Belle of Mayfair” and "The Girl Behind the Counter” will be included in the repertoire. Two other musical comedies and a pantomime are likely to be added later on. Messrs Meynell and Gunn have also acquired the rights of foiir new melodramas—two by Mr Walter Howard, "Two Little "Sailor Boys” and "Why Men Dove Women,” and two by Mr J. A. Campbell, "The Little Breadwinners” and “Old Folks at Home.”

Miss Nance O’Neill is to star this year in America in Pineros play, "His House in Order,” under Mr Charles Dillingham’s management. The tour will begin in New York. Mr M’Kce Rankin will play Sir Daniel Ridgeley, but tire role of Hilary Jesson—Mr George Alexander’s part, in London, and Mr John Drew’s in the United. States last year—lias not yet been filled. Miss O’Neil] recently concluded an engagement at the Marquam Grand Theatre, Portland, Oregon, where a now play, "The Story of the Golden Fleece,” was produced.

Tyrone Power is playing lead with Miss Henrietta Crosman in New York, m.a strong drama, “The Christian Pilgrim.'

W. F. Hawtrey has a new sketch this season at the big American vaudeville houses; Mis entitled "Compromised.”

The Adelaide Hipodrome, hitherto given up to vaudeville, is now achieving drama. "The Double Event,” o-ne of Nat Gould’s popular racing stories, is being produced by the Kate Howardo Dramatic Company, and is meeting with a hearty reception. The principal role of Jack Marston is capably sustained by Mir Lou Le Breton. Mr Andrew Hodge imbued the part of Spider Fletcher, the villainous trainer, with considerable realism, as well as humour, and was constantly applauded. Miss Billie Howarde and Miss Edith Kingdon sustained their respective roles most ably. The scenery is said to bo excellent. "The Double Event” will come off each night this week/

The Clarence Sisters are playing in burlesque in New York, also Bert Bradley and his wife, Miss Florrio Barnes.

The J. C. W. Limerick competitions have provoked much enthusiasm, and many fearfully pitiful rhymes, in Melbourne. London was limerick crazy when the last mail left. Prizes amounting to hundreds of pounds were being offered by the various weekly papers for the completion of nonsense verses. A Limerick company was in full swing, giving paid-up shares in itself as part of the prizes awarded for successful solutions of Limericks. The House of Commons was stirred by debate as to the legality of the game. One paper received recently no lass than' 70,000 responses to its Limerick competition. A youth was fined for cutting Limerick entry forms from the papers m a public library. In a barber's snop a detective found a Limerick coupon, the last line filled in in the handwriting of a thief who the night before had broken into a dwelling and stole r a cash box, being incautious enough to leave a note behind stating that lie had come in through the window. At the address given oh the Dime-rick coupon a young man was arrested, who admitted that lie was also the thief of the cash box. In trains and trams, parks and pavements, people are "footing” Limericks all day long, clerks in offices are neglecting their work for the craze, ana the “Limerick boom” is prevalent and awful all over England.

A GREAT AWAKENING

The third production of Miss Maud Hildyard, “A Great Awakening,” is the weirdest and wildest melodrama eve: produced in New Zealand. There is nothing specially novel or original in the idea or development of the play; and in the main incidents there is nothing much more impossible than the improbability of the melodramatic average. But the gruesome and gratuitous ghastliness of some of the situations is tin pardon ably revolting, characterisation lapses over and over again into crass oaricature, and what is intended for the enlivening streak of comedy, being singularly stupid and unconvincing, altogether fails to enliven. It is a nightmare in several spasms—the sort of drama that could be taken seriously only on a night of new moon in Bedlam. It is utterly unvvholsome; but, worse than that, it is utterly banal and uninteresting.

So that tlie puzzling querry is again sugested: Why should a company of

generally ablo players— or, at any rate, of players of more than average ability—bo compelled to affront the public in plays that jar on the elementary decencies of dramatic taste ? There is here no question of a little company of barnstormers temporarily occupying the boards of a metropolitan theatre. Miss Maud Hildyard is an actress of distinct power and quality. Critically, no more can bo said of her just now, plays so idiotic offering no reasonable field of criticism. The men of the company are all reasonably good, and in one or two instances strikingly good. Miss Guilford Quinn is the only notable exception to .the general cleverness. Tier vocal monotony becomes an irritation, and her stageyness becomes a constant warning. to the unwise amateur; but she is the only member of the company whoso ability is not too bi'dy to be as-

sociated with such shrieking drivel

THEATRE ROYAL

Business a 4 Fuller’s is brisk as ever, and tin 1 bright show well, up to the u>oal >1 andard New arrivals ore Dave Marne, comic singer: Miss Ida Timers,do. so libretto : A If. Verne, de-

scriptive vocalist; Miss Lorraine Tansley, balladist ; and Gilbert and Deiavalo. These are generally good. v Gilbert and Del a vale get some fun into their business, but the turn is a little crude and unfinished, and the humour at times more than a little strained and banal Tin. Quoalvs ore hack again, bright and vivacious as ever, and quite as popular. Of the Quealys maty pleasant filings may be said, and there seems to bo no reason on earth why these clever young people should not take pains to deserve pleas-, filter. Their patter, for instance, might bo vastly wittier at times, and some of their stock ideas need revivifvntg. When people are really smart and intelligent, as these two unquestionably are, there is simply no reason at all why they should industriously drag any part of their “business’ 7 1 rom the micido ages and back lanes ol vaudeville. Victor the ventriloquist na.s returned, and is distinctly good. Of others referred to last week, YValker and Hughes, jugglers, retain their well-n.imml pc polarity; and tiro audience shows nightly an increasing tendency to recognise the exceptional

merit and originality of Miss Gertie Everett’s very plot sing work. From the standpoint of art, she remains the star of this excellent little company.

Madame Alida Homan, the lyric soprano, who is now touring New Zealand umhr the direction of Herr Ben no Eclu res. will give a song recital in Wellington shortly. Speaking of her opening recital in Auckland the “N.Z. Herald” says —‘Tt is an exquisite delight to hear her sing. Her voice is ono of velvety softness, pure, rich and hell-like in tone. Not a note in all the compass she commands but is dulceij sweet. Madame comes to us with this delightful voice of hers still in its prune. Indeed, so young, so fresh is it, that one would venture the opinion that she has not yet reached the hevdey of her vocal beauty.”

MODERN MELODRAMA

Tt is but seldom nowadays that one finds in au English magazine a note

or article on modern melodrama, sufficiently acute or interesting to warrant quotation at length in Australasia. Butjust such a note Mr G. G- Compton contributes to the “Outlook” of September 14 th, apropos the latest Drury Lane production. It is as follows:—There are no writers of melodrama more capable than Mr Cecil Raleigh and Mr Hamilton, the authors of the new “drama of modern life” at Drury Lane. Mr Arthur Collins, who lias produced the piece, is- the leading expert in this kind of thing. The company are popular and competent, the scenery and mechanical effects are magnificent as well as ingenious. The dresses transcend anything previously done iii that line. Add to all these a responsive and enthusiastic audience, and there are all the elements of an assured success. There is no doubt that “The Sins of Society” is a success, and it will be played until Drury Lane stage is wanted for the rehearsals of the pantomime.

Wlmt more can be wanted? Precisely the thing wc did not get, the instinctive and immediate conviction that the drama was all right, that its success was authentic and incontestable. The fault does not lie with any of the people concerned in the piece or its production; it is in the whole class to which it belongs. Melodrama is being ruined by realism and over-

specialisation, and “The Sins of Society” is a melodrama, though the scrupulous authors describe it as a drama of modern life, a description that would fit most of the plays produced in the year. It remains melodrama because tire characters exist for the sake of the incidents, instead of the incidents being the resultants of character. It is melodramatic in its mixture of sensation and sentimentality, but it is anti-melodramatic in its liberal realism, in its servile reproduction of the actual. And it has not what the old melodrama had: a touch, a hint of the poetic spirit, as if that spirit were struggling vyith its gross form and trying to express itself by word or action. For’through romance melodrama is allied to poetry, a poor and distant relation perhaps, but of the same blood at least. For many years it was the only poetry of the people and only through its crude its absurdities, its silliness, did a ray of poetry ever reach them. Like Corporal Trim’s brother’s Montero cap, melodrama was meat, and drink, and tobacco to the populace.

That is all gone now, the poetry is conventional sentimentality, the plot is taken from the 001106-00111!;, and the startling events occur with carefully mechanised regularity. Nothing fails except the inconstant moon, which last Thursday cast itself for the part of a lighthouse signal of intermittent obscurity. That was in the tradition and therefore laudable. Miss' Constance Collier, who has melodrama in her nature, also was in the tradition, with her ample gesture, her sudden movement-, and her poignant intensity. Could not Mr Raleigh, a gentleman of most supple talent, contrive a piece on the old melodramatic lines foir the sake of putting Miss Collier in the chief part. As good and wholly different was Mr Lyn Harding in his careful and truthful study of a villain of modern life. It- was as realistic as the jump into, the river or the foundering of the s.s. “Beachy Head,” two sensations which fetched the gallery on the spot and set them cheering most delightfully. But of Mr Lvn Harding and of Miss Collier it must be said that both of them should not be in a drama of modern life. They were, not so long since, in an adaptation from a born melodiamatist, and as Nancy and Bill Sikes their methods did not clash. So it is not their fault at all events. One might go through the cast and show how the different actors inclined to melodrama or to realism. It was 110-

.<p - ticeable, but most noticeable with the acting of Miss Fanny Brough, wiu is singular in her ability to play in either way and to play well too, as she always does.

There is only one objection to relating ‘the plot of “The Sins of Society” and that is that a bare statement would fill three columns of “The Outlook,” but- I may say that it aims at exposing the folly of gambling, a practice which .it appeal’s may lead to substituting coals for diamonds, after getting a loan on the diamonds. The practice cannot’ be - too strongly c demued, and such a mass of evil follows in its train as “The Sins ro Society” goes on, that no one who sees the piece is likely to fall into that par-

ticular temptation. The play ismora., you see, which is in the melodramatic tradition, and it is tremenduously and realistically sensational, as a drama o modern life naturally would be; bno somehow or other these sensational scenes did not quite come off—did non give the inevitable shudder. Perhaps because we have had so many of them.