PLAYS AND PLAYERS.

New Zealand Times, Volume XXXIII, Issue 7451, 27 May 1911, Page 6

PLAYS AND PLAYERS.

OPERA HOUSE. 1 May 13. June 7.—J. C. VriUiaxnaon. June 12, July I.—William Anderson. [July 6, 2.O.—Clurke and Meyuell. August 17. 26.—J. O’. Williamson. \ Sept. 35. sD.—Clarke and Meyuell S Oct. 5. 25. —J. G. t\ illiamson. Nov. 3. 16.—Clarke and Meyncll. Christmas season.—J. 0. Williamson. THEATRE ROYAL. Vaudeville (permanent). HIS MAJESTY'S THEATRE. Pictures (permanent). THE NEW THEATRE. Continuous Pictures (permanent). ' TOWN HALL. Ju e 29. 30. July I.—The Sheffield Choir. with Matinee on July 1. August 14, 19.—Sousa’s Band, Sine? the arrival of ‘'The Whip” last year proved that a Drury Lane success is not necessarily a success for one yeason only, Mr Arthur Collins is giving “The Sms of Society/’ Cecil Raleigh and Henry Haiuillon’s four-act drama, another run. This play is, moreover, one of those magnificently' spectacular dramas that are of all time and not of a day, so that (remarks a London writer) there seem© to be no reason (except, perhaps, the desire to present the longheralded Dreadnought drama during the Coronation season) to withdraw the revival till the next pantomime becomes due- The audience at Drury Lane cheered and applauded merrily from start to finish, and, indeed, at the end were almost too enthusiastic to be persuaded to leave the theatre. The revival is dressed most magnificently, and the frocks in which Mrs Langtry' appears as Lady' 'Marion are the very latest thing from Paris. “The Sins of Society,” like “The Whip,” is one of-the big dramas of Drury' Lane. In it sentiment and suffering heroes are painted in full tone colours.

Cecil Raleigh was in humorous vein at a recent meeting held In London to consider the licensing of plays for musichalls as for theatres. He said they could not live for ever on a few comedies when people played Shakespeare and adaptations from foreign plays which they did not understand—happily. (Laughter.) They had a grievance, and he was sure it would appeal to all he saw around him. What were they to do with their failures? There was an opportunity of usings up their failures for sketches. (Laughter.) They often wrote a play which had one situation. Mr Grundy had one up his sleeve which he used for years. (Laughter.) He (Mr Raleigh) ana his dear friend had a railway train which they used in 1885, and they had lived on it ever since. AVhenever h© was hard up for a situation he trotted out his engine. (Laughter.) Even Mr Sutro some day might find a situation which would do for a sketch. (Laughter.)

Beautiful in every sense, the production of "Atalanta in Calydon" at the Lyceum Theatre was remarkable in many ways, but chiefly by the exquisite feeling of Greek tragedy which was noticeable in the musical and pictorial treatment of Swinburne's play (says the “Standard”). “Atalanta in Calydon” wall bo repeated on ; the afternoons of the 6th and 7th instant, and no one who cares for the poetry of words, sounds, and motion should neglect the opportunities thus provided. The staging of the play by Miss Elsie Fogerty was wonderful in its grace and its graphic loveliness. The chorus was composed of a group of beautiful girls, who moved as we imagine the Greek maidens moved of old—whose every action illustrated the emotion of the moment, whose faces portrayed each shade of meaning given by the words, whoso dancing was the quintessence of grace, and whose singing was full of melcdy, clear .and deep. - * «= * * . Ss-

: # "Romance and the Stage” was _ the title of a paper which Lord Dunsany read to the Playgoers' Club. Lord Dunsany deplored the neglect of the study of romance, both in regard to the life of the people and the drama. It was a pity the -poet and the dramatist did not more often open the gate and let us peep at the realms of romance. The modern patron of the arts became very angry if he could not understand immediately “what it is all about,” but something must be wrong with an age whose drama deserted romance. One of the reasons for the absence of romance was the alarming spread of advertisement and whole-hearted devotion to the snaring of money. It was not from business that romance had fled, but from tho worship of it. The kind of drama most needed to day was the kind that would build new worlds for the fancy—for tlfo spirit, as much as the body, sometimes required a change of scone.

William. Devereur, the author of "Henry of Navarre,” says the critic of the Melbourne "Argus,” does not flout history when he writes a romantic melodrama. Tho white-plumed King who Jed his Hfiguenot warriors to victory at Ivry is a subject imbued with all the elements of romance. He fought boldly, he loved gaily. He won the attainment of all his ends against odds which might well have been thought overwhelming. The time chosen for the play is the period preceding the . massacre of Saint Bartholomew. when Huguenots and Catholics had been brought together in. temporary trueo to witness the marriage arranged between Henry of Navarre and Marguerite, the sister of the King of France. Tragedy treads . swiftly on the heels of comedy in tho play, the festivities of the Court scarcely hiding the seething passions beneath the surface. There is-all the materials here for a great play, and Mr Devereux has taken fine advantage of the opportunity. A number ,of handsome and historically correct costumes are worn, and the scenery and - mounting of the play, we are assured, leaves nothing to be desired. "Henry of Navarre” will he the second production of tho present J. C. Williamson season.-

* » * * * GOSSIP. "The Arcadians,” at the Shaftesbury, London, has entered upon its third year. It was first produced on April 28th, 1909, and has run uninterruptedly since. As to the question of a successor to "Tho Arcadians,” the new piece was in readiness for production many weeks ago, but the unabated prosperity of the present play and the advance booking, which already extends beyond the month of June, left Mr Courtneidge no option but to allow "The Arcadians” to run its full course, the end of which seenis indefinite. "King Henry Vlll.”—after over 250 performances—was withdrawn from His Majesty’s, London, on April 12th, and on Easter Monday Sir Herbert Tree revived "A Midsummer Night's Dream,” with Mr Arthur Bourchier as. Bottom, Miss Evelyn D'Alroy as Oberon* and Miss Marjory Maude as Tiiania, Negotiations are in progress in New York by which Miss Maude Adams will give some open-air dramatic spectacles, similar to that of "Joan of Arc,” in. which she appeared in , the Stadium bf Harvard University some time ago. The performances are to be given in one of the great city parks this season. The idea is to have an admission of a nominal fee, as the project is designed entirely for the people of the city, and the receipts 'will be devoted to whatever purpose th» Park Commicsionar may . decide upon. A Hew operetta by Eranz Lehar, entitled "Eva/* with a libretto by Wfllner and Bcdanski, has been accepted by ths Theater au der Wien in Vienna, where it will be produced in October. Another musical novelty comes from the pen of Engelbert Humperdinck, of "Hansel and Gretel” fame, who has composed some incidental music for Maurice Maeterlinck's "Blue Bird.” which will be heard far the first time at tho Deutsches Vplksthcater in Vienna. 1