THEATRICAL.

Otago Witness, Issue 1812, 13 August 1886, Page 28

THEATRICAL.

rContrioutwns from the Profession chronicling their inovenients and doings are invited. AH communications to be addresed to "Pasquin," Otago Witness Office.)

NOTES BY PASQUIN. There has been absolute stagnation in theatrical matters in Dunedin for a week or two past— a stagnation that will soon cease with the return of the Rignold Company. Speaking of this company a lady correspondent writes from Wellington as follows :— At the Theatre Royal here, " Faust," has succeeded to that delightful drama "In the Ranks" ; but, although the scenic effects are simply wonderful, the acting good, and the dresses lovely, the performance has not taken nearly as well with the public as "In the Ranks." The Mephistopheles of Mr George Rignold is certainly a very realistic conception of Goethe's fiend ; he looks the very incarnation of the poet's devil, and one is fascinated by his interpretation of this wonderful character. Miss Kate Bishop is charming as Marguerite, and in her song « The King of Thule "she delighted the audience with her sweet and skilful rendering of the number. The last scene was splendidly mounted, and excited warm admiration, the ascension of Marguerite borne by four ' angels is beautifully depicted and called forth the most enthusiastic applause. Of course to those who have seen Miss Terry and Irving in these same characters at the Lyceum, there would perhaps have appeared something to be desired, yet, on the whole, people have been well pleased. The Rignold Company have since reopened in Christchurch, and have been doing well with " Called Back" and " Faust." Professor Rice who has been joined by his wife, Miss Fanny Marsden has been circling round Dunedin and the' Port during the past week giving a few entertainments in each place, and he is now about to extend his orbit to Lawrence, and other • country towns. Mrs Klingenfeld, and Mr Doyle (a man of muscle) have been assisting in the show. The Colorado Ministrels are in Auckland. Mr W. E. Sheridan and Company's business in Wellington is good. There was an unusual gathering at the Theatre Royal, Adelaide, on a recent Saturday afternoon, in response to an invitation from Messrs Williamson, Garner, and Musgrove to " Four o'clock tea and music." The guests (says the Adelaide Observer) numbering about 250, included their Excellencies Sir William Robinson, and Sir Henry Loch, Sir Henry Ayers, Sir William Milne, His Honour the Chief Justice, Hons. J. W. Downer, J. C. Bray, G. C. Hawker, and a number of other leading citizens. A large proportion of the visitors were ladies. The entrance was by way of the stage door, the court landing to which was tastefully decorated with ferns and other foliage. Having passed irom this court visitors proceeded by a few steps to a large marquee, which covered in the whole of the stage from side to side and from footlights to rear wall. Chairs were so arranged as to permit of the guests moving about conveniently for gossip, and during the afternoon, a staff of waiters supplied refreshment. Amongst the guests were the members of the opera company and the orchestra, who favoured those present with several mu&ical selections. A convenient platform was arranged at the eastern end for the accommodation of the chorus during their performances. The musical arrangements by Mr Cellier were admirable. There was no attempt at anything beyond the abilities of his vocalists, the conductor's aim being evidently the nearest possible approach to perfection, and his object was accomplished. By this unique form of entertainment the lessees of the Theatre Royal provided their guests with an hour's unmixed pleasure. The Derby station of the Midland Railway Company presented an animated appearance on a recent Sunday when special trains arrived with the Harbour Lights company, Human Nature company, In the Ranks company, Hoodman Blind company, Miss De Grey's company, Fannie Leslie's company, T. D. Yorke's Cloches de Corneville company, Irish Aristocracy company, Rip Van Winkle company, and Caste company, numbering upwards of 230 members of the profession. In all seventeen companies, representing 360 persons, passed through the Derby station between Saturday and Monday. The Era tells the following: — At Denver, U.S., in the winter of 1836, the principal theatre was run under the management of John Langrish. At that time some 6000 Union soldiers were stationed there. These soldiers took great interest in the theatre, and were its principal, or at least its most enthusiastic patrons. Every night the house was crowded (particularly the gallery) with soldiers. To please the boys in blue, Mr Langriah put on the " Siege of Jjucknow." Both men and officers took great interest in the piece. They were determined that it" should be produced in fine style. The soldiers made a lot of bombs to be used in the fort scene, the officers allowed two cannon to be brought to the theatre for use in the fork and about fifty men, armed with muskets, volunteered to act as the attacking army of natives. For two or three days previous to the night when the piece was to be presented there were more soldiers at work on the stage and about the theatre than helpers of any other kind. Thsy bossed all the warlike preparations. The great night came, and the soldiers had the house. Not only were they ia the- gallery, but they also filled the seats and the lower floor. Mrs Langrish. took the part of Jessie Brown. When the attack was made on the fort the firing was terrific. The bombs began to fall into the fort. These were balls of yarn containing gunpowder. In order to produce a good effect the reckless soldier who made these imitation bombshells placed in each nearly half-a-pound of powder. They made a report as loud as the largest China bombs. The bombs made it mighty hot for Jessie Brown. In less than half a minute her dress was on fire in two or three places, and everybody expected to see her beat a retreat. But those with her in the fort smothered her burning dress, and she stood her ground. The supposition was among the people of the theatre that the cannons were not loaded. The priming of the pieces was to be flashed and a drum was to be struck to imitate the report. But some soldier had slipped into one of the cannons a cartridge containing about two pounds of powder. When those in front began to reply to the fire of the attacking party this cannon was fired off, and it blew a hole in the side of the theatre nearly eight feet square. This excited the soldiers in front, and they began firing their revolvers up into the ceiling, while those below turned theirs into the floor. In a few seconds the whole place was so full of smoke that one could hardly breathe or see. The lights presented the appearance of street lamps seen through a dense fog. The excuse that the soldiers afterwards gave for riddling the floor and ceiling was that all was so much like real battle that they forgot where they were, and so began firing before they realised what

they were about. That night " all the boys in blue " felt that they got the worth of their money. Our old friend Mr Fred Thome plays the role of Squire Western in Robert Buchanan's adaptation of " Tom Jones " in London. The great Salvini on the conclusion of his late tour in America, is said to have carefully Hacked up in his trunks for future use the ballance of the caudles allowed him by the manager for his dressing room, and to have decamped with 140dol worth. Genius and extreme frugality are not always found hand in hand. An extremely youthful performer took part in a baby song at the Strand Theatre during Miss Minnie Palmer's "My Sweetheart " season. It was 18 months' old, and the fourteenth child of a working gunmaker in Edinburgh. It was put to bed every afternoon at four, taken to the theatre at nine and was in bed again half an hour later, earning in the week — precocious infant '.—more than its own father.

The following are some samples of the dramatic criticism which is written in Borne of the American States : — A play is never bad, but only "queer," " tart," " rocky," or " mugging." A theatre does not succeed, but " catches on." A veteran actor is a " fake " when he tears a passion to tatters, and a " jay " when he does not. Spectators who fall in love with an artistic complexion and an artificial figure are variously classified into " guys," " bald heads," " chumps," " Charley Jays," "Tommy Toughs," "blokes," " side walkers," and "daisies." A "dog town", is a small city where new plays are inflicted on a long suffering public. A " prop " sustains nothing, but is any small article used in a play. To love is to "mash," to flirt is to " play," and to sell one's self for money is to " work somebody." " The Mikado " has achieved a most brilliant success in Berlin, being pronounced by the Press superior to any modern German Operatic production of a similar character. But there is no modern German work of a similar character.

The audience at one of the provincial theatres in England on one occasion was unusually small, and the manager was standing at the door disconsolately watching the crowds rush by. His unpleasant meditations were interrupted by a boy who had come from the gallery. " Say mister," said the god, " can I please have a seat downstairs?" "What's the matter?" asked the manager; "isn't upstairs good enough for you?" "Yes, sir; but I'm afraid to stay up there all alone," was the» timid response. |This was the last straw — the finishing touch — and the manager grimly smiling, decided to postpone the entertainment.

Miss Lydia Thompson, with her daughter, Zeffie Tilbury (formerly a member of Miss Mary Anderson's company), has returned to England from America to settle the estate of her late husband, Alexander Henderson. After a short retirement from the stage it is likely that both Miss Thompson and her daughter will visit Australia professionally, and then we shall have a rechauffe of the old-time style of burlesque. The American actor, Dixey, now in London, nightly informs his audiences that " Music hath charms to sooth the savage beast, and that's why they put a brass band round a big dog's neck." This is the kind of scintillation that abounds throughout " Adonis."

Among Patti's wedding presents were a magnificent " pansy" brooch, in rubies and diamonds, sent by Lord Rothschild, and a brooch, also in rubies and diamonds, in the shape of a heart, from Sir Alfred de Rothschild.

Rubinstein, at the request of thousands, after repeatedly declining, gave one final recital in London at the close of the historical series. Though the prices were again raised the public came in battalions, and those who managed to get in esteemed themselves fortunate, for the pianist was in magnificent form. If there is anything for which a theatrical manager requires " character " it is to deal with the pretty pets of a popular prima donna. When " Pepita " was being played at the Madison Square Theatre, New York, lately, the charming Lilian Russell, leading soprano, and her husband, Edward Solomon, musical conductor, were at bitter feud. One night Miss Lilian sent round a message to Manager Hill, saying she wanted to see him on important business. " I want you to. know," said she, " that my situation just now is decidedly unpleasant. In other words, this theatre isn't large enough to hold both Mr Solomon and myself at the same time." " Ah ! " murmured the manager, gently stroking his Dundrearys. " Yes," continued Miss Russell, " and I should like to know how soon you can engage another musical director ? " Mr Hill parried the question with another, equally pointed : " When do you wish to retire from the cast ? " The lovely and wilful singer's make-up could not hide the flush that suffused her face : " I am prepared to leave at any time." " I wouldn't under any circumstances advise you to remain if you're unhappy here. Suppose you finish to-morrow ? I have a little lady up in your part. She has been ready to take your plaoe at five minutes' notice ever since your domestic troubles began." This intelligence completely flustered the actress. She who had faced and downed storming managers innumerable was totally unable to cope with this suave and comfortable impressario. •' I'll think it over," she stammered. Next day Mr Hill received several messages requesting his presence on the stage. He paid no heed to them save to say that he was busy and going out of town in the evening. Finally there came a note begging him " not to engage anybody else to play Pepita." Then the astute manager knew that he had won the battle with peaceful weapons, and within the same twenty-four hours he received news that Lilian and Edward had met, shed tears, and been reconciled.

In 1871 and 1872— not so very long ago— Henry E. Abbey, the big American impressario, was second cornet of a very poor band in an obscure town in Ohio. The band used to play in the street in front of the local theatre before the performance, and Abbey was very proud of his connection with it.

Mr W. S. Gilbert's " Gretchen," the new piece specially written for her in which Miss Fortescue opens in America, turns out to be the old piece specially written by Mr Gilbert for Miss Marion Terry some years ago.

No one would have thought that thus late in the day the music-hall jingle, " We don't want to fight," which originated the political term " Jingo," would be discovered to be a " crib " as to its melody. But stranger than this is the source whence the composer (Mr G. W. Hunt) is alleged to have drawn his inspiration. He is accused of " conveying " his melody from Mozart's " Twelfth Mass."

This year's chairman at the Royal General Theatrical Fund dinner was Mr Augustus Harris, and under his presidency the substantial sum of £1050 was raised that evening for the fund. Mr Bancroft in the chair last year, however, managed to scoop in over £1-100. A few colonists attended in recognition of Augustus' recent hospitality to them, amongst them Sir George Bovren. Walter Reynolds, recovered from his serious attack of morals, has been playing to good business in the English provinces in on? of his own

pieces, " A Mother's Sin," and intends beginning an American tour this month.

Miss Agnes Consuelo is to make her appearance at Wallack's Theatre, New York, shortly, in the part of La Marquise in " The Crowing Hen."

The gay and enterprising " Freddy" Gebhardt is still in Mrs Langtry's train, and Mr Howard Paul declares that by mistake he was put into the Prince of Wales' box on the occasion of the Lily's first dramatic performance in French, and that he had to retire hurriedly when H.R.H. was announced.

Oscar Wilde yearns to see Greek plays an established institution in England. He was always singular. The latest operatic novelty is Mr A. C. Mackenzie's " Troubadour," just produced by the Carl Rosa Company at Drury Lane. The libretto is by Mr F. Hueffer, long known as musical critic to the Times, who founds his story on a familiar old Provengal legend. It is skilfully told, although no effort is made to abate its repulsive details ; and Mr Mackenzie's music is varied and full of merit. As to its real intrinsic value, however, critics have not yet quite made up their minds. All stage artists are rendering themselves liable to gradual lead-poisoning by the use of the commonly sold grease paints for " makeup " purposes. So says an American journal which ought to know. Mr Irving, properly moved by a lively sense of past favours, has been supping Augustin Daly's American Comedy Company in the classic Beefsteak Room at the Lyceum.

Clement Scott inveighs heavily against the morale of " Clito," taking as his text that everything most human in nature is not on that account admissible in art. " Women," he says, " bite the noses off the faces of those who arouse their jealousy ; men knock the eyes out of their wives and mistresses ; monsters exist in every grade of society. But art is not for the resurrection of monsters ; it was invented to exorcise them. Zola tells us that Nana rejected the lucrative offers of Parisian bankers, and preferred the society of a low drunken actor, who blackened her eyes during the night, and swore at her because there were crumbs in the bed. All this may be very true, but it is none the less hideous and revolting. Human nature is bad and brutal enough outside the walls of a theatre, without dishing it up on the stage for our edification. I want to believe that men and women are in reality better than they appear to be, and not more monstrous. I want the stage to teach each successive audience to be purified by hope and by the contemplation of lovely natures, not sickened and saddened by opening cesspools under their noses. Why should I go to the theatre to be further convinced of the bitter truth that some men are fools and some women are monsters, when I know it full well by fatal experience? No; the highest art is that capable of idealising, not of realising. If I want a picture of revolting depravity, I can get it photographed from real life, and stuck up as a ' memento mori.' But the poet and the artist can alone take me to better, purer, and nobler worlds than this. They teach us hope, not despair ! " Mr J. L. Toole is suffering from what is poetically termed " a bout or gout." His first experience. Finding theatre renting unprofitable in the light of her recent experiences at the Prince's, Mrs Langtry contemplates erecting a theatre for herself in London, and has already employed a commissioner to " prospect " for sites.

"My Stepmother" is the title of a new comedy which Miss Minnie Palmer has secured as a stand-by for " My Sweetheart." A wedding march, entitled " Craig-y-nos " (the name of the 'diva's Welsh castle), was composed for the Patti-Nicolini nuptials by a daughter of Mr Beatty Kingston, the wellknown musical critic.

Mr M. Barrymore has loft England to join Mdme. Mod jeska's company in America.

Preparations were made at Oxford to seat 1200 persons in the new schools on the occasion of Mr Irviug's lecture on June 26. The actor wai to dine with Professor Jowett and a large party the same evening. Austin Brereton discovers that the first actor to differently point this passage — " Signor Antonio, many a time and oft, on the Rialto " — was Mr John Henderson, who played Shylock in the last century. " Many a time and oft" was generally considered a common proverbial expression, but Henderson pointed it thus — " Signor Antonio, many a time, and oft on the Rialto " — thereby implying that Antonio had not only generally " rated " him, but oft on the Rialto, " where merchants most do congregate."