THEATRICAL TALES AND TOPICS.

Otago Witness, Issue 2083, 25 January 1894, Page 37

THEATRICAL TALES AND TOPICS.

WING WHISPERS FROM THE WORLD'S STAGE. Collected by P. Rompteb.

MODERN TASTE.

A Canadian writer gets there every time in the following philosophising : — " From the way theatre patrons crowd the Academy it may be inferred once more that entertainment of the light and airy pattern maintains its hold on the popular taste. The lively little London music hall girl, with that peculiar metallic voice which to Cockneydom is so oharming, succeeded where a Patbi would have been unappreciated. Horse play and coarse wit kept the house in a roar, and the audience went away satisfied. Farce comedy in Toronto, as elsewhere, still grasps the sceptre, and it probably will continue to do so until the pall of hard times is lifted. The public just now requires a stimulant in its entertainment which the melodrama and the legitimate appear to bo unable to furnish."

THE NATAL YEARS OF SOMI3 WELL-KNOWN ACTRESSES.

Mary Anderson, .Sacramento, Gala., J. 859 Ada Rohan, Limerick, Ireland, IStiO Adelaide Ristori, Italy, 1821 Marie itozo, Paris, 184t5 Lilli.m Ruhioil, Clinton, la., 1800 Mrs Scott Siddons, India, 1844 Ellen Terry, Coventry, Eugland, 1818 Christine Nillson, Svvedtm, 1813 Adelina Patti, Madrid, 1813 Mrs W. H. Keii'lall, Lincolnshire, England, 1849 Lillie Langtry, St. Hcliers, Jersey, 1850 Fanny Davenport, London, England, 1850 Minnie Hauk, New Orleans, La., 1853 Helena Modjeska, Poland, 1544 ltosina Voices, London, Eugland, 1854 Sara Bernhavdt, Paris, 1844 Pauline Lucca, Vienna, 1840. GOING OUT TO SEE A MAN.

This par is equally true of the colonies, and the reference to the seiting fits in with Joe St. Clair's opinions: — " Th 9 man who suggested that ladies continue to wear their hats in the theatre because their heads were not shapely enough for exhibition, was a genius, but of the unsuccessful sort. So, too, the lady who emphasises her opinion of the man who goes out becsveen the acts, with a scowl, is a failure. The high hat is still in favour, and there is a friend always wailing to be interviewed in the foyer. They are both of them offences, but not parallel in iuiquity. The spectator has a right to freedom of locomotion iv the intervals of the play. It is not everybody that can sit out three hours on a sometimes not too comfortable chair with any degree of pleasure. Relaxation adds to the enjoyment of tho performauce. It is bad enough to be a slave to a desk during the diytime without having this additional slavery thrust upon you in your recreation. The inconvenience occasioned by •going out to see a man' might be lessened if seats were not so closely packed together."

SOME FAVOURITE BOSALINDS

An American critic is tempted into looking back as he beheld Modjeska in Shakespeare's great play the other day. His recollection is interesting to all. He says :—": — " Modjeska as Rosalind is a thing of beauty and a joy for ever. The reappearance of the famous actress, who, by the way, is known in private as the Countess de-Bozenta, revives the memories of others who have successfully or otherwise essayed the part in this city. No character is a greater favourite with actresses consoious of great personal charms than Ro3&ltnd, In tha daystof our fore.

fathers they had Peg Woffington and Ellen Tree, later Frances Kemble and Helen Fawcit ; bub among modern exponents the late Adelaide Neilson held first place. Her Rosalind sparkled with playfulness, and' at the same time she entered readily inbo the pathos and sweet womanly dignity of the part. The living Rosalinds are many. We have seen the Julia Marlowe who could act, and the Adelaide Moore who could nob. Ada Rehan (Grehan), the shapely Limerick colleen, whoso genius and figure captured bhe popular vobe. Mrs Langbry, who possess bhe figure without tho genius, and whose Rosalind was but a vivacious hoyden out for a lark. Julia Marlowe and Miss Mather, who realised the poebry of bhe character, but lacked bhe robust; vibaliby, while their very opposite was represented in Rose Coghlan, Fanny Davenport, and ' Marie Presoott. The nearest approach to Miss Neilson's portrayal is that of Modjeska, who, with even greater intelligence, hag only a little less of the subtle witchery with which the dead actress invested the parb, and to say bhab she is the best living Rosalind would be a meed of praise that is cheerfully endorsed by many."

THE "WHIRLIGIG OF TIME.

Two years ago the French heart was fired with enthusiasm for the Franco-Russian union by nightly performances at Parisian cafes chantants, students' balls, and theatres of the Russian national hymn. It is nob many years since the Austrian Government felt obliged to prohibit the performance of the Rakoczy march in Hungary and confiscated all copies of the music found in the shops. Now it appears rioting has begun in San Sebastian, Spain, because of tho refusal of a theatrical orchestra to play the patriotic tune of the Basques . Thua again is verified the wisdom of the adage respecting the superior potency of a people's " spugs " over their laws.

LYDIA THOMPSON.

It is interesting to come across any sorb of reference to old footlight favourites. I clip the following from tho Toronto Globe, of a late date: — "There was a season when burlesque was the rage, and Eydia Thompson was its queen. A good many years have rolled away since 'Ixion' delighted the multitude, and Lydia and her troupe of shapely and gaily apparelled damsels fretted their weary hour interpreting with gorgeous accessories and in vile doggerel the classic fable. Torontoniacs who can recall tho days of Lydia's spectacular triumphs were not a little surprised to find her lately a member of The Crust of Society Company, enacting, and most creditably, the part of Lady Downe. But it was nob so much the reappearance of the once brilliant burlesque star that interested old admirers as the fact that, notwithstanding the vicissitudes of her public and private life, she seems to defy the hand of time. In her career she has achieved wealth more than once, which melted in the hands of the life partner she was so devoted to. He is dead, but there is left to her a daughter who has' inherited her mother's fondness and talent for the stage, apd who as Zeffie Tilbury lately shared the honours in aplay with Miss Proctor Otis. She is married to the leading man, Mr Arthur Lewis, who took the part of Oliver St. Aubyn. Lydia Thompson, with such a daughter and son-in-law, is happy, and her contentment is reflected in her rejuvenescence.

THE TOPICAL PART OF IT.

The clippings given under this sub-head are mostly Amurkan (this phunetik is not my own — " Lorgnette's," I think), as I would not alter their phraseology for anybody — bar the editor. Oscar Wilde is about due in the States. He will boss the rehearsals of "A Woman of No Importance," that the, Coghlans are to play. He is under bonds to write a play for Charles Frohman, satirising New York's 400. Hivinski, the new pianist, fellow-countryman and fellow-student of Paderewski, is tall, of good physique, refined and unaffected. At least, so says his American agent, Mr A. M. Palmer.

Harry Davenport sang a topical song by Rosenfeld and Aronson at the Casino (N. V.), and Israel Wittgenstein, in the orchestra, stopped playing the flute and had some fits. The audience was quite interested. Lottie Collins has another song in her repertory. It is "The big trombone." The other is called " Ta-ra-ra-boom-de-ay." Somebody has discovered that Miss Collins, who is Mrs Cooney, is simultaneously a Hebrew. Since Koster and Rial refused to lot a United States sailor enter the theatre, on tho ground that he was in uniform and would offend tho dudes, it has been alleged that the cold air has been spilt on the floor of another theatre every night, in order to freeze away the people who are barefooted.

They are going to try to make a star out of Florence St. John and bring hi-r to America. As even fair to middling foreign stars have not made an overpowering success iv this country, tho Sinjun will probably be compelled to keep company with George Barrett, Mrs Beere, and Mia.s K^stlake.

A writer in London, who seems to want to tell the truth, says that Sims Recvts doe 3 not sing as well as he used to when he was 40 years younger. He has returned to the stage at the age of 74, and gets a matter of £300 for six concerts. The writer in London says that the effeot of "Come unto the gyarden mud," wa<) similar to that of a tenor voice coming through the telephone.

How does this strike you for a " big run ' — r "since the war" in the States? The par says : — " Evans and Hoey, who have been playing • A Parlour Match ' since the close of the revolutionary war, will part at the end of thi3 season. Whether they will live ,on their hardearned millions or keep on singing and making faces depends on whether they have got their hard-earned millions about them. Mr Hoey, who is much tha cleverest actor, will continue to work."

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