STAGE GOSSIP.

Otago Witness, Issue 2409, 3 May 1900, Page 57

STAGE GOSSIP.

(Specially Weitten- toe the Otago Wit-

NESS.) Mr Charles Arnold (" What Happened to Jones ") made his re-appea,rance on the Australian stage at the matinee performance in aid of the Melbourne Hospital, at Melbourne Princess, April 4, when he sang, for the first time in Australia, "We take oil oui hats to the Queen."

Some years ago, during a performance of Fitzgerald's Circus in an up-country town, the tent was blown down, and four ox five people sustained slight injuries (says Hawklet). On returning to the same- town a few years later the proprietors advertised that all persons who had been injured on their previous visit would be admitted free. Alas, for the ravages of time ! one hundred and twenty-three 1 applied f or the complimentaries.

Dan Barry was running a big show at Bendigo during Easter week. The Flying Tordans (whose interests were being watched by MiEdwin Geach) headed the bill, and the vaudeville talent- included Charles Fanning, Georgie Devoe, Tylers (equilibrists), Marie Rayner, Fanny Tempest, Anderson Sisters, Lillie' Lynton (11 years with Tommy Hudson), and Olaf Schrader (trick ""bicyclist), and Nellie Jordan (" Queen of the high wire — the world knows not her equal.'').

Thanks to Verto, the Magic Wonder, for bills of the play

At Cremorne Gardens, Perth, "W.A. : Lingarcl Sisters, Elsie Golding, Alice Layton, Maud Chetwynd, G-allardi Sisters, Jule Layton (Melbourne contralto), Lottie Lome, Johnny Coleman (here with the Matsa Vaudeville Company), Leigh Harris, Sam Kowley, Harry Fitzmaurice (here with All Lawton), Frank Rowen, Bob Bell (here with Hausernaii's Merrymakers), and Albert Whelan (late with Pollard's Opera Company)

Mr W. J. Payne (of the original Payne Family of Bellringers) repoits good business with his waxworks exhibition at the Queen's Hall, Perth Among the stage performers are Misses Jean Clarkson, Rocreuse, Belle Payne, Beryl G-leeson, Messrs Tom Saxmders, W. J. Payne, and J. Stewart.

J. C. Williamson's 1 Dramatic Company are playing at Perth Theatre Royal. Repertoire :

"■ Teas of tht D'Ui'bervilles7' " King's Misketeers," " The Only Way," " Sign of the Cross," " Royal Divorce, ' " Harbour Lights," and " Trilby." Members: Edith Crane, Tyrone Power, Cecil Ward, Linda Raymond, Rose Musgiove, Alma Vaughan,Florrje Gleeson.Julie Merton, Cyril Keightly, 0115' Deermg, Harry Hill, A. Lissant, J. W. Hazlett, T. Middleton, W. Rosevear, W. F. Grant, and others. I hear it in the concert hall, I hear, it on the

stage, It's shouted, by the small boy, and the venerable sage, It will change imperturbation to ungovernable rage, * Far worse than influenza is this terror of the age—

" Wliat hot eke feudnst"

When I wake at early morning I "don't go veiy far Eie it's nmtered on the railway, on the 'bus top, or the car, It's shouted in the city, where they shout of stocks " at par," And at evening at the music halJ it's howled out by a " star," " What ho, she bumps."

If I take a week-end ticket to a not far-distant land, It's ten to one at dinner that I hear it from the band; I land at eve in gay Boulogne, and say, " Well, this is grand,"

But I hear it in the morning when I saunter on the, land, Voila done, elle rebondit! There is nothing that would fill my soul with such amount of pride, And help me face a jury on a charge of homicide, Than to meet a man whilst on a walk, a rail, or

cycle ride, Who proudly stated that he was the very first who eried — " What ho, she bumps."

— Pick-Me-Up.

An amusing story is told of a London actor and his dresser. The -dresser is an old soldier, and one night he' was-'describing, in glowing terms, one of the big battles in which he had taken part. "-And what," asked the actor, " struck you most when it was all ot; er?'' "What stiuck me most forcible, sir," replied the' veteran, " was - the bullets that missed me!"

This story reminds Bis of the yarns which are told of Sergeant M'Carthy, an old army 3 man, who was " supermaster '" for Mr George Eignold. - M'Carthy was an invaluable man among the " supers," for -he knew how to handle them, and the military productions staged by Mr Rignold owed much to his invaluable assistance. But McCarthy, like few of his cult, was pleased to see the men who had graduated under him working their way up to the top of the tree. It was quite a common tiling to hear him say, in the sweetest of brogues, when anyone referred to such an actor's good work, " Why, sor, he was superin' along o' me." In fact, M'Carthy thought, and perhaps justly too, that the tuition these Thespians received from him was responsible for their success. He at least -taught his men to stand still, a circumstance many actors " cut ' nowadays.

Bis met the smiling Harry Abbott on Saturday last. He reports three meals a day and a beer or two right through the West "Coast trip. He is busy fixing dates (always open to fill goo:! dates) for a short visit northwards", prior to his old love — Dunedin — where the

" Kine." shows a number of new war pictures, opening at the Princess Theatre, on May 21. Harry says that he always takes off his hat when he hears Dunedin mentioned, as, in his opinion, it's the boss show town this side of the line.

Mis Kendall has placed it on record that she always weeps when performing a pathetic part. Not so Jennie Lee. When she was playing ''Jo ' in Melbourne, a lady friend inquired of her if she hf>d had a satisfactory house. 'Oh, yes, I had a, good lot of snivellers in front," wa.3 the sprightly answer. In the production of pieces in which the' spectacular, the sylvan, or the historica l plays a leading jjart, much depends upon the skill, taste, and judgrnsnt of the scenic artist, and in this particular, Mr J. C. Williamson may -be accounted fortunate. Mr "Jack" Gordon, son of the late George' Gordon; has done -some very excellent work since he took command of the "frame" at Hex Majesty's, and the following brief outline of his career by a Sydney writer may prove of interest. Young Gordon was bom in London in October, 1872, and came to Australia in 1882, to join his father, who was under engagement to Garner's Comedy Company, and who had decided to domicile, in the colonies. "Jack" went to the Scotch Coir lege in Melbourne, and his future bent was easily seen as he invariably spent his holidays in the paintroom. On, leaving school his lather desired him to be an architect, but the Jad pleaded hard to be allowed to fallow in his father's and grandfather's footsteps. Consent -was given, and two years were spent at the Melbourne Art Gallary classes studying the antique and life. He was gradually initiated into the mysteries of the paint-frame, and as Mr John Biunton and his father occupied the same room, he had the advantage of watching theix various methods. Australia was at that time a strong scenic school, as the names' of the late John Hennings, the late George Gordon, John Brunton (perhaps the s|3eediest- painter of all), and W. B. Spong will show. When " the Firm " split up, young Gordon and his father came to Sydney 'with Mr George Musgrove, and here the subject of this sketch received his first salary and painted his first cloth "all to his own cheek." When Messrs Williamson and Musgrove reunited, father and, son joined them at Melbourne, and the lad became more closely identified with his father's work. His first independent 'and controlling action consisted of trips to Sydney and Melbourne in charge- of "'Djm Djin," "Matsa, ' "'The Sign of the Cross,'' and (for Mr Holt) "A Life of Pleasure." These gave him experiences in the processes of "setting," "lighting," and arranging scenes ■which help to make up the art of scene-paint-ing. J. C. Williamson, about five years ago, handed the late George Gordon full charge of all "the Firm's" productions, which included those oi Her Majesty's (Sydney), the Royal (Adelaide), the Princess (Melbourne), and the travelling company. The work proved very hard, but it afforded a splendid training through the variety of subjects treated. Soon after the death of George Gordon, which occurred last year, J. C. Williamson, whose encouragement of the young artist's work was always valuable, because of the keen criticism which preceded it, offered "Jack" charge of Her Majesty's paintroom. • The offer was thoroughly appreciated, like Mr Williamson's other kindnesses,, and was closed with. The public have seen Gordon's work since then, and their verdict has been that of unmistakable approval. Young Gordon lays his artistic education entirely at his father's door, for to his influence, training, careful criticism and direction all the young artist's efforts were due, and the incentive towards progress was his word of praise. It is almost needless to add that the son had unbounded admiration -for- his father's genius-. Bruriton md Spong gave the budding painter much useful advice and kindly counsel, while from Bland Holt's lips fell some of the first words of managerial encouragement. Mr Gordon considers that sketching from nature is the best help in his scenic work, while his pre; ference, should any exist, is towards architectural landscape and woodlands, and he admits a great fondnsss foi practical architecture, whicn lack of time prevented him from studying more closely. He represents the third generation of scene-painters ; his father and grandfather having both followed that profession in which he has, it is safe to say, worthily upheld the family, traditions. Thanka to Mi Edwin Geach for a file of Melbourne bills and 'era/ms." T

" Mab, the Miner's Daughter," continues to draw* with present-day theatre-goers, and is responsible for swelling the treasury of the Robert Henry Dramatic Company on its present Maoriland tour. This dramatisation of Bret Harte's famous " Romance of the Sierras " was played through this colony by the clever American, star Carrie Swain 12 years back undei the title which opens this paragraph, and five years later by Charles Hollo-

way's Company (with Maggie Moore as thi • star), under the title " M'liss " For the bene , fit of 'grain collectors, here are five casts: — j Maggie Swain as Mab used to sing in th& J fourth act Theodore Thomas's " Polly, tha I cows are in the corn " ; Billie Howarde, in thy Royal Start>rd season fetched the " gods " with " Good on yer, Marj Ann," out en thi present tour of Maoriland gives them more up to-date stuff in coon songs and bowery ballads. Messrs J. G. Joyce (a clever character actor), W. H. Leake (ou remenibei his Mr Havisha-m,. the solicitor, in " Little Lord Fauntloroy " ?), • and Nat Douglas have each " passed in their cheeks." Other members of the Carrie Swain Company on the '88 tour were Misses Ernina Bronton (who played Eliza in. " Uncle Torv'a Cabin "), Hettie Lambretts (Mrs Warne in '"The Tomboy"), "Little" Nellie Ogden (Eva in " Uncle Tarn's Cabin"); Messrs George Bryant (Henry Disbrow in " The Tomboy "), Join; Tait, agent, and C. H. Bowles, who led th< band.