PROCESS THEATRE

Otago Witness, Issue 2667, 26 April 1905, Page 58

PROCESS THEATRE

"THE BROKEN MELODY."

There was a large audience at the Princess Theatre on Saturday evening, the occasion being the advent of Mr Tan Biene, the actormusician and his company, whose repertoire is cornprisecl in " The Broken Melody," a play that has, one is informed, been produced with Mi Van Biene n the leading role something like 4000 times, and that, as nearly as circumstances would permit, in almost continuous sequence. - A play with a record such as this naturally commands attention, apart from its peculiar qualities in being so constructed as to afford a solo 'cellist opportunities for flisplaying his musical acquirements. Without Mr Auguste Van Biene, whose part dominates the play and fits Kirn, so to speak, like a glove, it could well be imagined that " The Broken Melody" would fall somewhat flat and appear insipid, but with his strong personality dominating it, the play is at once endowed vHth a peculiar iuter-est and charm. While melodramatic in character " Thp- Broken AleloQv'* is quiet in its colouring and in no way sensational. Pathos and humour are not wanting in the story, the leading character in which is Paul Berinski. a musician and composer of genius, who in the first of the three acts of the play is shown struggling along •with hia young and devoted wife in London lodgings^

and trying to dispose of a much-i ejected opera. The genuis of Borinski has attracted the adnaration of the Duche&s de Verviers,, who does the musician at onoe a service and an iujuiy, fi»r while she uses her influence to gain acceptance for his o[.era .she, desirous of supplanting the youpg wife in her husband's affections, te.ls her that Borinski has been discovered by C, enera' Ivanoff (of tbf Bu^sian i>o!ice) to l-e ti pi escribed Polish count, and that hia only hope of safety lies in her instant flight. The explanation, of the position is a httl rt complicated, but the distracted Mabel Borinski is convinced, vr±tes a letter of adieu to her husband, and Mirries oft", so that when Paul Boriuski returns in the hour of his triumph — that is with his opera accepted — he finds Ins wife gone and only a letter remaining, which, as distorted in a. friendly way by the Duchess, makes it appear that his wile has left him for ever. In the second act Paul, now an honoured composer, is scan as the lion of an evening at the Parisian saJon of the Duohess, where he gives a 'cello recital that affords the j,udienc-e great enjoyment. Paul's wife is also in the house, but she has been warned by the Duchess that in the presence of Ivanoff, who is also a guest, she must continue to deny her !iu=band, which she has had to do once already to Ivanoff, and m consequence a dramatic scene er.sues, in which Paul's passionate appeals to bis wife are ln&t with a cold denial, and which culminates when Paul revea's his rank and name to Ivaniff, wtrikes him, ar.cl challenges him io the duel, the latter having piesumutious^y interfered between husband anci wife. In the third and final act Borinski, convalescent as + he result of the due Land pretty well heartbroken by his wife's apparent faithle&sness, is shown apparently more than evei in th.j toils of the Duchess. His enlightenrcent is at hand, however, and the revelation of the true character of the Duchess is due mainly to Ivanoff. who produces and gives to Paul the portion of his wife's letter that her rival hnd suppressed. Convinced that his wife has been cruelly wronged the lonely musician takes uo his 'cello once again, and plays the melody that his wife loved, and h?d been

' broken " by the discovery or her flight, and, as"~ faltering he drops his bow, he looks up to find his wife has sto'en to his side, and their lives are then happily retiuited. This ending is as effective as, anything in the play. Mr Van Biene makes a picturesque figure as Borinski, is to a degree natural in the part, and is a very competent actor. The naturalness with which the musical interludes are introduced must appeal to all. Music lovers, especially lovers ci 'cello music, should on no account, however,, miss the opportunity of hearing Mr Van Biene as an exponent of the capabilities of this fine instrument. He is a most skilful executant, plays with rare taste and sympathy, and produces a splendid tone from his instrument, and his playing won the demonstrative approbation of all present. His solos on Saturday evening included Cho-pin's " E Flat Nocturne,'' and, in response to an emphatic recall, Popper's " Gavotte in D," a fantasia of his own on Scotch and Irish airs, " Musette " (by Offenbach), " Home, sweet home," acd " The broken melody." the plaintive composition which gives the play its title. The company supporting Mr Van Biene is not a iaige one, but its members attain an excellent average of merit in their work, and, in fact, some of them give the impression of being able to do i betleT still had they the opportunities. Miss Lena Burleigh in the part of Borinski's wife succeeded in imparting attractiveness to a trying part, and acted in a winsome fashion, while Miss Marie Rignold looked and acted the part of the Duchess to perfection almost, never exceeding its me l odramatic requirements, but conveying the impression of intensity without abandon. Mr Horace Lingard imparted some real humour into his impersonation of a theatrical agent, and Mr Arthur Bawtree's representation of Dickson, a lodging-house keeper, was a reslly good piece of work. Mr Henry Ludlow could not make a great deal of the part of General Ivanoff, but that was hardly his fault, while Mrs Morton did make a lot of her opportunities as Mrs Dickson, a worthy but inquisitive lady. The cast also included Mr E. Lacey as a curious representative of the medical profession, Mr A. Lewis and Miss Avis Graham as the Hon. Richard and Mrs Spinuacker, and Mr A. E'ldred as a French impressario. The staging was effective, especially that showing the salon in the second act. An efficient orchestra was in attendance.