THEATRICAL AND MUSICAL NOTES.

Otago Witness, Issue 3101, 20 August 1913, Page 60

THEATRICAL AND MUSICAL NOTES.

By PasgoiM.

Tm-sday, August 19. Tho decision of the management not to send tho Quinlan Opera Company to Now Zealand will be received with regret by opera-lovers in tho Dominion who have been looking forward to hearing this favourite organisation. Tho matter of a New Zealand tour is presumably not in the hands of the J. C. Williamson firm; otherwise we might have counted on a visit from the Quinlan Opera Company. Despite tho additional expense. New Zealand tours of certain attractions are not lightly put aside, for there is “big money” to be made in the Dominion—a fact that is well known to the firm of J. O. Williamson and Co. (Ltd.). Engagements elsewhere probably account for the Quinlans not coming to New Zealand, and the same reason may be advanced for the possible cutting out of New Zealand by tho Lewis Waller Company, though this latter is of less moment. New Zealanders did want to hear tho Quinlan Opera Company. and would willingly forgo some of the other attractions. There is some talk of pressure being brought to bear to secure a visit from the opera company, but if there are engagements ahead it is unlikely that anything will come of it. Having seen “Puss in Boots” safely off the premises, Mr John Farrell left Dunedin on Wednesday for Christchurch, en route to Auckland, where he will make arrangements for the opening of the New Zealand tour of the Now Comic Opera Company. Albeit the repertoire of the Comics will include two new plays in “ The Count of Luxembourg” and “Autumn Manoeuvres,” it is reasonable to assume that the revivals of “ The Arcadians ” and “ The Chocolate Soldier ” will bo immensely popular. The" Dunedin Amateur Operatic Society is not resting on its laurels after the successful production of “ The Geisha,” and has now in active rehearsal “ Tho Runaway Girl,” for production in September. I am pleased to note that the success of the Dunedin Amateur Society in “ Tho Geisha ” has inspired Wellington to revive its Ojieratic Society. Wellington has decided on “The Geisha” as its opening production. There is a prospect of Christchurch reviving its long-dormant society. With operatic societies in each of the principal centres, and also in towns like Wanganui, Foilding. Masterton, Napier, and Gisborne, there Is no reason why a New Zealand Amateur Operatic Association should not bo formed for the purpose of arranging an exchange of operas between the various societies, securing operas on more favourable terms than can bo secured by a single society at present, and generally assist'ng in tho control of amateur opera in New Zealand. Arising out of such a scheme New Zealand may yet be able to form its own touring company, and produce perma-

. nent opera in the Dominion. Australia, , with tho help of a few imported artists, can make a big success of it. Why not New Zealand? There are voices hero for principals and chorus, and with a master producer like Mr Tom Pollard, who is now a New r Zealander, there is no reason why out of tho ranks of all the amateur societies in New Zealand a good company could not be built up. By the latest American mail I am in receipt of a long and interesting letter from jVliss Irene West, the American vaudeville artist, who was in Dunedin last year. While in Australia M ; ss West discovered a Voice which eo fascinated her that she arranged for early engagements in America and subsequent tuition in Paris under the best masters The Voice was delighted with tho prospect, and sailed for America with high hopes and ambitions; but before reaching the Golden Gatp the Voice had resolved to return immediately to Australia, which she did on the same steamer. The reason is far to seek. It was an opportunity that comes to few in a lifetime. The bona fides of Miss West I know to be unquestionable. Her motives were splendidly unselfish, and her interests purely those of love for the Voice and a keen desire to see it reoogn;sed. Irving Berlin, tho composed who set tho rag-time craze in America and England, and who is on the high road to building up a fortune on rag-time, is a slim youth of 25. He is a Russian Jew, the son of a rabbi, and was taken to America when two years old. At the age of 16 he was just a handy boy in Pell street, in the heart of New York’s Chinatown, made memorable in “ Tho Bello of New York.” He waited on customers —dope fiends, crooks, and drunkards of the slums, —and for his compensation received only the coppers which tho patrons chose to throw him. Then ho learned a few songs, and on arrival of a sight-seeing party would sing them. One day young Berlin made so bold as to write a parody on a popular song, and sing it to an actor. The actor liked it. and asked permission to use it on ’ tho stage. At that moment Berlin chose ( song-writing as a profession. The consistency of his success is without precedent. “Alexander’s Rag-time Band,” which has brought him in a small fortune, was composed in 10 minutes. Yet he is said to have had no musical education, is unable to read notes, and plays the piano in only ono key. The secret of his success is industry—ceaseless and torturing industry. He works from noon until the dawn, retiring at 5 a.m. Preparations for the erection of tho new picture theatre in George street, near St. Andrew street, are being pushed on expeditiously. Tho contractor is on his mettle, being under contract to hand over an up-to-date theatre and tea rooms by the middle of December. Tho plans disclose a roomy, comfortable theatre capable of seating 1200 persons, of whom 500 will be in the circle. Tip-up seats are to be provided throughout, and upstairs the seats will be upholstered in leather. Tho circle is to be so arranged that every patron will sit square-on to the screen. Special attention is to be paid to ventilation and heating, with the idea of keeping the building warm in winter and airy in summer. The latest appliances in the matter of picture-projecting have been cabled for. and the screen will show a large picture. Tho company intends to run a continuous entertainment. Tho theatre will be entered through a long vestibule lavishly mirrored. In connection with the theatre tea rooms will be run by the same company. Tho tea rooms may bo entered from ’ the street or direct from tho theatre. The Banzai troupe of Japanese acrobats, who are under engagement to the BrcnnanFullor management, will shortly be seen at the King’s Theatre. The Banzai troupe include equilibrists, pole-balancers, polewalkers, Risley acrobats, and contortionisls. Their work is said to be dexterous and artistic to a degree, i Wo have had performing dogs, performing cate, performing birds, performing fleas, performing bears, monkeys, etc., but tho peri forming pig is a novelty. Such will be inj troduced by Van Camp at tho King's ' Theatre shortly. I am not much on per- . forming pigs myself, but some of my fellow pressmen go into ecstacies over them, j Lewis Waller and Madge Titheradge have made a striking success in Sydney in “The Butterfly on the Wheel.” The biggest part is that of Miss Titheradge. who appears as Peggy Admaston, the “butterfly.” whilst the Wheel is represented by the Law, ! which makes her the respondent in a divorce suit. The third act provides the sensation of the play, wherein is enacted all the tenseness of a great divorce case. In this Mr Waller makes a striking impression ns Sir Robert Fyffe. K.C.. the crossexamining counsel, with Miss Titheradge as tho witness. Mr Waller’s performance in this scene is described as “wonderfully lifelike.” The study is a very close and faithful ono of a groat cross-examining counsel, confident of victory. HJa triumphant smiles, his significant grunts, his secret joy over his I successful traps, and his vibrant sarcasms, ! were all in the best possible legal manner. ' As for Miss Titheradge, her behaviour in the witness-box was so absolutely in the

attitude to be expected from a frightened woman in her position that there were times when the court proceedings were utterly real.

The romance of play-producing is summed up in tho success of “Within the Law," which has broken all dramatic records for Australia. It was written, by Bayard Veiller, at the time a press agent. Veiller had had a run of bad luck, and things were not at all good with him. Moreover, his wife, an actress, was out of an engagement. Veiller hawked tho play all over New York. It -went from Frohmann to Savage, to Brady, Licblor, and thence along the whole line of managers and producers, stopping en route at various times to rest in dusty office pigeon-holes. The opinions expressed were various, but there seemed to be some unanimity on tho point regarding its unsuitablenoss on account of its exposure of department stores interests and police methods. Then a newlly-constituted play-producing syndicate decided to put it on trial. It was immediately an enormous success. It is running now in Melbourne, London, Now York, right , through the United States and Canada, and the author is sitting back and drawing £SOO per week in royalties. And this in spite of the fact that it was turned down by the biggest and most experienced managers in America. The acquisition by J. C. Williamson (Ltd.) of the Wheeler theatrical interests in South Africa is no doubt a good thing for tho Australian firm. The Wheelers have for 20 years occupied much tho same position in (South Africa as the Williamson management has done in Australia. The completion of the negotiations gives the latter a greatly extended field of operations. “Authors and managers abroad will now,” said Mr Hugh Ward, “be able to deal with us both for Afr'ca and Australasia. The authors will get a high standard of production for both countries, and artists will enjoy longer tours. A long journey from London to Australia and back, the great loss of time involved, has been a serious consideration with artists in the past. This will now be overcome, and tho longer tours that can be offered .will be a greater inducement to artists to leave London and New York, and in this way the public both in Australia, New Zealand, and South Africa will benefit as a matter of course. Tho scope for Australian talent will also be enlarged, as our native-born actors and actresses will have an opportunity of appearing in Africa, while our interest in one of the biggest London producing theatres will open the doors there to ambitious artiste.”