THEATRICAL AND MUSICAL NOTES.

Otago Witness, Issue 3518, 16 August 1921, Page 45

THEATRICAL AND MUSICAL NOTES.

By

PASQUIN.

I Monday, August- 15. The new act at the Princess Theatre will be by Mr Randolph King, and he will be followed to-morrow evening by the debut of the three Girton College cycling girls. Mr Randolph King, who conies direct to the Fullers from the Oxford Music Hall, London, is wliat is known as a- ‘'protean’* artist —that is, he presents quick change pictures. In addition, new offerings are promised from such warm favourites as Gardner and Revere, Carlton and Rosslyn, Don. Wallace, Fifi and Eddie de Tisne, the Whimsical Wades, and Nellie Koile. Not in many years has an artist sung herself so swiftly and so effectually into the hearts of the Dunedin public as has Miss Rosa Alba. The large audience at Burns Hall on Saturday night on the occasion of her farewell conoert bore testimony to a popularity won not alone by her rich musical gifts, so artistically displayed, but to an extent also by reason of the charm of person to which her art is wedded. Her work throughout was fresh and vivid, the voice of bell-like quality, cadenzos and trills exquisite in their purity, diction well nigh impeccable. Miss Alba was also associated with the Dunedin singer, Mr W. Gemmell, in the duet “The Barcarolle” from “The Tales oi Hoffman.” Mr J. Stewart contributed the flute solo “Les Soupirs” (Kalkbrenner) and an encore piece. Mr Chas. A. Martin presented an enjoyable reading of Vogrich’s pianoforte solo “Staccato Capice.” Mr Martin Duff —he has now changed his name to “M'Dulf,” —the well-known Scottish tenor, is at present singing in Australia. Mr M'Duff is to leave shortly for London, via America, there to fulfil a contract with the Columbia Gramophone Company. Mr M'Dulf will then return to New Zealand. Mr Scott Colville is to manage the tour of Jascha Heifetz, the famous violinist, through New Zealand. Miss Frances Ross is playing the roll of Mrs Henry Vanderdyke, mother of the heroine in “Scandal,” at Melbourne King's Theatre. T'he heroine is portrayed by Maude Hanaford, an American actress. Doris Duane (Mrs Hairy Cohen), a young and pretty actress, is playing in “Scandal” at the King’s Theatre, .Melbourne, as Regina Waterhouse —the role slie played in the original New York production. Playgoers who have recollections of that clever actress, Kathlene M'Dcnell, who first appeared in Dunedin in “Daddy Long Legs,” will be interested in the identity of Mr George D. Parker, the distinguished author, journalist, and playwright, who has come to Australia to produce “Scandal” for J. and N. Tair. Mr Parker is the husband of Kathlene M'Donell. In a. memorable tour in England with the Coldstream Guards, Dame Clara Butt, and Kennerley Rumford give 100 concerts within four months —a record that created considerable interest through England. Dame Clara Butt’s grand opera appearance as Orfeo in Gluck’s “Orpheus and Eurydiee” at Covent Garden, was also another sensational event in her more recent career. J. C. Williamson and Co. have acquired the Australasian rights of “Paddy the Next Best Thing,” the comedy which Robert Courtneidge produced in London with enormous success. It has been described as another “Peg o’ My Heart.” A special company is being formed by the firm to present the play in Australia, the principals of which are now on their way from England in the Orsova. on board of which are a'so Dame Clara Butt and Mr Kennerley Rumford. The new 7 artists include Isabel Brosnen (who plays the leading role of Paddy), Doris Kendall, Spencer Fisher, A. M ‘Master. Terence Maxwell. To Adelaide belongs the honour of having broken all theatrical records for Australia, This distinction was achieved with “The Maid of the Mountains,” which beat even the wonderful record put up in that city by “Chu Chin Chow.” As a matter of fact, the takings during the “Maid of the Mountains” season in Adelaide have never been exceeded during the same period by a theatrical attraction in any part of Australia. The comic opera ran for nearly three weeks instead of 10 nights, as originally arranged. •Joseph Coyne, the original Danilo in to London production of “The Merry Widow,” relates the interesting fact that, instead of Lily Elsie, the role of Sonia was very nearly played in the London production by Marie Tempest. 'flint- brilliant actress had br«*n appearing in musical plays, in which she had first made her name, including 'Tan Toy.” “The Geisha,” and also “Carmen.” Miss Tempest, however, decided to make a change, and to go in for comedy. She therefore declined the part. George Edw aides had “The .Merry Widow” in hi.- hag for over two years, prior to producing it, as he was waiting for the right type for the role of Danilo. Immediately he si® .Joseph Coyne, who was then plaving the leading part- in “Nellie Neil” with Edna May, he recognised him a* the man he wanted. Mr Coyne played tile part for two and a-ha'.f years. T 1 ie Benson company, the celebrated “etock” organisation, with w'hich Mr Oscar

Asolio, M4ss Lily Brayton, and many others had their early experience, is the subject > of a recent London article. The Benson company, we are told, was the biggest band of brothers ever known. Always hard up, they were still always a happy family. Sport was as important us Shakespeare. “They played hockey and Rugby and Association and cricket, while at water polo Oscar Asche was brilliant, just as he was in Shakespeare. ‘Can you play Rugby?’ Benson wired to an actor, 'for a special performance?’ ‘Yes,’ was the answer. The actor thought he meant Rugby the Shakespeakean character; but Frank Benson wanted a three-quarter. In every town they visited they played the local team, and when they won it was as great a thing to do as being cast for a. leading part. ‘lf you shoot a goal to-day,’ Benson would say, ‘you can play Macbeth to-night, and I will walk on.’ ‘You make a blob,’ ho would say, ‘and you don’t play Hamlet.’ ” The late Signor Enrico Caruso, who was 48 years of age. was generally acknowledged to be the finest tenor of the present day. He began life as an engineer, and when a boy was a church singer m Naples. Filled witli ambition, he consulted a singing master, but his early experiences were very discouraging, and it "was only through the good offices of a military superior (Caruso did his part in the army) that he was able to study for the stage m real earnest. Caruso was placed under proper tuition, and from that time he began his climb to such heights that not even the great Tamagno or Mario had ascended. Ho made his first appearance in opera in Naples in 1834- in “L’Amico Francesca.” Mr George Tully has the leading part—a dual one —in “Out to Win, ’ by Roland Pert wee and Dion Clayton Calthorp, at the Shaftesbury Theatre, London. Referring to his performance, London Daily Telegraph has this to say:—“Upon the shoulders of Mr Georgs Tully, who sustains the double parts of Anthony and of Richard, Les the chief burden of the petformance. Apart from a slight degree of hesitancy in jthe opening scene, evidently occasioned by nervousness, and, it may be added, shared by all his companions on the stage, his work calls for the highest, praise. As Anthony he enchanted everyone by his bright and mercurial manner, his easy demeanour, and delight, id selfassurance. It was, however, in the torture | scenes that he made his greatest, effect; rarely has a more realistic study been seen of a broken-down, nerve-racked man physically a wreck, his brain disordered well-ni Mi to the verge of unreason, the haunted look, the scared expression affording eloquent testimony of an overwrought mind.” , , , , ,1Miss Amy Evans and her husband. Mr Fraser Gauge, had a very enthusiastic reception when they made their first appearance at the Queen’s Hall. London, after their prolonged lour abroad. The musical critic of the Daily Te’egraph recognises “that the intervening period had added many cubits in the artistic stature .of each. For neither of these fine singers is of the type lhat is content to rest, comfortably on easily-won laurels. With the plaudits of our cousins in the Antipodes ringing in their ears, work is still the daily round. And so it happens that to-day you may search the length and breadth of England and hardly find three other soprano singers with voice and style of the exact calibre of Amy Evans, and certainly at. the present moment, our country can produce few baritones of the quality of Fraser Gange. It is. bv the way, good to know that, these two singers have been engaged for the "reat Dominion festival, which is t-o take place in New Zealand next year—a festival in which only British artists will appear. An excellent idea.”

WELLINGTON W,M C WHISPER* til pEli!I-t Fas August 12. Dear “Pasquin.”—“Chu Chin Chow ’ ended its wonderful season with two performances on Wednesday to packed houses —in fact, people had to be turned away at, the evening performance. W el-lingt-on will long remember this great- production, as it eclipses anything of the kind previously seen here. Hie big' company left for 'Christchurch last night. On Saturday night the Grand Opera House will be tenanted by “Marcello” and a company of entertainers from America. This company has been filling in time m the “smaTs” ‘awaiting a metropolitan opening. Mr Claude Haigh is managing the local season, which will be a short one, as the English Pierrots are due to open on the 20th Walter Monk arrived from the south this week to herald the coming of a company wli'ch needs no introduction to Wellington audiences, for its members are verv popular here. Following on their visit to the Welling ton Hospital, the members of the “Chu Chiu Chow” company dxl not forget the “boys in blue” at Trentliam Military Hospital About 20 motor cars were required to take the party to Tre.ntham, and the ladies and gentlemen of the company did not- spare themselves in entertaining the soldier patients with music, song, and story. They were heartily cheered tor their t hought fir!ness. COMIC OPERA SEASON. ‘ THE GONDOLIER-S.” It is doubtful if the combined genius of two men has ever given to the world a fuller measure of amusement and music than Gilbert and Sullivan. Williamson (Ltd.), fully understanding that a Gilbert- and Sullivan tour was certain to meet the taste of everyone, if competent artists were engaged, and' all necessary accessories provided, has started such a tour, and on Saturday night opened a season of about a . week in His Majesty’s Theatre to ail audience that left no room for another patron in the torium. The opera selected was “T ns Gondoliers.” which is a general favourite with the public, and is brimful of pretty music, and bright humour, with a dash of tlie Gilbert-inn about the dialogue. There could be only one opinion about the performance of the opera; it was an unqualified success so far as all essentials went. The company is a very strong one musically. Both the actors .filling the parts of Marco and Giuseppe, the two Gondoliers who are called upon to reign jointly until the “which is which” question has been settled, are vocalists in the truest sense- of the word, ami there is no opening ev en for tile carp - jn,g critic for genuine fault-finding. Both »mg their music remarkably well; .Mr James Hay’s rendering of “Take a Pair of Sparkling Eyes” standing out as a most

artistic effort. That was the opinion oi t the audience, and it can be warmly endorsed. His voice is a tenor wmie that of Mr Frederick Hobbs (Guiseppe) is a heavy baritone. As a result, tiie linking of these two voices in duet work is productive of gratification to the audience, and this opinion can be extended to the quartette and quintette work. The two young lady principals were Miss Patti Russell (soprano), arid Miss Thelma Garter (contralto), who in the respective characters of Gianetta and Tessa, were exceedingly clever, and sang well. Their impersonations were bright and lively, not much room being left for increased sprightliness of movement. The singers mentioned are the four conspicuous vocalists, with the comedy element removed, but two or three other very good voices were heard at intervals. Mr John Ralston as Luiz (afterwards the King of Barataria) has a capital voice, and with Alise Cissie Vaughan, who played Casilda, the daughter of the Duke of Plaza-Toro, contributed very efficiently to the musical side of the opera. The recitative “Oh, Rapture,” and the duet, “There was a Time,” were notably well sung by them. Another member of the company who made an excellent impression as a vocalist is Air Charles Mettam, whose solo in the early part of the opera at once proclaimed him to be possessed of a voice of good resonant quality. The two comedy parts were filled by Mr Charles VValenn and Air Albert Kavanagh, who appeared as the Duke of l’laza-Toro and the Grand Inquisitor respectively. Air Walenn scored well as the pompous but impecunious Duke, who is floated into a limited liability company. liis by-play and his asides were very effective, and it was he who, by his stage activities, gave a fillip to the action of the opera, Air Kavanagh, in the role amused. ATiss Molly Tyrell was satisfactory as. the Duchess, her singing of her solo being warmly recognised. The chorus work was most commendable. The costuming is on the customary liberal scale, and the picture the stage, presents is strikingly artistic, which can he easily understood when it is remembered that it is thronged with the picturesquely attired gondolier and contadijie. The conductor, Mr Gustave Slapoffski, and the orchestra he controls are to be warmly commended for the very efficient and helpful manner in which the instrumental music was supplied. The orchestra is evidently a strong feature of a strong- company.