IRISH DRAMATIC SOCIETY.

Southern Cross, Volume 3, Issue 51, 21 March 1896, Page 9

IRISH DRAMATIC SOCIETY.

Following their usual custom, the members ot this Society treated their patrons to an Irish play in connection' with the celebration of St. Patrick's Day. ‘ Two performances were given, the first on Tuesday and the second on Wednesday evening. The attendance on the first occasion was comparatively small, but the audience was enthusiastic, and with reason. On Wednesday night the building was crowded, and the audience was still more enthusiastic, and with still more reason, for the drawbacks incidental to a first representation were absent, and the piece went from first to last with a “ go ” in keeping with its general characteristics. The melodrama chosen was one new to this part of the world —Dion Boucicault’s “ Inshavogue.” Ireland has proved a veritable (dramatic) Coolgardie to Boucicault, a”d “Inshavogue” has to do with the fortunes of a peasant who was outlawed for his share in the rising of ’9B, and of his daughter Kate, who, born after h'e left the country, has been adopted by Sir Roderick O’Dwyer, and when the play opens is about to wed Harry Carrington, son of a neighbouring squire. This does not suit the views of Ulick Burke, O’Dwyer’s nephew, who wishes to gain Kate’s hand and prospective fortune. The return of Inshavogue in the guise of a piper suggests a plot, and under a threat of exposure, with the offer of a re ward if compliant, Inshavogue promises to claim Kate as his daughter, Burke’s idea being that this will stop her marriage with Carrington. The latter is, however, true to his love, and the situation is further complicated iby Inshavogue discovering that Kate really is his daughter. Then follows I- a game of plot and counterplot between Burke and Inshavogue, the play ending in marriage bells for the J devoted lovers, a pardon for Inshaj vogue, and a violent death for Burke. Mr T. J. Anthony, in addition to the arduous duties of stage manager, undertook the title role, and scored another triumph, a result all the I more creditable in that while he has hitherto been identified with parts j that have appealed to the risible faculties, he had this time to pourtray a character possessed of many pathetc elements. Mr Anthony scored well, as he invariably does, in the humourous scenes, but he also carried the audience with him in the graver passages, and in the scene where he disowned his daughter in order to checkmate Burke, he brought the self-sacrificing nature of Inshavogue into strong relief, Mr Anthony was well supported by Miss J. Burgoyne, whose first appearance it was, and a very promising first appearance, too. Miss Bradley, as the faithful Biddy, made an ideal colleen —her vivacity, naturalness, and archness form a

combination thatnever fails to speedily establish her in the good graces of an audience. Mrs F. Mussen as Lady O’Dwyer was equal to all demands. Mr Scott Bedford was happily placed as Sir Roderick. His clear enunciation and quick, decisive style told well. Mr B. B. McKay’s Ulick Burke was distinctly good. There was nothing namby-pamby about it on the one hand nor unduly blood-and-thundery on the other, and his points were invariably well made. Mi Godward as Harry Carrington succeeded in conveying the idea of a manly, generous-hearted fellow, albeit a little more of the Celtic fervor with which the play is permeated would not have been amiss. The numerous minor character's were in good bands. On the opening night the piece was played a character short owing to the illness of Mr Gladstone, whose place was filled on Wednesday by Mr J. McNally. He represented Adolphus Yane, who contributes largely, by way of foil, to the fun. The piece was admirably mounted, the stajsfe arrangements generally good, and Mr H. daggers’ scenery Al, the waterfall in the last act being the prettiest and most realistic thing of the kind locally seen. Mr Geo. Double made up the characters well. The “incidentals” included the singing, in good style, of “ The Wearin’ o’ the Green.” by Mr Anthony, and the dancing of an Irish jig by the Reidy Bros. A first-class programme of music, mainly Irish melodies, was played each night by an orchestra under Mr Ferguson, and altogether nothing essential to success was wanting on the part of the management.