FOREIGN.

Star (Christchurch), Issue 5092, 27 October 1894, Page 3

FOREIGN.

Gerhart Hauptmann, tne dramatist;, {says the "Speaker ") is perbaps one of the most interesting writers of the day. Although barely thirty, h : s croationa are so original, are such surprising realisations, even foreshadowing s of the artistic problems of the day, that he may very possibly in time give us that great and perfect work of: art which modern German literature so emphatically needs. Under the title of Falstptf, a capital parody of Verdi's opera has been produced ia Paris at the Champa-Elyae'ea Circus. The fat knight is more corpulent than ever, but his superfluous flesh does not inconvenience him, as it can be thrown off when he pleases, and then blown out again like a balloon. A clown who impersonates Mistress Quickly is very amusing, and a horse which finds the hero hidden in the . buok-basket sets the tpectatora iv a roar. This is the Age of the Actrets (aajs the "World"). More than ever before in the hiatory of the drama, woman has "taken ! the stage/ The public is far more vividly interested in actresses than in actors, and authors are instinctively giving thair heroines the preponderating part in their plays. Even the otherwiso omnipotent aotor-managers are powerless against this tendency. They all complain —all who deal in modern drama, at any rate— that they cannot find really commanding parts for themselves, but are obliged to aot as "feeders" to their leading ladies. The heroine (sympathetic or otherwise) gives her name to at least half the famous pin; s of the day. Assuredly Lillian Russell's voice is (says a London critic) the purest and the sweetest of all the light opera prima donnas America has sent us. It is at range how quickly these American voices seem to fade. Five or six years ago Mies Geraldine.Ulmar seemed to have before her a future in whjcb, with study and care, she might have achieved even great things ; the range and quality of her voice being exceptionally fine, marred only by a def eotive ear. Her singing to-day is not even a ghost of what it was ; it seems as if it might belong to some other person. Again, Miss Lucille Hill has never fulfilled the possibilities her voice promised. After the run of Paul Jones Miss Agnes .Huntingdon had not a note to call her own. Miss Lucille Saunders, most dramatic of drawing-room contraltos, was singularly ineffective on the stage, and the beauty of her voice was nerer so great in opera as in ballad. There may be perhaps some atmospheric cause for the quickness with which these f resh, strong American voiceß fade and dwindle away, bufc whatever the cause the fact remains, and is indisputable. M. Alexandre Dumas has been putting his head into a hornet's nest by attacking the. dramatic critics of Faris. The aggrieved writers (remarks the " Daily News") are Baid to be waiting anxiously for the produotion of his new piece, and in the meantime ' some of the more fiery spirits among them talk of drawing lots to determine which of them shall challenge him to mortal combat. The affair arose out of aome remarks by M. Sarcey to the effect that the opinion of the critics and regular first-nighters was of little value compared with that of the genuine paying public. M. Dumas was interviewed by an enterprising journalist upon the subject, and in the. course of his remarks he not only disparaged the critios, but declared that a . large numbar of them were guilty of dishonest conduct. In Paris they have a Criticß* Club. The president, M. Hector Peasard, wrote to their censor and asked him for the names of the dishoneot ones. M. pumas replied by mentioning one name only, that of M. Monselet, who is dead. At the same time he apologised to the others, but the apology is not considered sufficient, as he dues not say that he was mistaken. When (writes the "Canterbury Times" London correspondent) the successful Christy Minßtrel Company, who for many years "never performed out of London," were converted about 1890 into "Moore and Burgess, Limited," I ventured to predict the shareholders would bitterly rue their bargain presently. That time has now come, for both the company formed to work the provincial troupe and the company engineering the St James's Hall Minstrels are in difficulties, and only' by an expensive coalition and. reconstruction scheme can bankruptcy be averted, The position has revealed several interesting little facts. For. instance, it waa universally believed that the success of Moore and Burgess at St James's Hall, for so many years was *'Pony " Moore'a work, and that Surgesa was merely acting manager. Instead of that, it seems that Bnrgess really supplied all Obe brains and business aptitude of the partnership, and when he died the concern rapidly went to pieces. Moore then ruled the roast and the directors, and very soon ran the ship, among the breakers. Instead of the familiar stamp of chriaty ballads and vocalifcts, he introduced what ho called "fresh blood," i.c, music-hall songs and gingers. The Eoverend Samuel Mimsey, 8.A., when he brought Mrs Mimsey and the little Mimsejs up to town for their annual treat at the British Museum, the Waxworks and the Christy Minstrels received a severe shock. Instead of the programme he had been accustomed to for ao many years at St James's Hall, an indifferent variety show was laid before hia innocent family. In place of simple negro melodies the little Mimseys, for months after, howled "The Rowdy Dowdy Boys" and"Theßicketty Racketty Crew." Illnatured scoffers in the parish declared the Mimseys must have got into the Pavilion by mistake. It was, as the poor Paterfamilias said, a most unfortunate experience, and he should never venture in St James's Hall again. In a few months there can be little doubt Moore's policy alienated the old patrons of the Chriatys, without attracting many new ones. Now, the directors have got rid of •' Pony," and mean to revert to the legitimate negro business. I fear, however, it may be too late.