Music and Drama.

New Zealand Graphic, Volume XXX, Issue XXII, 30 May 1903, Page 1532

Music and Drama.

.\fter a long and most successful run in Auckland, “Sweet Nell of Old Drury” was withdrawn after Monday night’s performance, and on Tuesday made room for the beautiful comedy “Mice and Men,” in which Miss Stewart has achieved a reputation only second to that gained by Sweet Nell. As these pages go to press some three hours or more before the curtain rises on the Auckland production of “Mice and Men,” any personal opinions as to its merits and performance must, perforce be held over till next week. “A New Magdalen,” which was some time christened “Dolores,” will be presented on Saturday for the first time in New Zealand, and the occasion is of considerable merit, for, by all accounts, Haddon Chambers’ play is an exceptionally powerful piece of work, and the heroine’s part is one which runs through the whole gamut of human passion, making the role one of exceptional strain and difficulties. Miss Slewart has. it is said, triumphantly surmounted them all. At the Auckland Liedertafel concert on Thursday night next, the society will be assisted by Herr Engel, violinist; Miss Marienne Taylor, soprano; Miss Maud Alexander, contralto. TA3 Licdertafel give eight items. This being the first concert of the season, the rates of subscription for the year are advertised, and early application to the secretary should be made to ensure delivery of season tickets. “A Chinese Honeymoon” has a run of over 600 nights to its credit, and is still running strong at the London Strand Theatre. Tt is understood that, the projected tour of New Zealand by a company headed by Miss Florence Seymour, and playing a round of the Brough pieces, lias been abandoned. Kyrle Bellow will appear during the coming New York season in a play called “An Amateur Cracksman,” which is an adaptation of E. W. Hornung’s novel of that name. A gem from “The Fortune Teller,’ now running in Adelaide. Says Foster Courtenay: “We are unobscene,” meanin, “We are unobserved.” Notwithstanding that the prices of admission were 3/, 2/ and 1/, the recent. Dunedin season of Mr. Harry Rickard’s Vaudeville Company wan on the whole only moderately successful. Western Australia, like New Zealand. is at present being overrun with theatrical companies, with the result that a slump has set in, and none but Arst-class organisations will get a “hearing.”

Mr. Harold Ashton is coming to NewZealand as touring representative of Mr J. C. Williamson’s New English Comedy Company’ with the farcical success, "Are You a Mason?” The tour will commence at His Majesty’s Theatre, Auckland, on the 15th June.

Owing to the success attending the New Zealand tour of Miss Nellie Stewart and Mr George Musgrove’s Comedy Company, it is more than probable that Mr Musgrove will send one of his other combinations to this country- shortly.

Sir A. Conan Doyle has completed his play founded upon “The Adventures of Brigadier Gerard.” The scene is laid in France, after Waterloo, and in the four acts Napoleon is one of the chief figures.

Maggie Moore thinks money scarcer than of yore on the goldfields of W.A. At Kalgoorlie prices were 5/, 4/, 3/, and 2/, where they previously paid in sovereigns. On her last visit the price of admission was often scraped together in sixpenny- and threepenny bits.

Miss Bessie Doyle, the Australian violinist, whose later concert appearances were made under the name of Eileen Moore, and who retired from the stage on the eve of her marriage about, three years ago, is now studying at Leipsic Conservatorium, with a view to reappearance on the platform.

It is stated that “The Midsummer Night’s Dream” at Melbourne Princess drew £ 1601 in the first six nights so that George Musgrove must have about cleared the cost of the show, £2OOO. The original production at Manchester cost Courtneidge £6OOO, so Musgrove struck a cheap deal at the aforesaid price, especially- as the show is still running to great biz. It is the “Graphic’s” earnest hope this show will be sent to New Zealand.

“My Lady Molly;” the. new opera at Her Majesty’s, Melbourne, is remarkable for its striking resemblance to “Dorothy,” many of the most pronounced features of the Popular Cejlier opera being reproduced by the makers, Messrs Jones and Jessop, but it has qualities of its own that promise to endear it to that not too exacting individual, the regular play-goer. It is mounted with the customary Willianisonian taste, and the display of girl is superfine. Flo Young is conspicuous as the My Lady- in question, and swaggers manfully in male garments for the greater part of the evening. She is not as prominent as usual vocally, but figures to advantage in a pretty solo and one. taking duet. Carrie Moore has a picturesque part as Alice, subordinate heroine, and her last item, “I’m Going to be a Good Girl Now,” is just the sort of superior musichally, mercurial ditty to please the large, majority-. Lauri as an eccentric Milesian of the Boueicaultian brand is not quite at home in his clothes, but helps the. merriment with a taking refrain or two and a rattling danee in Maudie Chetwynd’s company.

Mary Van Buren, the leading woman of the Neill-Frawley company, which has just come out to Australia, is one of America’s three leading, stage beauties, the other two being Maxine-Elliott and Lilian Russell. Tall, beautifully proportioned, with soft.brown hair, and brown eyes, a delicious creamy complexion, and a vivacious and attractive personality, together with her histrionic gifts, Miss Van Buren is bound to add to the laurels she has gained in other parts of the* world. She is the daughter of Colonel Haynes, of the U.S. army, and was a society belle of Washington previous to entering upon a stage career at New Orleans five years ago. One of her greatest successes was achieved in "A Doll’s House,” in New York some, time ago, and she is an ardent Ibsenite. A magnificent frocker. Miss Van Buren has brought to Australia some gowns that will be a revelation to playgoers, says the Adelaide “Critic.” '<

A story is told in an English paper of the first performance of a new church organ concerning which no oue was better pleased than the maid employed ill the organist’s family. "So you liked the music, did you, Mary?” said, the organist next morning, reports of her enthusiasm having reached Tils ears. "Oh! it was just- grand,” replied Alary, "the grandest I over heard.” “What did you like best?” asked the organist, moved by the glowing eulogy. -’Oh! I don’t know that,” said Mary; “but there was one place where you came down with both hands aiql feet at the same time; that was about the best. It sounded like the steam roller coming down the street.” The worthy organist, had no doubt been playing a “Storm Fantasia!” The Greenwood family, very well known here, are now in New- South Wales. They have been playing to good houses at Albury.

The House of Victor Hugo—“la maison de Victor Hugo”—which will shortly be inaugurated, will contain no fewer than 900 portraits of the great poet, and over 700 glasses, plates, and other dishes and familiar objects associated in some way with the celebrated author. There will also be a library with every published edition of his works, without exception. Among the most characteristic stories of Victor Hugo is one which lias come to light for the first time. The old poet, when he wished, could be one of the most gallant of men. During the closing years of bis life one of his favourite recreations was to get on an omnibus and go for long rides with no other object than the pleasure of enjoying the sights and sounds of the Paris streets. One day while he was in a tram-car a charming young ladyentered the vehicle, and while making for her seat was thrown by- a sudden movement of the car almost on to the poet’s knees- With a flaming face she murmured through her blushes, “I beg your pardon, monsieur.” “And I,” said Victor Hugo, with a smile, “I thank you.”

What ages and ages it seems since we saw our prime favourites, Mr and Mrs Bland Holt, and all our old friends in their company! It is, moreover, some time before they can visit us yet, but when they do come we may expect an exceptional treat, for the ever-genial manager-actor lias accumulated a truly splendid repertoire of fine spectacular melodramas since he was last here. Some of us will be specially- interested in his latest venture, of which word just comes from Melbourne. It looks as though “The Price of Peace” would prove one of the manager’s most profitable ventures. The play- has double the interest of stereotyped melodrama, and gives some of the company an opportunity of showing that they can do good work in a lower key. Mr Walter Baker has all along been obviously a better actor than most of his parts require. As the Earl of Derwent, Prime Minister, he. lias scope for finer and niore natural acting than in any one of a round of vigorous, young hero parts. And he makes the most of it. Lord Derwent has a high bred daughter (Miss Frances Ross), who is coveted by a scoundrelly politician, Mareus Benton, M-P. (Mr A. Norman).

He separates this lady from her lover by lying tales, and then induces her, from motives of anxiety for her father and desire to avert war, to play tlie traitor. She gives Benton a cipher despatch relative to the position on the Afghan frontier, where England and Russia are almost at each other’s throats. This, of course, finds its way, into the hands of a Russian spy, Count Ostachue, and what may be called a problem scene results. This is stirringly played by Mr Baker and Mr Styan. The Premier is confronted by the knowledge that absolute disaster, perhaps massacre, will befall the British if the Count leaves the room alive. Must his country’s interests lie sacrificed, or is it permissible to save them by homicide? The statesman pistols the spy and the sequel of this tragedy is enacted on the floor of Parliament. There is a full-dress debate of a violent tone, and in the midst of a dramatic speech the Prime Minister falls dead before he can be himself denounced as red-handed or can denounce the real traitor. Benton’s fate overtakes him when an Atlantic liner looms up out of the fog and crushes his yacht to matchwood—one of Mr Holt’s finely set spectacular scenes. There are others, including a wedding in Westminster Abbey, splendidly staged. The leading parts are well played. Besides those already mentioned, Mr Styan’s Russian Count is excellent, and Mrs Holt is very elegant as a titled dame. Mr Holt himself is a comic M.P., with some capital dialogue.