Music and Drama.

New Zealand Graphic, Volume XXXII, Issue XIII, 26 March 1904, Page 23

Music and Drama.

The Anderson melodrama season in Auckland has been only fairly successful. Signs of surfeit in this class of entertainment are very apparent.

The Williamson Dramatic Company are finishing a most eminently successful season in Auckland. ’’Sherlock Holmes,” “The Christian” and “The Lady of Lyons” conclude the season.

The Playgoers' Club annual dinner was given on Sunday, March 6th, ai the Hotel Cecil, with Mr A. B. Walkley in the chair. Mr J. M. Barrie responded to the toast of “The Drama” and Mr John- Hare to that of “The Visitors,”

The Castle of Elsinore, famous as the scene of the appearance of the Ghost in “Hamlet,” is in danger of being destroyed by the waves of the Kattegat. So far as is known the real Hamlet never saw Elsinore, but Shakespeare may have done so when on tour on the Continent. The real Hamlet’s castle was that of Kronborg, at Helsingor.

The Wellington season of Wirth’s Circus and Menagerie was a groat financial success. The seating accommodation of the huge tent has been taxed to its utmost at every performance. The programme submitted by the Messrs Wirth is a really excellent one, and every act receives its quota of appreciation from the audience. The season closes on Saturday evening.

It is to be doubted whether, since the days of “We don’t want to Fight," a

song has ever evoked such thunderous applause and enthusiasm as has Mr F. V. St. Clair’s latest ditty, “Little Jap Horner; or, the Bear and the Chinaware,” which he wrote, composed, and himself produced in almost record time at the Empire a night or two before the last ‘Frisco mail left.

The passing round of the hat to allow some song-bird to keep its beak supplied with seed has become a monotonous ceremony lately. A refreshing break away has been made by Miss Maggie Farrell, of Stawell (Victoria). She has a voice, and her friends took up a collection. Now the money is to be divided among charities, as she has decided .not io pursue her studies—she gets married instead—good girl.

The intention of I’ope Tins X. to reform the music sung by II.C. choirs is not a new idea at all (says a writer {signing himself “R.C.”). As far back as 1564 another Pope Pius —the Fourth—formed a sort of Commission of Cardinals to inquire into a similar trouble and stamp out the abuses that had crept into the musical services of the Church. Some musical eranks of those early days composed Church services of canons, rounds, and the like, which were simply Chinese puzzles in a musical way; others would take a popular air and use it as the foundation for a whole Mass, and there is a Mass of that time still extant jn which the tenor shouts “Alle* luia. Alleluia,” and nothing but “Alleluia” from the first bar to the last. The result of the labours of Pilis was a Mass comprised by Palestrina which is considered a model of its kind even at the present'day. .

There is further news about the possibility of a visit to Australia by Sir Charles Wyndham, who. In the opinion of many c.-*- i.-s the greatest English actor ct i . The project- cannot be can’- is year; but it is announced ’.I but settled that Kir

Charles v. - like a tour iu America next winter, and come to Sydney some time in our autumn (says the “Australasian*’). At present, he is busily engaged preparing for the production of a new play, "My Lady of Rosedale,” which is an adaptation of “La Chatelaine,” the comedy of M. Alfred Capos which delighted Paris last year.

Sir Henry Irving's acting recently aroused great enthusiasm at Pittsburg. U.S.A. In the course of a performance of “Louis XI.” the eminent actor was called before the curtain and was asked to speak, a voice in the ga\ - ry suddenly and loudly vociferating, "Irving, you’re an actor, every inch of you.” A tumult of applause in the house endorsed this statement. Sir Hanry qn his birthday was presented at Detroit with a beautiful silver loving cup inscribed, “To Sir Henry Irving, wishing him many happy returns of the day, from loving friends in his company and the entire working staff. Detroit, Michigan, Feb. 6th, 1904.”

His Majesty's Theatre, Wellington, was re-opened last week, when the scat ing accommodation of this cosy little house was fully occupied. The company which the Messrs Fuller have appearing contain several new people as well as several old established favourites. Mr Fred Bluett received a most enthusiastic reception on his re appearance. Mr Dick Davis created a favourable imprest sion, and ought to become a great favourite. Miss Ido Berridge and the Bertotoes received hearty encores for their respective contributions. Messrs W. Melrose, Tom Robins, J. Cowan and the Driscoll Brothers gave acceptable turns.

One goes a long way from home to learn news sometimes. The following par. is from the “Era” (London) : 'A young pianist in Sydney, Australia, lias found a way to “bring in” a pianoforte solo to the attention of her audience. When the curtain goes up the piano is seen at. the foot of the Rocky Mountains. The heroine makes her entrance along a steep path leading down Hie cliff. At the base she pauses for breath, and cries — “The fiendish savages have killed my parents and my only brother; they have burned our cottage and Stolen our cattle; but Heaven be thanked, they have spared my piano. Music shall be my consolation, and now, ladies and gentlemen, with your permission, I shell render the beautiful selection ‘Love Amid the Rockies.’”

There are in all fifty-three premises where the public performance of stage plays takes place regularly in London. Of these two (Druy Lane and Covent Garden) enjoy letters patent direct, from the Crown, forty-one are situated within the licensing jurisdiction of (he Lord Chamberlain, and the remaining ten are licensed by the Council. The total ratable value of these theatres amounts to £115,837, and they provide seating accommodation for about 64,151 persons. Adopting another basis of classification, the total may be divided into twenty-seven central theatres with seating accommodation for about 27,967 persons, and twenty-six suburban theatres with accommodation for about 36,184 persons. Stupendous!

Mr. Cecil Raleigh has something Io say on the Lord Chamberlain’s methods in a letter to the London “Times.” Dealing with the old grievance that the drama is compelled “to dance in

shackles,” while all branches of literature arc free, he instanced Mr. Arihyr Shirley's play, “The White Slaves of London.” After a provisional license for the play was granted for one week, the Lord Chamberlain insisted that its title should be changed, as “ there were no slaves in Ixsndon,” and that certain other alterations should, be made, on the ground that as it stood the play

was calculated to make workmen dissatisfied and to excite class hatred. “Up

to 111.- present moment,” says Mr. Raleigh, “ Mr. Shirley has not altered his play. Probably he will not do so; he will prefer not to waste his time and preserve his self-respect.” Mr. Raleigh thinks that the absurdity of the situation will no, be realised until the Lord Chamberlain prohibits “Hamlet” on the ground that it is e condonation of suicide and an incitement to disloyalty.”

Mr. Herbert Flemming, chatting with the Launceston “Examiner,” says:—

“ The day after the contract with Mr. Spun- (who is coming to New Zealand slrortly) had been signed I met'an Australian commercial traveller in Bloemfontein in the market square, and told him of my new venture. He asked me when and where we should open, and I replied that I was cabling to Melbourne to secure the Athenaeum Hall for Derby night, October 30. He then said: ‘lf you succeed, old fellow, book me three seats numbered 17, 18, 19, row <_’.’ I laughed, and, like the maid in the song, promised. We opened in Melbourne on Derby night, and ten minutes before the commencement of the entertainment, the. commercial, with two friends, came to the hall and claimed his seats, which I may say had been reserved for him. That, I think, is a record in booking—7ooo miles away from where the performance was to take place.”

It would appear that “The Flood Tide,” which is having an enormous success in Melbourne, is an attempt to follow “The Admirable Crichton” lines with regard to melodrama. A writer in the Australasian says: “Mr. Cecil Raleigh, when he wrote “The Flood Tide,” knew what he was about; he styled it a “melofarce.” This barbarism exactly fits a piece that is relieved with spasms of melodrama, and which the author wrote with his tongue in his cheek. At one point after another the audience is led To expect drama of the most poignant description, only to discover a moment later that the real purpose of the author is to provoke laughter, not draw a tear. In fact, Mr. Raleigh has appeared in the light of a parodist of his former self; and, on that account, is not to be taken seriously. There is not an honest character in the play; even the hero, a ranker and V.C., is mixed up in the shady transaction of “selling a race” with h’s old father, apparently the finest type of rustic virtue, but really a thief and a forger.” The following “patter’’ concerning “The Flood Tide” is so amusing (and so smart) that no excuse is needed for quoting it ‘in extenso.” It is, of course, from the “Bulletin”—no other paper in Ihe colonies owns a critic who drops into verse occasionally: THE FLOOD TIDE. The wondrous tale of Thompson we will v onderingly sing— Denny Thompson known in Chili as the Dotty Diamond King. The story has a moral which is very old and tough: If the world believes you wealthy it will furnish you with stuff: If you’ve not got Thompson's riches—well, his name is good enough.

There’s a steamer bound for London, from the Valparaiso port, The passengers are mostly of the silent, super, sort, But two are lady-spielers, a Mama and Daughter pair, Who talk amt dream of Thompson, the eccentric millionaire. For a secret, worth the keeping, In their mental safe is stored— The fact that Denny Thompson, King of Diamonds, is aboard. Now' he travels as M•Naughton, and he roams the quarter-deck In a chronic state of liquor, with his boots slung round his neck, Until he ends the chapter of his shocking jamboree By jumping off the vessel when she’s ploughing through the sea. “Lord help him!” says the captain—"he can get no aid from me.”

Then the younger lady-spieler, with her mother at her aide. Assumes the rank and station of the Diamond Monarch’s bride. Believing him a dead ’uu, they dissemble their belief, And speak of poor M'Naughton as the fool who came to grief. The pair of cute pretenders state that Thompson's coming soon To their swell hotel at Brighton to complete his honeymoon; They revel in expenses, but the landlord doesn’t kick; They order gowns and jewels, horses, carriages—on tick— Intending, should their creditors grow dubious and shy. To gather up the plunder and politely do a guy. It happens that a stewardess, to save her Dad from shame. Conceives another scheme of working Denny Thompson’s name, She knows rhat all his baggage has been sent to the hotel, And thinks her own Young Man might pass for Thompson very well, Whilst she plays secretary and provides the common sense. He’ll need for raising money by this fraudulent pretence. So young man Clipps, and Polly, nib to Brighton right away, And find the lady spielers are already on the lay; And each pair knows the other for the biggest fraud in life, But silence suits them better than an internecine strife ’Twixt a bogus Denny Thompson and his bogus darling wife. O’ the jov of getting credit for whatever you desire, When you seem to walk on ether, though your feet are in the mire! The ladies —Heaven bless ’em!—strike a Hebrew for a loan. And the masculine impostor makes ten thousand on his own By signing an agreement re the floating of his mine, And then ho buys a racehorse. This is Polly’s pot design; 1’ or her father owns a gee-gee w’ho is entered for a rave. And can win it (if he loses it means “ruin and disgrace") Provided “Thompson’s” purchase isn’t jigging for the stake. So •‘’Thompson.” quite unconscious of the risk he has to take. Agrees to stratch the favourite for Polly’s father’s sake, And the angry mob assaults him till his inmost feelings ache. In the meantime Thompson (proper) reappears upon the scene. He was flshed from out the ocean ere tho water washed him clean; Ilfs togs are torn and tattered; there are hayseeds in the hair Of that homeless, cashless, friendless, drunken, dotty millionaire When he comes to Polly’s father for assistance in his plight. Now, “the King’s return is awkward, so, to keep him out of sight. They bid him seek seclusion by the peaceful Ed dish lakes, With Lis boots upon his shoulders, just to keep ’em free from snakes. There a villain tries to drown him ('tis the spieler mother’s plan);

But this purchased desperado is a disappointing man, For his night attack on Thompson proves the uiUieat of triea; Himself is left to perish when the Flood Tide waters rise. And the other schemers mostly get rewarded for their Ues.

When Thompson's mine Is floated for a million pounds or more, Which is five times what the property is worth. He offers half the money to the fraudulent vendor And reckons him his dearest friend on earth. Thus the sin of wily Folly makes the fortune of her boy, And puts her father straight again, of course; For the old man’s bitter sorrow was converted into joy The day they worked their swindle with the ’orse. Nor does the spieler daughter ever suffer from regrets; She leaves her wicked mother in the birch—<• And the cranky King from Chili duly liquidates her debts When she's booked as Mrs Thompson by the church. Alas’ poor, wicked mother! Of her daughter now bereft. Her world seems dark and desolate and cold; The other frauds are happy, she's the only one that’s left To expiate the sin—of growing old.

AN INTERVIEW WITH MR J. C. WILLIAMSON.

"Australian artists in London?” said Mr. J. C. Willianmson. while speaking to an “Auckland Star” interviewer, “I don’t think they improve their positions much by going to London as a general rule. It is an oversupplied market, and a man’s luefc as well as ability has to be exceedingly great for him to get a foothold. 1 don’t want to discourage anyone, and there is no doubt a trip Horae helps an artist—it reduces his vanit y a good deal -—but no artist should go Home unless ■he has the best of reasons for confidence in himself. I found u great many Australians there, and most of them would have been only too glad of any chance to get back to the colonies. For one thing, the seasons at Home and therefore the employment are shorter than here, and the actors don’t have so good a time as here. “I went to England for a four months’ rest,” he said, and added with a laugh, "but I’ve been going like a machine the whole time! Fortunately, the steamer voyage did me good. I spent every day and night of my time looking at new plays in England and America. I secured the Australian right for five years of all George Edwardes’ plays, and have obtained the right for Pinero’s plays, past and present. I engaged a new comedy company at Home, which I hope to put in the place so long held by the Broughs. While they were in existence here I didn’t interfere, but now they have departed I’ve got a nice company together which will play ‘The Marriage of Kitty,’ and other comedies of a like standing. It will be like most of my other companies. I am still of opinion that the Australian people are the bestcatered for in the world. The material they have is picked from the best markets of the world, and as for my own companies, they are probably not able to do in any one work better than those selected for the London theatres, but they have a bigger range than any

similar company at Home. “Things theatrical in England and America,” went on Mr Willumson, musingly, “have not been Wo good during the last season* and America has been particularly bad, the latter part of the season being very disastrous. When I was there three years ago they were talking in millions- -now they are content to mention much smaller sums. The big firms and in particular the big syndicate in America, have been very heavy losers. Presuming they get over the failure, you will see wl at huge capital they have! But it is a sign of the times; nobody escaped!” Talking of his o”n companies, Mr Williamson said that he would be in the thick of his work as soon as he landed in Australia—had indeed begun here. He has many irons in the fire, and they take a good deal of management. He sees rehearsals of his new comedy company in “The Marriage of Kitty” and Beerbohm Tree’s Company in “The Darling of the Gods.” The former opens iri Adelaide on Saturday week, the latter in Melbourne on the same date, as also the Hastings Company in Sydney. The Comic Opera Co. opens in Dunedin on Monday week. It includes some of the most expensive people in the musical way, and the biggest attraction in Australia just now —“The Country Girl,” which has broken the “Florsidora” record for run in Melbourne. The company, plays other successful pieces while on tour, and will stage Alfred Hill’s longdeferred opera, “Tapu,” with all the accessories.

“If the New Zealand public support me in the generous way it has done for some time past, I shall continue to send all my best artists oyer here, provided the expenses don’t ‘swamp’ me,” he said. “It’s a heavy speculation to run a show through New Zealand!” Mr Williamson said he had engaged one of the big Frohmarm companies of America to play a season of musical comedy in Australia. It has aiso played for George Edwardcs in England, and includes George Huntley, "the finest eccentric comedian of the present day, and the legitimate successor of Fred Leslie.” It passes through here on the Ventura in six weeks’ time.