Music and Drama.

New Zealand Graphic, Volume XXXII, Issue XXIII, 4 June 1904, Page 45

Music and Drama.

Miss Nellie Stewart is to play in Melbourne in October, and in Sydney at Christmas.

The first week’s receipts in Melbourne for “The Darling of the Gods” amounted to £ 1900.

Mr W. Spencer Jones is in Auckland making preliminary arrangements for the season of Mr Watkin Mills, the famous basso, who is to give four concerts at His Majesty’s Theatre on September 19, 20, 22, and 23, assisted by M. Parlovitz, the Polish pianiste.

Mr W. F. Hawtrey has, in his recent production of “Little Lord bauntleroy ’ in Sydney, departed from the stage tradition "of the name part being played by a girl, and has made a success with a boy representative.

Mr George Edwardes revived “La Toupee” at the London Prince of Wales’ in the middle of April. Edna May was the doll. While Willie Edouin, Norman and others played their original parts.

“Little Mary’’ has been withdrawn in London, after the 200th performance. During a debate at the Woman’s Institute in London, recently. Miss Constance Smedley said: “In ‘Little Mary there is the promise of a good play. It contains a good idea, but, unfortunately, the play was written by one (Mr. J. M. Barrie) who was too lazy, or unable, to work it out.” Rough on Barrie.

The Holloway Dramatic Company, who recently concluded their New Zealand tour, are now appearing in Hobart. Although the tour did not prove a financial success, Mr. Holloway intends (says a contemporary) returning to this colony at some future date, when he hopes to get better dates, and not strike two cireuses. a comic opera company, and a military bazaar.

Mrs Langtry landed at Liverpool from America on March 31. She brought with her a baby lion given to her by the people of St. Louis. The people of Langtry — a town named after her by its founder, whom she describes as a sort of glorified cowboy—presented her with a bear. She had a look at the Jersey Lily saloon, but she managed to lose the bear. Mrs Langtry, before going on to London, told a newspaper man of her intention to leave for Australia in June next year.

Master Victor Harris, the youthful violinist who left Wellington to continue his studies in Europe, has played before Sir Alexander Mackenzie (according to the “New Zealand Mail”). A private letter received in Wellington says that Sir Alexander was so pleased with the boy’s work that he wished to place him at once, in the Royal Academy of Mnsic. He considered that he was “wonderfully talented ’ “and you know,” he remarked. “I hear hundreds of musical students.” Master Harris is receiving private tuition from the principal violin teacher at the Royal Academy of Music.

A floating theatre is the latest American dramatic device. On the Mississippi and its tributaries, principally the Ohio and Illinois, a boat travels that has been fitted up as a theatre, with boxes and a gallery. Seating capacity has been provided for 1000 persons, and, in addition to the stage and dressing-rooms, living accommodation has been arranged on board for forty artists and assistantsTire steamer starts from Pittsburg, and after visiting all the great industrial centres on the Monongahela, descends the Ohio as far as Cairo, mounts the Mississippi as far as St. Louis, and finally descends that river to New Orleans. At all the towns on those rivers the floating theatre is made fast alongside the wharf, and after due announcement a performance is given lasting three hours. Then the next place is visited. It is what is known as a “one-stand show,” ami the repertory at present consists of a dramatised version of Goethe's poem, “Faust.” - -

“A Country Girl,” with its gorgeous dressing, its eatehy and tuneful musie, its splendid scenery, and its general air of elaborative effect, opened before an enormous audience in Auckland on Saturday, and will run to the end of the week to packed houses. It is generally conceded that nothing so complete has been seen in comic opera since the

"Royals” were last here, and business is booming accordingly. The question as to which of the ladies of the present company occupies the position of favourite, so far as Aucklanders are concerned, is open to much discussion. Miss Florence Young has a beautiful voice, which has increased in power and purity since her last visit, but she does not possess the magnetism of such artists as Miss Nellie Stewart, Miss Marion Burton, or some other of the priraa donnas of comic opera one could mention. Still, she has many admirers, and justly receives an ovation on her en-

trance every evening. The admirable delicacy and “chic” of Miss Maud Chetwynd make her universally popular, and it would be impossible to think of any improvement on her part in the east. But it is perhaps to Miss Celia Ghiloni that the palm must lie awarded She is a most consummate and finished actress, with a remarkably fine stage presence and a voice above reproach, and expectation is on tip-toe with the connoisseurs to see her as

Katisha, in which her undoubted powers should have full scope. “My Lady Molly” goes up on Saturday.

Mr Watkin Mills, one of the greatest of English bassos, will be heard in four magnificent recitals at His Majesty’s Theatre, Auckland, on 19th, 21st, 22nd, and 23rd of next September. He is to be assisted by Mons. Eduard Parlovitz, the noted Polish pianist. The eminent basso, who has been filling his important American dates at Cincinnati Festival, and other concerts, sailed on the 2fith May on the Sonoma from San Francisco, and opens his Australian tour at Sydney Town Hall 22nd, 24th, and 25th June under the most distinguished patronage. He sings in Australia with all the big philharmonic societies, liedertafels, andorchestras. In New Zealand he appears in Dunedin with the Choral Society in “The Messiah,” "Creation,” and recital; in Christchurch with the Musical Union in “Faust” and "Grand Oratorio Selections with Orchestra,” and recital; in Wellington with the Musical Union in "The Messiah,” “Elijah.” and recital. His appearances here will be one of the musical events of this season.

A most enjoyable evening was spent at Mr W. IL Webbe's School of Musie, Grafton-road, on Thursday evening last, when an exceptionally fine programme was provided by Misses Maud Anderson, Gertrude and Edith Spooner and Madeleine Webbe, pupils of the assistant teacher of the school (Miss M. Spooner), a former pupil of Mr Webbe's. Some of the selections included pieces not often heard at students’ concerts; the playing, however, both, ensemble and solo, proved that the young pianists had well learned their pieces, and were able to interpret them with an amount of artistic finish rarely met with amongst such young players. The programme included a couple of piano quartettes, Beethoven’s “Pastoral Symphony,” and Rubinstein’s “Bal Costume.” In the former a slight feeling of nervousness was apparent, and a little more power would have added grandeur to the storm movement, but in the latter the rendition was perfect. The other ensemble pieces were duos for two pianos by Rubinstein, Chabrier and Low. The piano solos included two pieces of Chopins, tastefully played by Miss MadeleineWebbe, three movements

of the “Appassionato f-'onata” (Beethoven) finely interpreted by Miss Gertrude Spooner, and Liszt’s arrangement of the “Spinning Song” from the “Flying Dutchman,” brilliantly played by Miss Maud Anderson. The visitors’ items included operatie and other vocal selections, contributed by Mr M. Hamilton Hodges and W. Anisebrook, which gave an agreeable variety to the programme. During the evening numerous certificates

gained at last year's musical examinations were presented to the pupils by Mr W. H. Webbe. who in a neat speech thanked the young players for their excellent performance, anil urged them to continued efforts in their study and practice.

The Wellington season of Mr. J. C. Williamson’s Royal Comic Opera Company financially surpassed all previous ventures. “Lorgnette” hazards the opinion that for the season of 19 nights and one matinee the takings would not be far short of £4700. Mr. J. C. Williamson may congratulate himself on having taken all the risk of sending the Comics on a tour Of Maoriland. It ought not to be forgotten that some of the kudos of the venture must be given to Mr. Williamson’s managerial staff in advising that the tour should be undertaken.

When the Geaeh-Willonghby Comedy Company was producing "A Stranger in a Strange Land” in New Zealand (relates “Woomera”), a clergyman in one of the towns they reached, in utter ignorance of theatrical matters, included in his service a special prayer for the “stranger in the strange land.” A titter went round the congregation, and the story reached the management of the show- Seeing in it the germ of a good advertisement, Mr. Geaeh promptly wrote to the local newspaper in another name, protesting against the clergyman making use of his pulpit to advertise a theatrical entertainment, and the long correspondence that followed was terminated only by the clergyman himself writing a long letter, explaining that he had erred through excessive innocence.

During his colonial visit, Mr Matkin Mills has very wisely decided to associate himself with the local musical organisations. In Christchurch he will assist the Musical Union in the production of “Faust,” as a first concert. The second will be an orchestral concert, at which Mr Mills will sing the principal bass arias from the “Messiah.” the "Elijah,” and “The Creation,” with orchestral accompaniments. The third concert will be a miscellaneous vocal and instrumental one, at which M. Parlovitz, who will accompany the basso, will play a piano concerto. The dates for these concerts have been fixed for August 30, 31 and September 1. Mr Watkin Mills received his musical education at Milan, and he has been for some years regarded as one of the two principal oratorio basses in England.

Matters musical in grand opera in London seem in a bad way. Thus a private letter, speaking of the chances of succeeding in that lino sums up the position, outside the short Covcnt Garden opera season, by asserting: “The only two good companies. Carl Rosa and Moody Manners, pay shockingly, and the wear ami tear on the voice is heavier than it used to be, as they sing oftener. Moody Manners’ salaries are the scandal of the profession. He has two companies out. In one of them a- young prima donna with a beautiful, well-trained voice, and a repertoire, sings the leading roles for £2 a week. Probably she is doing it for experience, but how can experienced artists compete against that ? The Moody Manners’ companies gave a season at, Covent. Garden 'Theatre last, year, and although it was well attended, at popular prices, £BOO was lost over it. I saw a performance of ‘Tannhauser.’ Miss Alice Esty played Elizabeth, and sang beautifullv. Miss Enriquetta Crichton played Venus, and also sang beautifullv; and Charles Magrath played the Landgrave. It was the first time I had heard him since lie was in Australia with Belle Cole, ami his voice was fine.” Three Australian favourites in the east was quite a big percentage. Maud Hobson had a warm welcome back at the hands of the great audience in Melbourne Princess on the occasion of the first appearance of the F.lwardes Gaiety Company. Maud looked as handsome and as imposing as ever, says “Table Talk,” and not a day older, although it is now nine years or so since she loomed amongst the many striking figures of the “Gaiety Girl" Company. Miss Maud Hobson is also quite the most important figure on the stage, and her gowns arc really very fine, mill she looks very handsome in all of them. First she wears blue, in its ten-lerest shade. The material is a rich silk that

has the suggestion of being of the i-ordcd quality. liver the wfliolc surface are transparent insertions of fine la<-e in a mellow Tuscan tiut. The sleeves are very full to the elbow, the remaining portion being of tight fitting, transparent lace. The whole effect is much enhanced by a chon of black velvet ribbon that appears to draw in the fulness of the bodiee in front. The bat i* also black, and of soft, silky beaver felt in the marquise shape, while rising from one of the curves of the brim in front is the most chic pale yellow feather aigrette. Another dress is of satin panne, and in a light orchid mauve shade. The front is cut open to show frills of plisse ecru lace, which also appear at the foot of the skirt and train under the silk. Down the slashed open side is an applique of mauve chiffon, in a design of leafsprays, caught together by pink and red chiffon roses. This garniture is continued thence from either side round the hem of the train. The feature of the bodice is much lace trimming, arranged with picturesque skill, and the transparent chemisette of it is eaught together by diamond brooches. The accompanying hat is of folded ciiffon in the deeper mauve of the orchid. It is very large, very lovely, and very becoming. and has one side draped with point d’Aleneon lace, which also forms a long pleated end down the back, the other side having large pink roses and leaves, and under the brim a tuft of rosebuds. 'The ball frock is most dazzling, and of black tulle, encrusted with silver lilies. It is arranged over a robe of gold tissue. one shoulder having a big bunch of white roses, whence trails of roses and foliage fall to the feet. The three society girls—the Misses Vera Edwardinr, Miss Eva Kelly, and Miss Kathleen Warren—protegees of Lady St. Mallory (Miss Maud Hobson), keep time with her in the matter of attire. Min Vera Edwardine lias, in the first art. a pretty faint pink crepe gown, and pink and white hat. A second dress is of eggshell blue cloth and mousseline de sole, the cloth portion being tucked at the hem. and the loose eape-like sleeves inserted with lace: her hat matches in colour, and is garlanded with tiny blue flowers, while her dress for the dance at Lady St. Mallory's is of ecru lace, inserted with medallions of painted chiffon. the whole diaphanous combination being draped over with chiffon.