MUSIC AND DRAMA.

New Zealand Graphic, Volume XXXIV, Issue 14, 8 April 1905, Page 22

MUSIC AND DRAMA.

Air J. C. Williamson has seemed the Australian rights of “My Lady Madcap,” now being performed in London by Air G. P. Huntley, Air Alauric Farkoa, and Afiss Delia Alason. The musical play is one of the most popular attractions in London.

Air I. Zangwill’s sentimental comedy, "Merely Mary Ann,” which was very successful during last year’s dramatic season in London, is shortly to be put in rehearsal. In the title role Miss Tittell Brune will have an opportunity ef displaying her comedy powers.

Volkmann’s overture to Shakespeare’s “Richard HI.” has been recently performed in Manchester. By a curious pieee of inadvertence or ignorance, the composer introduced into it as one of the leading themes, “The Campbells are Cornin’,” under the impression that it was an old English war song!

At. Gabriel Astruc is organising a gieat Beethoven festival in Paris next Alay. It will last four days, and in course of it all the nine symphonies, the violin concerto, and the piano concerto in G major will lie performed. When will it be possible for us to enjoy a similar treat in Alelbourne?

Handel's oratorio, "Saul,” composed in 1738, was performed in Paris for the first time in January last. It produced a profound impression, and the critics speak with enthusiasm of the sonority and breadth of the orchestration; although neither horns nor clarionets are employed, and of the generally impressive effect of the work as a whole.

Madame Adelina Patti was cited as a witness the other day in a ease in which her eook claimed damages from her butler for kissing her against her will, and from a policeman, who “happened to be there,” for not interfering to protect her outraged modesty. The butler had to pay £3O for his indiscreet ardour, and the neutral policeman 10/ for his dereliction of duty.

Nance O’Neil seems to entertain a kindly feeling for Australians whenever she meets them, probably in return for Australia's generosity to her- She takes on Australian pros, whenever she can. Bob Inman, who was so long Anderson's leading man, secured an engagement with Nance as soon as he arrived in America, at a screw much bigger than any r he ever drew in Australia, he says. He remains with the O’Neil throughout her American tour, on the completion of which Nanee strikes for Sydney with an American collection that will not include Bob Ingram.

Air Andrew Alack, shortly to appear in Australia and New Zealand under Mr J. C. Williamson’s management, is an Irish singing comedian. Air Mack, who brings his own company with him, has made himself a favourite throughout the United States as a strapping hero in Irish drama. His opening piece in Melbourne will be “Tom Aloore,” a play written round the life of that poet, and during its progress Air Mack will sing many of the celebrated Irish melodies ■written by Aloore.

Air Alfred Hollins, the blind organist, ■writes to the “Musical Times” for February a bright «nd interesting account of his recent tour- The following extracts will interest those who attended the Paderewski concerts in New Zealand: ’ Perhaps the greatest delight of the whole voyage was to sit and listen to Paderewski practising. 1 wish all students of music conld have had this grand opportunity. One thing is certain, he is no trickster, but has obtained his great mastery of the pianoforte by enormous hard work- He meant to give Australia bis very Is'st, and to that, end would practise even on board ship never less than three hours a day. The patience and care he bestows on passages even of the slightest dilllculty are • lesson to all.”

Air. Harris Skinner, who is visiting Auckland with the Harry Rickards’ Company, is an enthusiastic motorist. He was one of the founders of the Automobile Club in Sydney, and took part in the overland competition between Sydney and Alelbourne.

Two well known New Zealand vocalists, Mr John Prouse, of Wellington, and Air Arthur L. Edwards, late of Auckland, were amongst the performers at the London Press Club’s .February “s nok< r’> writes our London correspondent. Each was in splendid form, and each had to respond to an imperative demand for more. Air Prouse and his family are now residing in Porehester-terraee, London, IV.

Tall, stylishly-dressed girl to panto manager: “You advertised for tall girls for the pantomime; may I be one of them?” “Yes, be here at rehearsal 11 to-morrow.” "But what shall I have to do?” "I told you; be here at 11 tomorrow.” “But I mean what shall I have to do in the pantomime, and what shall I have to wear?” “You’ll have little to do and less io wear, and heaven help you if you’re bandy!” lire girl vanished —so did her stage ambition.

The distinguished German violinist, Professor Hugo Heermann, who has earned a great reputation as an exponent of Beethoven and Brahms, arrives in Alelbourne via America, about June 10, and will probably open his season here on June 17. Heermann has, in his native country, a reputation that vies with that of the great elassie, Dr. Joachim, and he is probably without a rival as a Beethoven player. He is a personal friend of Brahms. His season here, which will be distinctly limited to a few concerts in Alelbourne and the other big cities, should create much interest in musical circles.

It is told taht Bernhardt, the great French actress, once attended a church service incognito. It had been advertised that the minister was to give a dissertation upon the stage and its people. He denounced all in general, and several well-known stars, in particular naming the French woman among them. Ho spoke of her being a poseur off the stage, doing all manner of eccentric things to attract attention. The following day he received a communication, on sweet seented paper, from the actress. It read: “Mr Dear Confrere. —Why are you so hard on one of your own craft—-—a poseur?”

Greean Alacmahon, who played prominently in Hawtrey’s Company, and figured iu the "Afessage from Mars,” has (says the “Critic”) been engaged to join the Brough-Flemming Comedy Company. Macmahon has been running the amateur combination known as "The Players/’ a sort of theatrical technical school, for some time. An old identity who lias been engaged by Flemming to figure with Brough is Johnnie Forde, a good broad low comedian, who was lately with Afaggie Aloore for a long term, -and who once shone in comic opera. His Mikado—with a taste of a brogue—was the first Mikado seen by the present writer, and it left a. pleasing impression that still survives.

Air J. Carter Edwards and Mr Horace Hodges, who toured New Zealand with the Wilson Barrett Dramatic Company, are in the cast of ‘’The Scarlet Pimpernel,” which has been produced at the Now Theatre, London, by Miss Julia Neilson and Air Fred Terry. The "Daily Alail” dismisses the play in five contemptuous sentences: “The pimpernel, as every countryman knows, is a little red flower, peculiar to British soil, that grows up and dies in one vffry short season. It would have be<*n impossible, therefore, to select a more suitable title for the ‘new romantic comedy.’ We can not help thinking that the Baroness Orczy and her husband, Air Alontague Barstow —described somewhat unceremoniously on the programme as Orczy-

Barstow—would have been better advised had they allowed their own particular little pimpernel to blush and din unseen.”

The success of the Wirth Circus season in Auckland was a foregone conclusion, for the famous proprietary have never given a mediocre or disappointing show on all their visits to the Northern capital. Consequently, they are taken on trust, and the tent is packed nightly by a throng who have scarcely troubled to read the advertisements, so sure are they of an exciting and enthralling evening’s entertainment. This trust is thoroughly well justified on the present; occasion, for no better programmes of amazing or hair-raising feats of skill or foolhardiness have been submitted to connoisseurs and critics in circus matters in the Northern city. A large proportion of humanity evidently likes to have its flesh made to creep, and the looping the loop with its “death trap” thrown in and “crossing the chasm” by, Chefalo on his motor bike provide thrills to rejoiee the heart of the most exigent of sensation "quid nuncs.” Should the adventurous Air Chefalo meet with an unpleasant end and be killed—niessily —in front of the audience, there will be an outcry one presumes, but it will be very illogical, for it is the chance of this very event that everyone pays to seeA remarkably clever turn, which gives the conscience no qualm, is the jumping of Tom Colquett, who is quite one of the best stars the Brothers Wirth have introduced to the colony, which is saying much. The cowboy show is good, and as for the usual circus feats, are they, not sufficiently recommended -when it is said they are put on by Wirths'? On the termination of the Wellington season of Air. J. C. Williamson's Repertoire Opera Company an overland tour will be commenced at Alasterton, on Monday, the 3rd April. The following is a list of dates and operas to be played :— Alasterton, April 3rd and 4th, “Pirates of Penzance” and "The Mikado.” Napier, April sth and 6th, “Pirates of Penzance” and the “The Alikado.” Palmerston North, April 7th and Bth, “Pirates of Penzance” end “The Mikado.” Wanganui, April 10th and 11th, “Pirates of Penzance” and “The Mikado.” Stratford, April 12th, “The Mikado.” New Plymouth, April 13th and- 14th', “Pirates of Penzanee” and "H.M.S Pinafore.” A word of praise is due to Mr Richard Stewart for the arranging of the overland tour. It is mainly owing to his judicious management that the company, do not lose a night from Wellington to Auckland, where the combination opens on the 15th April. The first production will either be "Patience” or "lolanthe.”

An interesting account of a concert given at Frankfort by the .remarkable violinist Jan Kubelik is contained in a letter just to hand from Air. Tait, who says: —“I went over to Frankfort specially to hear Kubelik, and even if we don’t secure this really wonderful artist, I shall not regret the time and expense, as I was privileged to hear a performance that must force the most inexperienced musi eal enthusiast <o the conclusion that this boy, with his glorious eyes, is indeed a heaven-sent genius. From the very first moment to the last, Kubelik seems to hold complete sway over his audience, which is always a packed one, and at the. end of the recital the enthusiasm is unbounded—if anything even more pronounced than what wo saw at the Paderewski recitals in Alelbourne. His style and manner are quite unaffected, and an embodiment of simplicity. He does not swing his instrument—one of the famed A. Stradivarius violins—indeed, he has a stand on the platform distinctly his own, and one cannot but marvel at the ease with which he produces such wonderful music. He gave three additional numbers at the finish, and even then Jris audience clamoured for more. Ife«4s bound to create an immense stir in Australian and New Zealand, if I can prevail on the young Paganini to undertake the trip.” Since the above was written, Kubelik has arranged to come to this pajt of the world in September next. Apropos of Kubelik. When he first appeared in Berlin, some three yearn ago, musical critics gave him a very bad

reception, admitting his technique, but refusing to see in his playing either depth or temperament. By the Berlin verities his technical mastery of his instrument is admitted to be unsurpassed, but imagination, they say, is lacking. He is a great violinist, is their verdict; be is not a great musician. Kubelik represents the modern romantic school of violinists, as opposed to the classical school, of which Joachim is the most famous living example. Joachim’s ideas are paramount in Berlin.

The Auckland Orchestral Society give the first concert of their season this •Wednesday evening, and n very largo audience, will assuredly be present to enjoy the very high-class programme submitted.

The Williamson Repertoire Company have done magnificently in Wellington, ■where the season was most successful. In working up to Auckland, where their .visit and the Gilbert and Sullivan revivals are eagerly looked forward to, the company do not miss a single night, for .which Mr. Williamson has to thank his capable lieutenant, Mr. “Dick"’ Stewart, ysho made all arrangements.

This is from the Adelaide “Critic”’: 'Alfred Thel, the gentleman who provided the music for Arthur Adams’s Maori opera, has completed another, the libretto of which is by a Maoriland journalist. The joint authors have agreed to call their opera “The Ruffian*' —not a very ingenious title. It is to be tried on the Maori under Mr. Williamson’s management. Evidently J.C.W. is willing to take, risks with comic operas that be will not take with dramas. No Australian has yet succeeded in inducing him to put up an original play.

A curious concatenation of inaccuracies makes the foregoing par difficult of understanding to the best fi'iend>s of those concerned. Alfred Thel (how on earth did the comp, evolve that) is Alfred Hill. The journalist is Mr. John Birch, of the “New Zealand Herald,” and “The Ruffian” is “The Reffians,” the ■discarded title for the new opera. Mr. (Williamson is, of course, not to produce the work at present, that undertaking being in the hands of a semi-professional semi-amateur organisation, who are now in active and enthusiastic rehearsal.

The latest vaudeville company, which Mr. Riekards has sent to tour New Zealand, opened its peregrination, round the colony in Auckland on Monday last before an excellent audience. It will probably achieve as great a success as previous companies which have “happened around,” as the Yankees say. There is no great star, such as Oinquevalli, or Sandow, but the entertainment is entertaining, and there is a grateful absence of excruciating song and dance turns by pathetically passe artists such as we have aforetime suffered from on several occasions. The wire walking of the sisters O’Meers is of the highest excellence, -and there arc several turns which appeal to the intellect as well as ear and eye. As for that infant phenomenon, Historicus, she is an unquestionable marvel. How cordially any child, who is taken to sec her, must hate and envy such a prodigy of memory will appeal to everyone who were, and possibly are still, weak in dates, and matters of fact usually memorised at school.

All sorts of ideas are current as to the “cruelty” used in training lions to perform in public, says “The Era” in a most interesting article. As a matter Of fact, for six weeks the trainer devotes himself entirely to winning the confidence of the animal. The trainer, and the trainer alone feeds him, and attends to his little comforts. When a certain entente cordiale is established, the cub—• if it is a cub born in captivity—is rubbed and stroked with a stick till he comes io take a delight in the caress. Then the hand is used to pat and stroke the young lion. If, however, the animal is full-grown, he is collared and chained after a preliminary process of conciliation, and the trainer enters the den nnd “improves the acquaintance.” It will surprise many who have read of the use of “red-hot irons,” etc., that the only weapons of defence which the trainer uses when he comes to deal with the lion unchained are a stout oak stick and a chair. Should the lion spring on the trainer the latter turns the legs of the chair towards him. The next stage is to edge the chair over until the man is near

the beast, and to rub him with the stick, and then pat him. This goes on until all alarm and overt enmity have been eradicated. Then comes the instruction iu his performance, obedience in which is rewarded with a small piece of raw meat. By first laying a stick on the floor, getting the lion to walk over it, and gradually raising it each time till he is obliged to jump, the foundation of his leaping lessons is laid; and so he is led on till he becomes an accomplished public performer. If a lion seize a keeper or a trainer the best way to make him let go is to turn a hose on him. It stops his breath for a time, and he loosens his hold to gasp. It will amuse most of our readers to lie told that after a few appearances in public wild animals become “stage struck.” They are stimulated by the applause of an enthusiastic house, and perform indifferently before a cold audience. They are also subject to “stage fright” before they become accustomed to the sight of the audience; and they then lose “their cues.” They particularly dislike any change in the apparatus or the routine of their “acts,” and resent it strongly. They do not, consequently, oppose “long runs.” The influence which the trainer has over his pupils depends entirely on the fact that they are kept, in ignorance of their own power. So strongly do animal teachers realise this, that, should a wild beast, in play or by accident, seriously injure his master, the latter never lets him know what, he has done. On one occasion, for instance, a lion named Wallace struck at Mr Frank 0. Bostock, the celebrated ■airimal trainer, in pure playfulness; and the claws went, through high boot and clothing and became stuck in the thigh. The lion got frightened and pulled the claws out, together with a good-sized piece of flesh, causing intense pain. Yet the trainer showed no signs of being hurt, and quietly sent the lion back to his cage before summoning assistance. The lashes laid on the animal with the whip during performances are mere pretences, parts of the daily programme; and the growls and snarls they evoke are protests against being made to do something when the animal feels lazy. If, by accident, one of these light blows “lands” on some sensitive part of the body so that the animal is really hurt, it is very possible that he may be completely spoilt as a performer, may “strike work” permanently, or “go bad” —that is, become dangerous. The resource shown by animal trainers is extraordinary. In 1889, when Mr Bostock's menagerie was at Birmingham, a very rebellious African lion jumped from his own cage into another to which he was being transferee* with such force that he caused the waggon to move away upon its wheels. Then, seizing his opportunity, ho sprang out and took to the streets. In his flight he passed the opening of a sewer and jumped down it. As he made his way along the sewers of Birmingham he stopped at each man-hole to roar, driving some of the inhabitants almost crazy with terror. In order to avoid the riot, which seemed imminent, Mr Bostock conveyed a tamed lion to the mouth of the sewer, in a waggon covered with canvas. A pretence of capturing the fugitive was then made; the canvas was removed; and the harmless animal was taken back to the, menagerie followed by a procession of thousands of reassured people, 40,000 of whom visited the show. The real “Simon Pure,” however, was still at large in the sewer, though luckily he had stopped roaring. Mr Bostock, with three trusty henchmen, his big boarhound, and hundreds of policemen and sewer-men armed to the teeth, assembled at dead of night for the hunt. A cage was placed at the entrance of the sewer, and Mr Bostock and his three men descended. In order to protect himself from a blow from the lion’s paw, Mr Bostock placed over his head a large iron kettle. This fell off, and made such a teriffic noise when rolling and crashing down that the lion, who just finished a desperate fight with the boarhound, in which the latter was vanquished, turned tail and ran away. As he fled, he came to an eight-foot “drop,” in falling down which he caught his hind legs in one of the slip-nooses which had been lowered from the various manholes to entrap him, and became suspended by his hind legs. Thus handicapped, ’ ho was still further bound, and was dragged by force to the cage. On another occasion Captain Bona-

vita, a well-known trainer, was exercising his lions iu the arena in private, when the electric light went out-, and he was left in darkness. He could hear the animals creeping nearer to him in the dark, ready for a spring. All he could do was to swing his stick round his head steadily, and when he hit something soft he knew that- a lion had been close upon him. He kept the stick whirling till his arm ached, and he felt tnat he was on the point of fainting. Just as he was about to give up, the light “came on” again, and showed the animals about to attack him. The sudden glare, however, confused them. He had just strength to order them back to their cage nnd fasten the door, and then he collapsed entirely. Modern wild beast training is both an art and a science; and one in which there are few proficients, beca-use, besides intelligence, complete courage is one of the requisites of success. There can be no strain upon the nerves greater than that which is placed upon the man who, night after night, has to dominate a crowd of "Rirnivora. Yet, considering the number of trainers, fatal accidents are remarkably few; mid the percentage of deaths from this source is very much smaller than that from falls in the hunting field.