MUSIC AND DRAMA.

New Zealand Graphic, Volume XXXVIII, Issue 18, 4 May 1907, Page 21

MUSIC AND DRAMA.

The irrepressible Miss Ada Ward has found a new theme for her denunciations, and has turned the battery of her eloquence upon Parsifal, which she has never seen, but which she denounces on evidences wholly hearsay, as immoral. In his prompt defence of the drama, Mr Williamson point'd out that a play that has received the imprimatur of hundreds of clergymen, as well as the support of thousands of elean“minded Australians, could hardly suffer from the condemnation of sueh an agitator as Miss Ward, while he neatly counters on the lady by suggesting that she should call herself the escaped actress, in analogy to the lady who toured Australia some time ago as the eseaped nun. «5* In connection with the success scored by Mr Julius Knight and his company with “Raffles” at the Theatre Royal, Sydney, it is worth mentioning that the same piece has just concluded a 400 nights’ run in England, while its Aemrican course must at least have been equal to that. Mr J. C. Williamson has secured the Australian rights in “Brewstcrs’s Millions,” a eomedy drama just now at the height of a remarkably successful career in New York. Ji Jt For the principal soprano to his new musical comedy company, Mr J. C. Williamson has sSeured Miss Amy Murphy,

a young New Zealand singer in the front rank, both as regards vocal talent and popularity. She has been a prominent platform artist for some years, and, iu addition, has had plenty of stage experience in amateur operatie productions. Mr Williamson first tried to induce her to join one of his companies three years ago, and on many' occasions since has made her very flattering offers, but it was not until his recent visit to the colony that he was able to break her resolve not to enter the theatrical profession, and, by a personal interview, clinch the matter. Another of his engagements for the company is Mr’ Reginald Kenneth, a baritone who has already won popularity in the George Edwards companies. J* Ji In speaking of his first appearance in “Tom Moore” at the Wellington Opera House. The Wellington ’’Times” says:— “In selecting for his subject the romantie life of Tom Moore, the author of the play (Theodore Bert Sayre) has found excellent material ready to hand. Whilst adhering, in places, to well-known incidents in the career of Ireland’s poet — the man of wit and fancies, and of ineffably tender imaginings in verse —-he has woven into a well-constructed scheme much that harmonises, although it is only the “might-have-been.” With sueh a central figure, with the picturesque ness of the period in which Moore existed, and the historical circles in which he moved, faithfully enough reproduced, with a love story rich in poetical and romantic quality, comedy that is piquant, and frequently witty, and with strong dramatic situations, the play almost of necessity succeeds. It would do so were these its only qualifications, but it has even more to commend it in that its whole pervading atmosphere is natural, replete with little human touches, fresh and simple like the thoughts of some sweet child. Nothing, for example, could be more delightful than the note that is struck in the first aet —Tom Moore amongst the school children. It is a delicious interlude, this; a return to nature, the striking of melodious chords upon the keyboard of memory. To witness these scenes is to be a child once more, and to be that is to live again one’s happiest- hours. Go and see “Tom Moore’ which is to say, of course, see Andrew Mack. See him woo his little school mistress; see him loved and victimised by his roguish pupils; see him in the sunshine and the rain of his romance; hear him, with the Irishman’s true buoyancy of heart, and his touch of the brogue, joke in the face of starvation, and throw prosperity to the winds for love’s sake; observe him cajole his rent-demanding landlady, and sing his way to her old heart; mark the thousand and one charms, of person and of literary achievement, that endear the poet to his countrymen to this day—and, though you may, if you will, whisper to yourself that it is all idealism, all pretence, you will leave the playhouse mentally refreshed, and filled with very pleasant illusions. You will carry with you, too, something that is no illusion—the haunting sweetness of Tom Moore’s songs, and their expressive, rich-toned rendering by Andrew Mack. A detailed reference to the actor’s work would be superfluous. It is finished, earnest, eheery, and, above all, free from artificiality.”

The second production of the season will be “Jack Shannon,” another of Mr Mack’s most brilliant successes. Ji Ji

Just at the time when Mr. Tree will be going over to Germany, Director Gregor will be bringing the entire company of the Komische Oper across to London. Director Gregor has taken the Adelphi for a season of eight weeks; orchestra, chorus, and scenery go direct from the Komische Oper to London, and the expenses of the undertaking will be considerable. Offenbach’s delightful work, Hoffmann’s Erzahlungen is to be the piece de resistance, and there is little

doubt that it will meet with the same appreciation as it has done here, where it has passed its 300th performance. Lakme. too, may possibly be put in the bill during the season. Director Gregor will break the ice in London in the matter of a no-star system. His company is an admirable all-round one. ami he himself is an advocate of the modern “ensemble” theory, which puts the effect of the performance as a whole before the effect produced by individual singers. Hoffmann’s Narratio has never yet been given in England, and can scarcely fail of its mark. It is genuine light opera, full of eharming melodies that would become favourites with any nation. Ji Ji Something of a sensation will, one imagines, be caused by the daring but extremely beautiful series of living pictures introduced to New Zealand audiences by Mr. J. E. Ward and Miss Ruby White, under the auspices of Messrs. John Fuller and Son. Nothing quite the same, nothing quite so far advanced, has been seen in this colony before, and certainly nothing more beautiful and artistic. Mr. Ward’s model is a woman of perfectly formed figure, and it is Mr. Ward's design to show this figure off to its fullest, most charming advantage, in representation of certain classical pictures. Leighton’s “ Psyche ” is presented to us as if she had stepped from the picture itself. Mercury and Minerva are exquisitely posed, and artistically draped, the same model posing for each. Niobe, mourning for her children, is most beautiful of all. and is hailed with tremendous applause. Mr. Ward is to be congratulated on having struck something entirely out of the common. He is himself obviously an artist, and the immense speed with which he conducts the “robing” is sin ply amazing. No doubt all New Zealand will flock to the spectacle, which may safely be pronounced one of the most original, beautiful and unique entertainments ever shown to a colonial audience. J* Mr. Mark Hambourg has told a "Daily Express’’ representative that no pianist should start on his trip without at least two hundred pieces in his repertory to draw from. The concerto Mr. Hambourg is most asked for is the Tehaikowsky in B flat minor and of Beethoven’s sonatas, the “Appassionata.” These “requests” he receives from ladies all over the world, and they are generally handed to him as he enters the concert hall. One of the most curious “special requests” he ever had made to him was in Melbourne. He was sitting down to perform an encore, piece, when a shrill voice suddenly cried, “Please play Chopin’s ‘Because.’ ” Musicians need not be told that the ’‘Berceuse” was intended, though some might think it was a companion piece to Schumann’s “Why?” Jl Eileen Asthors, one of Mr Andrew Mack’s latest and best plays, brought over specially by him for this tour, will b ■ done for the first time in Australasia during his Auckland season, which is just commencing. J* Ji Under the heading, “The Difficult Public.” Paul Rubens says in a London paper:—“One curious point with audiences is that they very frequently like a thing without in the least knowing why they do so. And yet when they dq not like a thing they have a reason ready to account for their dislike. But audiences. like critics, ean be very exasperating. One attempts, we will say, in a musical piece, to be artistic, and for that reason one leaves out a certain kind of song or scene which one thinks out of the picture and commonplace. The public do not appreciate this fact, and one frequently finds out too late that the publie miss the very thing that one purposely left out in the effort to be consistent and not commonplace.” Ji Ji Melbourne's one topic of conversation nowadays is the Grand Opera. And as this company is eventually to come to New Zealand, something about it is interesting. Such a treat has not been afforded for six years, says the “Critic.” The success of the season is already assured, and Mr. George Musgrove is being commended on all sides for his magnificent powers of selection. Wagner's “ Lo-

hengrin*’ opened the season and < iamme4 the Prineee®’ Theatre with an excited audience. That the dialogue was in th* original German nniltcred net. They went to admire the music. And of that they raved! Herr Oesser in the namepart. though lacking in facial expression, has a wide-ranged voice of good quality. But, then, it weakened under the heavy strain, and was perceptibly tired towards the end. Still, he his a mag a dice nt stag - presence. Madame Sara Anderson as Elsa was graceful, the g!< substantial, and her vocal potentialities were «<ll demonstrated. Fraulein Heinze was admirable. She gave a wonderfully fine Ortrud, and scored both vocally and histrionically. Herr Rungi r n-.et with general commendation for his strong dramatic interpretation. He has plenty cd fire and attack. Robustness was the feature of Herr Mohwinl el’s presentment of King Henry. As the herald, Herr Greder was particularly fine. Mr. Geo. Musgrove, Herr Slapoffski (conductor), and Herr Greder (stage director) were called on to the stage and applauded. jl J* A Munich paper has published an amusing story of how a getleman from Nebraska was so immensely impressed by the performance of Miss Olive Fremstad. in the part of Salome, in Richard Strauss’s opera, that he wrote proposing marriage to her in these terms:— Dear Miss Fremstad,—-You are unique in the world. I would bet my last dollar against a match that there is nothing for you, in the whole universe, but the sacred interest of art. I, too. am alone in the world. I am six foot high, have a tine position blue eyes like yours, all my hair, and much landed property. Will you marry me? 1 will buy a piano. 1 would rather that my head were in your hands —even if it were on a dish, like John’s—than flint it remained on my shoulders, and me to be the husband of any girl you like in Nebraska. Here is a stamp for the reply.” The lady answered: —“I have received your letter, but I do not see how 1 can agree to your kind suggestion. My work at the theatre leaves me no time to concern myself with the many formalities and ceremonies involved in getting married. Besides, there is another obstacle. Mr. P. S. Edson would never allow it.” There the letter ended, but it was followed by a postcript, which said: —“Mr. P. S. Edson is my husband.” Ji Mr. George Musgrove certainly has an eye for -beauty. He seesws to have reckoned that for the Grand Opera this was a necessary attribute. Thus we have in Herr Oesser a Lohengrin who is a perfect Titan. The Te ton has the, soft fair complexion of his rate, clear cut features, and rath r vagrant locks. He. has a kindly, pleasant type of lace. But his eyes! They are hs piece de resistance. One looks into them, and there comes the fascination as of a bird transfixed by the eyes of his crawling enemy. Not a pleasing simile, trne. but there is certainly something mystically hypnotic about this imported Lohengrin hero. And the ladies, too. They all are about the average in regard to good looks.— “ The Critic.” J* It is announced in a Central News telegram from New York that Dr. de Forest, whose work in connection with wireless telegraphy is well known, is now experimenting with the object of finding a method of transmitting music through the air without th ( . use of wires. J* Writing on "Authors’ Fees,” London "Morning Leader” says:—“Authors’ fees have been gradually going up in London, until now they have reached the highest figure they have ever attained ir theatrical history. They vary from 5, 10, and 15 to 20 per cent on the gross takings at the box-office. J» J* King Edward and the Royal Family, says the “Express." have been patronising the theatres to nn unusual extent since the beginning of the year. His Majesty who has always been particularly interested in the French theatre, has wen the French plays at the New Royalty on four occasion, since January 1. Os an average Kng Edward goes to the West-end theatres about fifteen times in the course of a theatrical sea-

•on. Tlie Prince and Princess of Wales have also had an exceptional spell of I heat re-going thia year. They have seen many of the more popular productions nt the West-end houses, and they have -taken I’rince Edward with them Io see fSinbad. Peter Fan. and The Yeoman of ♦he Guard. Says a writer in the “Manchester Dispatch”:—“When it is possible to book n comfortable seav-at sixpence at an up-to-date music hall, when two shillings ■will barely purchase standing-room at It he t heatre, what wonder the theatres on the down grade? The contrast be,tween oom fort and consideration on the one hand' and extreme discomfort and poor fare on the other, is too glaring to be missed.” Patrons of the X-heaper parts in Australian theatres Slave little to complain about. J* The AU Black Family, who established themselves as popular favourites in Tasmania, have concluded their tour of that State. The tour, which was most successful in every way, consisted of 12 weeks, and during that time 70 concerts were given, 51 towns visited, 1672 miiles travelled by rail, 34S by coach, and 317 by steamer; grand total. 2337 miles. The family were everywhere greeted with splendid houses, much enthusiasm, and (kindness, and say they will always remember their pleasant stay in Tasmania. J* The Brough Flemming Company have introduced to Australia “Peter's Mother." a play in three acts, by Mrs. Henry de la Pasture. The new- piece, was originally produced in London al Wyndham's, after which it went to the Apollo, and thence to the Comedy, and it is now being played at the Haymarket, where it has reached its 200th night. It is commonly supposed to be fatal to the prospects of a play to remove it from one theatre to another, but “Peter's Mother” is evidently an exception to the rule. The story may >e briefly outlined. It turns on t he love of Lady Mary Crewys for her son. Peter., and the indifference of Peter towards his mother. Forgetful of his mother's devotion, Teter enlists as a volunteer. and departs from South Africa without even saying good-bye. With the passing away of his stern and flinthearted father. Sir Timothy Crewys, the callous sou returns to England. The fond i.-her waits for her boy with outstretched arms of welcome. But when Peter eorne- he shows the same sternness as his father, and his mother’s exuberance of joy pains and bewilders him. In the end I’eter. through the medium of a charming and quick-witted girl, Sarah Howell, is cured of selfishness. He takes his mother to his heart, and marries the amiable and attractive Sarah. J* The I‘oiisonby Shakespeare Club opened their season at the Leys' Institute last Thursday with a most successful -reading of “Twelfth Night. hr “What You Will. ’ There was evidence of insufficient preparation, probably due to the fact that the season having just commenced there had not been sufficient opportunities of rehearsal. The cast was as follows:—“Oliva,” Miss Russell; ‘•Viola." Miss M. Sloane; “Marca,” Miss Eileen Lundon: “Duke Orsino," Mr. T. t. Mells: “Sir Toby Belch," Mr. W. Jowitt: “Sir Andrew Agueback.” Mr. W. H. Graham: “Clown.” Mr. H. Hemus; “Sebastian." Mr. A. Coutts: “Antonio,” Mr. G. McLean; “a Sea Captain.” Mr. H. 11. Hemus: "Malv olio.” Mr. Maxwell Walkci. J* Young though she is—.she is still in her early twenties —Miss Marie Hall has already attained a position which enables her to rank with the world’s best violinists. Indeed, it may be said that she took that stand from the day that Sevcik the famous teacher, placed his own violin in her hands. an.l told her to go out into the world as a finished artist. Not very many days after that she played to an audience from the Prague Conservatoire, who. critical as they were, behaved with unexampled enthusiasm, recalling her to the platform twenty times to mark their unqualified - appreciation of her performance. At Vienna those scenes were repeated. and when she reached Ixmdon r, was quickly made clear that a new genius had burst upon the musical world tor Press and public were universally

laudatory. Since then her experiences have always been the same, not only in the old world, but also in the new.. She lias, as a matter of fact, just completed a second tour of America, 'even more successful than was her first, and left on Friday. April 26th, by the Moana from. Vancouver, in order to fulfil her Australian tour under the direction of Messrs. J. aud N. Tait, which opens with a Marshall Hall orchestral concert in the Melbourne Town Hall on June Ist. JI Jt A few weeks ago Madame Clara Butt and her husband, who will be in .Australia in September, under engagement to Messrs. J. and N. Tait, sang at Liverpool. and so great was the rush to hear them that every seat in the hall was bought up two days before the concert. Tlie two great concert stars give their farewell to England concert on June 29th, leaving, with their three children, a few days later for the Antipodes. J* “My plays have to give way to pageants at present.” says Mr. Louis N. Parker in “P.T.0.” “I am, however, expecting to be called for rehearsals very shortly in connection with Mr. Tree’s production of my ’Joan of Arc,’ the leading character in which drama is to be portrayed by Miss Viola Tree. I am not sure whether Mr. Tree will appear in it himself, but he has promised to produce it as soon as a new play is required, and has mine in hand for the last: eighteen months. The first announcement. flooded America with Joans of Arc. and 1 am loth to give particulars of other plays I have in hand, for obvious reasons." Let us place ourselves, says Mr. M illiam Aseher in the “Tribune," in the year 7000 of our era, and, looking backwards. try to discover Shakespeare among the luminaries of the spiritual firmament. Is it conceivable that he should then subtend any appreciable angle of vision? No doubt, if anything at all resembling the English language survives, some portions of his works will survive: for he wrote with incomparable beauty, and beauty is the one thing really' worth, conserving. But will the world of 7000 A.D. have any relish for his stories, except, perhaps as we relish the. stories of “Jack the Giant Killer” and “Sinbad the Sailor?” This year promises to see Mr. Percy Grainger, the brilliant, young Australian pianist, at a far higher position in the musical world ‘than he has hitherto attained. Last month he won six recalls for his performance with the London Philharmonic, and the papers spoke onthusiastiaelly about the refined brilliance, the virility, the insight, and tlie charm of his playing, ell is now due for a tour of Denmark where he is universally popular and among other important engagements are appearances at the Albert and th- Queen's Halls. J? The memory of the late Wilson Barrett is to be perpetuated in the new church at Elvanfoot, in the Leadhills district. 50 miles from Glasgow, where a stained-glass window is being erected, bearing the inscription, “in memory of Wilson Barrett. Actor and Dramatist, 1847-1904.” A full-length figure of Christ is depicted in an attitude of entreaty. Above is » group of cherub heads surrounding the prominent emblem of the Cross, and the sacred monogram, with the last words from “The Sign of the Cross"—“Q. Come to the Light Beyond.” The origin of the memorial is interesting, and characteristic of the wide sympathies which the late actor always displayed. Mr Barrett was a frequent visitor in the neighbourhood, and on the last occasion, shortly before his death, he handed to a well-known lady in the district a sum of money as a contribution to the new church. On hearing of Mr Barrett’s death, the lady devoted the money, so generously given, for the erection of this memorial window, which is from the designs of Mr Stephen Adain, F.B.A. Henry Seton Merriman's wonderful novel, ‘•’With Edged Tools." has been dramatized by Mr H. Armitage, the late Wilson Barrett’s manager, who, with bis

partner. Mr Arthur Leigh, is engaged in touring Kleschna and Lucky Durham. The story. has been closely adhered to. and the vital interest of the story of the society woman who plays fast and loose with the affections of two good men, and is in turn cast off by both of them, is fully sustained. A star east is being got together, and the production will run well into four figures, everything, ineluding furniture, and all accessories being carried. The Academy of Dramatic Art. the idea of which originated in the mind of Mr Tree and which was founded by him three years ago, is progressing in a highly satisfactory manner. The first meeting, and also the opening classes, took place at His Majesty's Theatre. It. was soon decided, however, that the school must have a home of.its own, and the house in Gower-street, where Mr St. John Hankin. the dramatist, used to live, was secured for the purpose. About a year ago Mr Tree handed over the school to a board of administrators, and the institution was reconstituted and the management vested in a Council, which included such prominent members of the theatrical profession as Sir Squire Bancroft, Mr John Hare, Mr George Alexander, Mr Edward Terry, Mr Forbes Robetson, Mr Cyril Maude, Mr Athur Bourehier, Mr Arthur Pinero, and Mr J. M. Barrie. J* JC Amongst the many new musical features to Le introduced into the revival of the “Fatal Wedding” at His Majesty's on Friday and Saturday, May 3rd and 4th, and incidental to the children’s scene are “ Jospehine, my Jo.” “ I know,” “ Pansy,” and “ Ma Honey Toy,” besides a number of delightful musical ensemble and dances. The same thirty clever youngsters are still associated with the company. Although Mr Tree personally, by reason of his various responsibilities, is prevented from taking a share in the conduct of the Academy, he keeps himself au fait with what goes on .at 62, Gowerstreet, and has been responsible for introducing several of the .pupils to the stage. At the present moment, however. Mr Tree is well enough content with having been the originator of a successful undertaking which has done, and is doing, good service to British drama. Pupils are at this moment waiting to be admitted to the Academy, and it has been found necessary to start evening classes in order to supplement the tuition given in the daytime. It will, however, be necessary to enlarge the accommodation of the Academy so as to permit of a greater number of pupils taking advantage of its benefits. If a lady in very decollete dress walked the public thoroughfares in broad daylight, if everybody had the run of the garrison barracks, and if common soldiers patronised their superior officers in real life, one would be pardoned for thinking that something out of the common was about to happen, but in that delightful world of melodrama which is the fairyland of grown-ups, all these things and more besides pass unchallenged: in fact, the more impossibly possible events there are the more the public like it. So long as the hero's halo has a plentiful supply of rays, and the villain's character is sufficiently black, the audience don't mind. Virtue triumphant and villainy vanquished is not bad ethics after all. so one cannot be sorry that melodrama has such thousands of devotees. “ The Midnight Wedding,” the play with which Messrs. Meynell and Gunn’s Company opened their short season at His Majesty's Theatre, Auckland, on Monday, is the finest melodrama we have had round here for a very long time. It is full of action and interest right through its four acts, and one's attention is held involuntarily by the fate of the hero, who has an uncommonly large number of foes—fortunately, all foiled. Mr. Harcourt Beatty as Paul Valmar has one of those heroic parts which suit him so admirably and endears him to the gods. He is always convincing and the embodiment of valour. After his Charles 11. in “ Sweet Nell of Old Drury,” his Paul Valmar is the best thing he has done in the colonies. Mr. J. Lindsay took the part of Captain

Scarsbruek. the arch-fiend of the piMK and was so good that he was cordially hated long before he met his well-deserv-ed fate at the hands of PauL Messrs. Beckett, Stach, and Cannam. of the Rod Hussars provide the comic element, with the assistance of Katie of the Inn. Miss Congdon took the part of the heroine, and Miss Cooper was the “ bold bad woman ” of the play. “ The Midnight Wedding” has been attracting largo houses, and the only pity is that the season is so short.