Music and Drama

New Zealand Graphic, Volume XLI, Issue 5, 29 July 1908, Page 16

Music and Drama

THE PANTOMIME. “Humpty-Dumpty,” who had his first New Zealand fall at His Majesty’s, Auckland, on Monday night, and has been unsuccessfully trying to keep his balance on the wall, to the great delight of crowded audiences, will easily beat the Dominion record m that venerable dame who came through here under the same management, and was supposed to have reached the high water-mark of theatrical success —“Mother Goose.” Mr. Williamson has sent us something that is more gorgeous and more tuneful, and the stage effects are simply remarkable. In securing Mr. Bert Gilbert, an English comedian, to play the principal role, the well-known Australian manager has been most fortunate. He is irresistibly funny, and, in fact, is the pantomime. Not that it is a one - man show, but Mr. Gilbert pervades the whole thing, and it would be impossible to imagine “Humpty-Dumpty” without him. Our old friend Harry Shine has a part that might have been specially cut out for him, and Le Brun and Queen of horse fame in “Mother Goose,” are even more amusing in the present production. Messrs. Cherry, Loydall and Easby are a host in themselves. Miss Mabelle Morgan, Miss Irene Dillon and several of the other ladies will be pleasantly remembered in New Zealand, and the parts they take in “Humpty-Dumpty” will add to their popularity throughout the Dominion. The ballets are up to the Williamson standard, and the Wheel of Life is the prettiest effect we have seen on His Majesty's stage. “HumptyDumpty” is sure of a phenomenal run, and should do particularly good business during Fleet Week. Ji Mme. Melba has been interviewed in London by the correspondent of an American newspaper. “Why are you a great singer?” he asked cheerfully. “If I am,” answered she, pat, “it is because I cannot help it.” “Is your voice as good or better than ever?” asked the journalist, who seems to have been perfectly at his case. “Why ask such a silly question? Of course, it’s better. Otherwise, why am I here? What other answer could you expect me to make?” (What, indeed?) & Mme. Tetrazzini found herself unable to sing at Mme. Melba’s concert for the King’s Hospital Fund, at Covent Garden, on June 24. The reft sal of the great diva to assist Melba in such a notaole charitable “function” < used some comment. J* J* The season of the Harry Roberts’ company concluded last week. The last three nights were marked by a revival of the Henry Arthur Jones’ comedy, “ The Case of Rebellious Susan.” The piece served to further show what a really finished actor Mr. Harry Roberts has developed into. * d* J® Mr Harry Rickards has been telling a newspaper correspondent that last year he paid £ 8000 to the P. and O. Company for artistes’ passages to and from Australia. Australia, says Mr Rickards, is now being too well served. Over the centre of the proscenium at Anderson’s new Melbourne theatre, the King’s, is an allegorical painting of a winsome female, with a child on either hand. The lady is intended for Aurora, and the children are Joy and Happiness —or something in that way. But, as allegorical figures in theatre decoration bear no titles, mistakes of identity aro likely to be made. For instance, the Melbourne “Herald” reporter spoke of the lady over the proscenium as the “Goddess of Melodrama.” He didn’t mention the names of the two children. Presumably he thought they were Blood and Thunder.

An action in the English Courts the other day disclosed the fact that Geo. Robey, the comic singer, received engagements at as much as £350 per week. The Arthur 11. Adams comedy, “The Tame Cat,” produced by a rather clever band of amateurs, the Sydney Muffs, at a charity matinee at the Palace Theatre, would appear to have been only a moderate success. The story deals with a young Englishman, who clears out to New Zealand, makes the acquaintance of a number of young men, and of one particularly in the King Country, but eventually returns home, and has a “career” mapped out for him. His New Zealand friend, also a “bloke” from Australia, are introduced into the London scenes, where the action of the play takes place. Here he becomes the “tame cat” of a married woman of sufficiently notorious character, but is eventually rescued by his friend, who, however, does not (escape altogether scathless from the fascinations of the lady. A “Bulletin” correspondent is responsible for yet another good story of the business methods of the late Dan Barry, theatrical caterer to the backbloeks of the Commonwealth: I struck Kitchen township, and found the trees of the adjacent woods papered with announcements of the first appearance of the Metropolitan Dramatic Co. (“manager, Daniel Barry, Esq.”), in the stirring drama of to-day, “The Pugilist’s Pride” (by Daniel Barry Esq.), a play that had raged with phenomenal success in all the great centres of Europe, and before all the crowned heads of the earth. I occupied a back seat in the Kitchen Mechanics’ Institute that evening, and sat out “The Pugilist’s Pride.” It was a weird and wonderful performance, unlike anything in the nature of a play that had ever befallen me, but for all that it was hauntingly familiar. Presently I dropped to the device. D. Barry, Esq., had taken ruthless hold of “Romeo and Juliet,” and converted it into a modern melodrama. Romeo was O’Romey, an Irish pugilist. The Montagues had become the Monaghans, and the Capulets had become the Caseys. The street brawl between Romeo and Tybalt (one Tynan) was developed into a 10-round glove fight. In the balcony scene O’Romey was discovered on the Casey’s verandah, and pursued as a burglar. The tomb scene was converted into a prison cell, in which O’Romey and Julia Casey meet, Julia charged with bigamy, and O’Romey accused of poisoning Tynan (Tybalt) at the ringside by introducing arsenic into his lemon. “The Pugilist’s Pride” was an immense success at Kitchen, and ran two consecutive nights to great business. Mr. Harry Shine, who plays the dame in the “ Humpty Dumpty ” pantomime, is a master of make-up. His base is always a ground-work of grey smeared on his chin, and flesh colour tints upon his cheeks and forehead. Then Mr. Harry Shine begins to disappear, and a strange face is built upon the familiar modelling of his features. In a twinkling, to use his own words, he can " give you any old face.” He certainly gives Martha in “ Humpty Dumpty ” a face that would, if permanently attached to a woman, be a ground for divorce. d>t According to a letter received in Sydney from Mr. Harry Rickards, dated London, 12th May, all the Australian artists there are doing remarkably well, foremost among which is Miss Alice Hollander. who is anxious to pay a visit to Australia; Albert Whelan, now in America; making a big success; Teddy Ford, who was doing splendidly on the Stoll tour until a few weeks ago, when he had to have some operation performed which is still keeping him to his bod; Kelly and Agnes, now at London Tivoli, and doing very well; Olive Lenton, who is touring the provinces with “ The Bello of New York ” Company; and Jack Winton, looking remarkably well, and topping the bills

in the provinces. At the Oxford! the Twin Sisters Anderson were going as big as anything.