Music and Drama

New Zealand Graphic, Volume XLII, Issue 19, 12 May 1909, Page 15

Music and Drama

bookings. (Dates Subject to Alteration.) AUCKLAND—HIS MAJESTY’S. May 4 to May 15—Harry R'fk 01^8 - May 17 to June 5—J. C. Mlllianison. June 7 to June Pictures. June 28 to July 3—Hamilton Dramatic Company. July 5 to July 24—Hamilton Dramatic Company. ' July 26 to August 7 —J. C. Williamson. August 24 to September 7—Hamilton Dramatic Company. WELLINGTON. —OPERA HOUSE. May 3 to 18—Meynell and Gunn. May 19 to 27—H. Rickards. May 29 to June 18 —Flemming Company. June 19 to July 24—Allan Hamilton. July 26 to August 13—Pollard Opera Co. August 16 to 28—G. Musgrove. August 30 to September 12 —J. <-. WilliamSeptember 14 to October I—J1 —J- C. Williamson. October 2 to 16—Allan Hamilton. October 25 to November 13 —J. C. Williamson. November 15 to December 9 —J. C. Williamson. December 27 to January 16—J. C. Williamson. TOWN HALL. July 4 to 28—West’s Pictures. PALMERSTON NORTH — MUNICIPAL OPERA HOUSE. May 10 —Madame Melba. May IS —Cinauevalll. May 21 to 2v— Meynell and Gunn s "Hook of Holland” Co. August 4, s—Allan Hamilton s Dramatic Co. August 12, 13—J. C. Williamson’s "Jack and Jill” Co. August 27—Mischa Elman’s Concert. Sept. 20, 21 —J. C. Williamson’s Julius Knight Co. October 6 and 7 —J. C. Williamson. Nov. 1 to 6 —Hugh Ward’s Musical Comedy Co. Nov. 20 to 22—J. C. Williamson. Jan. 17, 18—Carter, the Magician. Jan. 20 to 24—J. C. Williamson. Feb. 14, 15—The Scarlet Troubadors. March 28 to 31—Allan Hamilton. May 19, 20—J. C. Williamson. June 8, 9—J. C. Williamson. June 20 to 25—Fred H. Graham’s Musical Comedy Co. June 29, 30—J. C. Williamson. July 1, 2—Meynell and Gunn. August 18, 19—J. C. Williamson, Sept. 30 —J. C. Williamson. October I—J. C. Williamson. Nov. 1 to s—Allan Hamilton. Nov. 10, 11—J. C. Williamson. Cinquevalli. CINQUEVALLI, the marvellous equilibrist, opened in Auckland under the direction of Mr. Harry Rickards on May 4th. His Majesty’s was crowded to the doors with . an enthusiastic—indeed, spell-bound—-audience, whom he kept in a perfect flutter of excitement from start to finish. His remarkable versatility extends from balancing a fluttering sheet of paper on his nose to tossing a 20ib cannon ball above his head and catching it harmlessly on his neck, when the audience fairly held their breath. He juggled with the cannon bail with the same certainty and ease as a boy might play with a marble on the footpath. Indeed, the thing of steel seemed to be invested with life, and come back to its master at his slightest wish. It ran all over him like a tame bird, and nestled in his arms, fluttered round his neck with lightning rapidity, and then rested quietly on hi.s forehead. It even whispered in his ear, and played leapfrog right over him from between his heels, while the audience strained their nerves to see, feeling very much as the lion tamer does who puts his head into the lion’s jaws. Less exciting and equally elever was the billiard ball turn, when five balls are kept in the air in rotation, and then run all over him, coming to rest in his pockets. He keeps two rolling on top of each other between two cues, and balances a wineglass in his mouth with a ball on top, with three ■or four others going in the air, and finally tosses the one out of the glass and catches all at onee in his pockets. [Three cues are kept in the air at once, and then he tomes and catdhes one between the others in all sorts of contortions, until they seem positively magnetised, and as if they could notfall If they wanted to. A marvellously clever act which turns one giddy is spinning a glass of water in a wooden triangle suspended on a cue, without spilling a

drop, and finally bringing gracefully to rest. He also carries the attendant round in mid-air by the rung of his chair, held in his mouth —table and all! Of the other artistes, Lawson’s cycling is worthy of special note. He is as dexterous with the machine as the great man with the billiard balls, aiid higher praise than this cannot be said. He rides round on one pedal, waltzes, turns somersaults, stands absolutely still, and Tides backwards both on the handle bars and on the front and 'back wheel. Those who remembered how the law of gravitation was brought home to them when learning to manage a bicycle were simply paralysed at the utter disregard of Nature’s laws by this wonderful will-o’-the-wisp of the treacherous wheel. Dawson gave a splendid turn at comic impersonation, which was excellently done, and he should have a big future before him. Namon was a good example of feminine physical culture and graceful strength. Maekinnon’s Scottish Meisters proved great favourites, and Miss Fanny Powers gave a remarkable exhibition of foot patter. The whole entertainment goes with a swing from start to finis'll, and is bright and enjoyable throughout. The Royal Comic Opera Co. which wiil inaugurate the Auckland season next Monday with a production of the world-famous London success, “ The Dairymaids,” was organised twenty-five years ago by Mr. J. C. Williamson, and has sustained a high standard through all the changes and vicissitudes of that long period. The visits to New Zealand by this powerful combination are all too few and far between, and have become events of some importance in theatrical circles. At the present moment the company is particularly strong, having recently been augmented by some important engagements. Among the old favourites the foremost are: Miss Florence Young, who has won fresh local laurels by her finished performances during the recent Wellington season; Miss Connie Milne, Miss Neliie Wilson, Miss Marietta Nash, Georgie Musgrove and a host or other clever and charming ladies; Mr. Reginald Roberts, the dashing actor and brilliant tenor; an old favourite, Mr. W. S. Percy; Mr. Victor Gouriet, Mr. C. R. Bantock, Mr. A. Hunter, and other well-known artists. Mr. Andrew Higginson is new to local theatre-goers, and conies to us with a talent which seems to have exhausted the superlatives of contemporary critics. The same may be said of Miss Fanny Dango. A feature of the present season is the orchestral music, by a full opera orchestra, under Mr. Howard Carr. A strong chorus and ballet will support the principals, and contribute to the kaleidoscopic splendour of the stage pictures, with which this piece abounds, combining with the music to fascinate eyes and ears alike. Coming of Melba. Madame Melba opens her season at the Auckland Opera House, on Tuesday, 18tt>, from Wellington, where she has been the one topic of conversation. Indeed, she has gained by her second visit, for Melba is a singer who can only be appreciated to the full after acquaintance. Not only her matchless voice must he known throughout its marvellous compass, but her method of vocalisation alone is regarded by other singers as a model. Melba comes to us in the noontide glory of her fame, and while her voice retains all its freshness and beauty. Melba is still the Queen of Song. Jenny Lind is now only a memory, and Patti has retired. For a time excitement ran high in the Old World over her contest with Tetrazzini, but when they appeared side by side, Tetrazzini shrank from the lustre of the diamond, as the diamond outshines the pearl. Everyone has heard of Melba's trill. It is thus described by Anton Seidl, the eminent critic and conductor of New York: —" Melba’s trill is of quite fabulous sustention; for instance, she has at her command a logn and powerful crescendo on the highest notes that is without a parallel, and yet performed with a clearness and certainty which simply excite astonishment, and at the same time soft, clinging and cajoling. Her voice hasainagical fairylike tone, and yet with all the eharm of sound, there is present such a roundness of technique that one is

amazed. In Madame Melba we find the prodigal richness of one of the most beautiful voices that ever rang horn human throat.” Whta la a Mezzo-Soprano 7 What is a mezzo-soprano? is a question that has had to be decided by the judge of the Sydney Eisteddfod. The test piece in the ehampion mezzo-soprani solo was “My Heart is Weary” (A. Goring Thomas), which is only published in the one key of A flat, with a range fron - B flat to G natural. One of the entrants, however, had made a manuscript transposition, raising it a half a tone or so higher. This entrant was awarded first prize, and a protest was entered against her on the ground that she did not sing in the proper mezzo-soprano key. The judge (Mr. Bradley) is alleged to have said that he noticed the winner with a transposed copy, but defended his decision by stating that the schedule refrained from stipulating any key—which was certainly true—and that the song was published in other keys. Anyhow, the committee decided to uphold the judge’s award and dismiss the protest—they could not well do otherwise. In eases where no key is mentioned, the decision must necessarily rest entirely on the quality of the voice, irrespective of key. The First Jingo. The earliest record of plays in China shows that a pantomime symbolising the conquest of China was given about 300 A.D., although it has been held that the first play ever given in China was done in 80 A.D. Getting On, Mr. Aniold Trowel), the gifted son of Mr. Thos. Trowel!, late of Wellington (who went to England a year ago), is quickly ascending the artistic heights. From what can be gathered from English sources, this bright boy, who commenced to play the ’cello when but a tiny boy attending St. Patrick’s College, is not only a great player, but is making his mark as a composer. Move Jingoism. Mr Randolph Bedford’s military drama entitled “Australia, or the White Man's Land,” is shortly to be produced at the King’s Theatre, Melbourne. It deals with a probable invasion of Australia by the Japanese. Good Gid Sensation. In a Wellington theatre a play, yclept “Lured to London,” is being performed, wherein the “boy” hero—Miss Ethel Buckley—plunges into “Regent’s Canal,” presumably to effect a thrilling rescue of his lady love. According to the account of a “Post” reporter who was permitted to peep behind the scenes, the receptacle in which this doughty feat is performed is a boarded tank 3-j‘ft deep, 4ft broad, and Itfft long, and contains 1800 gallons of water. As this small reservoir would make too much mess if it broke loose, no chances are taken with it. The floor is padded and the interior lined with two linings of canvas. The water in the canal (i.e., the tank) is warmed to about 80 degrees, for obvious reasons. In this canal, from a window 12ft high, youthful heroism plunges every night, to the re-companiment of much applause and splash. It is stated that Miss Buckley learned the feat in a couple of weeks, and it will be interesting to shrinking womenfolk to know that she cannot swim 20 yards. The Late Geo. P. Carey. General regret will be felt in the theatrical profession at the news of the death, which occurred at St. Vincent’s Hospital, Sydney, on April 29, of Mr. Geo. P. Carey, who for a period of something like 40 years had been intimately connected with the Australian stage. Mr. Carey had not been in the best of health for some time, but none who saw him playing a few short weeks previously with the Meynell and Gunn Company, at the Criterion Theatre, and more recently in the first night’s performance early this month of “Queen of the Night,” at the Palace Theatre, anticipated tiiat the veteran's time on earth was so short. Mr. Carey stage-managed the first production of 'Queen of the Night” for Mr. Allan Hamilton, as well as acting 4n it, but after one appearance in the part of Briskett —which, ill as he then was, he sketched with that art 'he possessed of fetching a laugh in the right place—ho ■went into the hospital. In the long years of his association with the stage in Australia and New Zealand the deceased actor played many parte, and did

sterling work in many notable performances. A son, Mr. Reg. Carey, is following in his father’s footsteps, and will be remembered particularly for his smart work in “Sherlock Holmes.’’ Mr. Carey, who would have attained his 57th year next month, married a daughter of Mrs. ■Walter Hill, and hie widow survives him. Intended by Providence. Amateur stage performances are not sent us for our sins, as some people think (says a Sydney writer). They are intended by Providence to teach us to think lea unkindly of professional actors in ordinary. The average mummers of either sex have no more special aptitude for theatrical business than the average carpenter has for carpentering, or tire average lady cook has for cookery. Everybody is stage-struck at one time Or other, but the most intelligent people —with a fair percentage of exceptions—recover rapidly from the effects of the blow, and devote their dramatic instinct to some other field of industry than “The Profeshun.” Therefore, “The Profeshun” is populated mainly by people who take parts which they can’t act, but who have been trained to avoid ridicule, and who never shine save in the light of comparison with their purely amateur imitators. A New Gilbextlan Work. Sir William Gilbert has returned to the paths of Savoy opera—“one of the most cheering bits of news brought to the notice of playgoers for many a long day,” as the London “Daily Telegraph” observes. That journal gives some information about the new work:—“Beyond the fact that the new work comes of the same royal line as ' The Mikado,’ * The Yeomen of the Guard,’ and ‘ The Gondoliers,’ no details regarding it are known, and for the moment tho author prefers to keep his own secret. * I have really nothing to communicate,’ ho writes, refeiring to the piece. ‘lt has no name, no local habitation, and no prospect of being produced before Christmas.’ It is good to k-ow, on the other hand, that the music is to be composed by Mr. Edward German, whom Sir ArthurSullivan himself, shortly before his death, nominated as his legitimate successor in this particular sphere of endeavour. Obviously nothing could be more appropriate than an announcement that the new opera would eventually be seen at the Savoy, clearly predestined by right of tradition and of fame to bo its homo. Whether any arrangement of the kind can be made is (till quite an open question.” Leva Ash-well's Theatre. At the Kingsway Theatre, in London, a novel idea for a curtain raiser has been introduced in the form of a string quartet. The director of the music at Kingsway Theatre has eben giving unusually good music during tho past season, and now the quartet takes a prominent place on the stage, playing the best classical music, and thus attracting musicians to the theatre who otherwise would not attend. A Cooler View. So much had been written and puffed about the powers of the new tenor, Tamini, says the “Standard of Empire,” that a large audience gathered at his ■first “West End” appearance at Queen’s Hall in January. He sang at the Albert Hall previously at a Sunday concert, and immoderate eulogy was bestowed upon the newcomer by some sensation-loving journals. The new tenor was a Caruso and Tamagno rolled into one, with a dash of Bonci thrown in for luck. With all due respect for the undoubted abilities and relined natural gifts of Signor Tamini, it would be a sorry day for him were he cast for the same concert at which Caruso or Bonci was appearing. Judging from the best performances <?f his selection at Queen's Hal), there is no denying his artistic sincerity and wonderful command of expression. But the attitude of his audience is one of admiration, not of enchantment. In fact, one never experiences .the thrill, the blood-tingling emotion that Caruso's great notes call forth. In short, so far. Signor Tamini touches the intellect, but not the heart, in passionate moments, though in softer moods be sings with moving tenderness. However, the new tenor is yet young, and his career is before, not behind, him. Those around him should be reminded that a big drum docs not make a good band. In fact, much good music may be ‘hidden by it. Stray Notes. The closing performance of the pantomime at the Theatre Royal, Dublin, on

Saturday night, February 27, was marked by so my*li disorder that the curtain (was rung <(jwa at nine, and the building cleared by the police immediately afterwards. Large numbers of young (non, Including many students, threw Oranges, paper darts, and even empty bottles on the stage, some of the actors having narrow escapes. The orchestra Jed, and the disturbers installed a mock and in their places, amidst a terrific din. Several arrests were made. • In Mr. Charles Frohman’s New York production of “An Englishman’s Home," Sir. William Hawtrey has been engaged ito play the part of old Brown. Concerning Miss Rees, of Gisborne, a member of Mr. Allan Hamilton’s new dramatic company, who opened at Easter in Sydney with “A Queen of the Night," an exchange says: “The initial appear•nco in Australia of Miss Rosemary Rees was auspicious. The actress has a decidedly graceful movement and charm of manner, and, in addition she posseses a sweet voice.” Miss Maud Chetwynd is Said to revel in the part of Kitty White. 6he introduces several songs and dances, •nd receives a demonstration for her renliering of the patriotic air, “ Who’s for England ?” During the last 12 months seven playwrights in France have earned over *4OOO each, eight over £2OOO, 27 between £IOOO and £2OOO, 28 between £SOO and fIOOO. and of 45 others none has earned lees than £2OO. i, George Chalmers, as General Murat in “A Royal Divorce,” is used to more than stage fights. He fought through the Zulu war, and took part in the heroic (defence of Rorke’s Drift. He bears strong testimony to the fact in the shape jof assegai wounds. U A book of etiquette entitled “Don't Do That,’’ by William Collier, has been issued. After a brief sketch of the way hs entered on a sta"e life, Collier gives » series of “don’ts,” which are very funny. Here are a few of his “don’ts” for actors and managers: —

; “The purpose of the theatre is to hold (the mirror up to Nature, but first clean the mirror, and 'be sure it isn’t cracked.”

“Don’t bank too much on a good newspaper notice; just try to buy a pair of ehoas with one.” And here are a few "don’ts” for the •udi ence which have point:— “When you buy theatre tickets don’t ask, 'Can I see from there?’ a ticketBeller is not necessarily an oculist. “Don’t come late and know it all; coms early and see it all.

“Don’t overlook the fact that the Jtheatre is yet to be built in which all (the seats are on an aisle, and all the (tickets for only five rows from the stage.”

; AU the world was recently astounded by the sensational disclosures of the doings of certain New York society millionaires as revealed during the hearing of the now famous Harry Thaw-Stanford White trial. The principal incidents in the lives of Thaw and White have now been moulded into dramatic form, and •re to be presented by the Harry Macdona. Company at the newly-renovated Queen's Theatre (Sydney) to-night. Mrs. Brown Vo tier's daughter has Jnarried Mr. Stillman, the Standard Oil magnate. The Rio de Janeiro authorities have prohibited the wearing of any form of headgear in theatres. Managers have been warned that they will be held responsible for every infraction of the rule, ahd fined £25 per covered head.

! ■ In one sense the mantle of the dead lOoquelin aine has fallen upon Mdme. SJernhardt. The great tragedienne is Shortly io appear in the role of Cyrano, m Ilostiiiid’s famous play, the rendering bf which made Coquelln’s fame Immortal. Henri Bernstein, the author of “Ths Thief” and “Samson," has just finished *TBr«ol." a new modern drama. Charles Frohman has the rights of the play, and Miss Constance Collier will play the lead in the American production. Bernstein is in la>ndon now studying English life in order to write a French play about Engl fob people. Probably the most prolific dramatic Writer that the world has ever known was Lope de Vega, who is credited with the

authorship of 1500 plays, besides 300 more that can best be described as sacred dramas unsuited to stage production. The reason there are no American opera composers of renown (says the “New York Musieai Courier”) is very simple. They do not sat about their prepara liana correctly, and neglect to choose the proper place where inspiration may be found.