Music and Drama.

New Zealand Graphic, Volume XLIV, Issue 1, 5 January 1910, Page 15

Music and Drama.

By

BAYREUTH.

BOOKINGS. (Dates Subject to Alteration.) AUCKLAND-HIS MAJESTY’S. Dec. 26 to Jan. 16—J. C. Williamson s "Klug of Cadonta" Co. January 6 to 11 — Havana. THE OUEHA HOUSE, Tn Season —Fuller’s Pictures. ST. JAMES’ HALL. Januaiy 4 to 7 — Clement Wragge. WELLINGTON OPERA HOUSE. Dec. 26 to Jan. 15.—J. C. Williamson. Jan. 17 to 26.—Carter the Magician. Jan. 29 to Feb. 19.—J. C. Williamson. Feb. 26 to March 25.—Allan Hamilton. March 26 to April 18.—J. C. Williamson. April 19 to 27. — Mevuell and Gunn. April 28 to May 18.—J. C. Williamson. May 19 to June 3. —Fred. H. Graham. June 4 to 25.—J. C. Williamson. THEATRE ROYAL. Tu Season.—Fullers’ Pietuies. Paderewski s Symphony Flayed in London. PADEREWSKI was the ke- note of the regular concert of the London Symphony Orchestra at Queen’s Hall, when, under the conduetorship of Dr. Richter, the Polish pianist’s symphony in B minor was given for the first time in England. Not since the London production of Elgar's Symphony have such scenes been witnessed in and around Queen’s Hall, or Such general interest been shown in a musical event. Some days before the concert all the reserved seats were sold, and for the unreserved places great crowds gathered in Langham-plac-e hours before the doors opened. There was not a vacant seat to be seen inside the hall, ami even every available place behind the orchestra was occupied. The work is scored for an unusually large orchestra, including the strange sarrusophone, and an instrument invented by Paderewski himself to suggest distant thunder—the tonitruone. They were generally used together. “There was no mistaking the moment when they were employed in the score,” says a critic, “the effect being" not unlike the sounds emitted by a disabled motor-omnibus.” The work takes about seventy minutes to perform, thus beating the record for any purely orchestral symphony. Meaning of the Mnsic. The three movement's have each a programme. The first suggests the "heroic past of Poland,” the second, andante, reflects “the poetical and lyrical, elements of the race,” whilst the last, following the lines of Richard Strauss’ tone-poems, is a ; whole history of stirring events and despairing endeavours. The last movement also contains a battle scene, depicted with all the gorgeous complexity of modern orchestration. , According to reliable accounts, the work is all very straightforward and aboveboard. Easy- to follow in mood and utterance, it would become undoubtedly'popular were it not so spun out. If is nevertheless the work of a sincere artist, who has a national sentiment to express, and has tried to say it through the medium of his art. It is not, however; the utterance of a nationalist, as we know him, but of a nation, subdued, depressed, almost' lost to ambition. The scoring is vivid, strong, and’brilliant. Paderewski was called to the platform after the first movement, and several times after the lost. He took one of the recalls as meant for the. orchestra, who had done so superbly. After the symphony the famous pianist gave a masterly performance of Beethoven’s “Emperor” Concerto. 7Joseph Holbrook’s Opera. Sir Herbert Beerbohm Tree’s beautiful theatre in London—His Majesty’s —seems destined to become the home of British opera tie . composers. Quite recently Ethel Smythe's opera, “The Wreckers”—a work of exceptional promise and brilliance —was produced there. Now Mr. Joseph Holbrooke’s two act opera "Pierrot and Pierrette” has been brought to the same footlights. It gleams and flashes with the vivid touches of descriptive effects. It ia easy-flowing music, and though founded

on themes father than melodies, the various lyrics have great charm. Life to the “pompon” lovers in Pierrette’s garden is one long lovesong until the Stranger comes and sings of the liberty of life and love in the town beyond. With curiously mild persuasion Pierrot is lured away, leaving the sorrowful Pierrette behind. The second act opens with the Nurse’s soliloquies on the- theme, "Nothing lost except gold.” Of this character it is difficult to fathom the meaning. All draped in black, ami speaking in hollow, sepulchral tones, she had little of a maiden’s companion about her. At all events, for a purse of gold she admits the Stranger into the garden. His advances, however, are repulsed by Pierrette, who refuses to believe his tale of Pierrot’s faithlessness as persitently as she scorns his love. " Out of the Picture.” "The Stranger’s struggles to overcome Pierrette's loyalty and his expulsion from her presence,” remarks one bilious critic, "were no more convincing than his fascination of Pierrot in the first act. In fact, it is a wonder that anyone attired like the Lord Mayor’s coachman should exercise powers of fascination over anybody. The Stranger’s costume was wholly out of the picture.” Pierrot returns jaded, torn, and heavy-hearted; having had his "fling,” he comes back to his one true love. She hides! He is momentarily in despair—and then there is the happy ending. There may be a moral in the tale, but there is no drama. There is no action, and no intensity of emotion. But the music makes amends. The preludes to both acts are fine pieces of workmanship. The songs for Pierrot and Pierrette in the first act, that of the Stranger in the second, and the final duet of the lovers are numbers that impress the hearer with the high qualities of their composer. Novel Concert by Madame Clara Butt. A song cycle, entitled “Four Cautionary Tales and a Moral,” words by Mr. Hilaire Belloc, M.P., and music by Mme. Liza Lehmann, was sung recently in London by Mme. Clara Butt and Mr. Kennerley Rumford. The work is a kind of “Struwwelpeter” set to music. Sins of naughty children are punished drastically and on the spot. There is no mercy for the young delinquents, and if the songs are closely followed and the moral of the good little boy of the final song is absorbed by any children present they cannot help going home filled with the best and most worthy intention. The first story tells of the terrible fate of Rebecca, who slammed doors for fun. The poet truly says: — “A triek that everyone abhors In little girls is slamming doors.” Then we are told that a wealthy banker’s little daughter lived in Palacegreen, Bayswater. “She would deliberately go And slam the door like Billy Hol” But a marble bust of Abraham happened to be placer! just “above the door this little lamb had carefully prepared to slam.” “And down it came! It knocked her flat! It laid her out! She looked like that!” Iler funeral sermon, we are told, was long, but dwelt updfc her vices as well as her virtues, “And showed the dreadful end of one Who goes and slams the door for fun.” Retribution. Jim fared no better than Rebecca for running away from his nurse. He was eaten by a Hon, poor boy.’ But he knew quite well — "That children never are allowed To leave their nurses in a crowd, but he always slid away when he could get the chance. • s

"And on this inauspicious day He slipped his hand and ran away. He hadn’t gone a yard when—bang! With open jaws, a lion sprang, And hungrily began tfl eat The boy, beginning at. his feets . Now, just imagine how- it feel* ■ When first your toes and then your heels, And then, by gradual degrees, Your shins and ankles, calves and knees, Are slower eaten, bit by bit. No wonder Jim detested it!” Though the honest keeper ran up and called on the lion to desist, it was no good. "The lion having reached his head, The miserable boy was dead.” The most tragic story of the set, however, is that of Matilda, "who told such awful lies it made one gasp and stretch one’s eyes.” Having grown tired of play, one- day the naughty child went to the telephone and summoned the fire brigade. Engines came from all directions. “Thev galloped, roaring through the town, 'Matilda’s house is burning down!’ ” “They ran their ladders through a score Of windows on the ballroom floor; And took peculiar pains to souse The pictures up and down the house, Until Matilda’s aunt succeeded In showing them they were not needed.” Then we have the fable of "Wolf! Wolf!” repeated in all its terror. Matilda’s aunt a few weeks later went to the theatre. “That night a fire did break out— You should have heard Matilda shout! But every time she shouted ‘Fire!’ The people answered ‘Little Liar!’ And therefore when her aunt returned, Matilda and the house were burned.” The tale of Henry King is a short and sad one. He chewed bits of string which ultimately got tied in ugly knots in the bov’s inside. So famous doctors were called in, but answered as they, took their fees, "There is no cure for this disease.” The poor child expires calling on his friends to be warned by him.

Christmas Pantomime in London. The Christmas pantomime at Drury Lane, London, is nothing if It is not up-to-date. Ihe subject based on the inexhaustible store of ‘The Arabian Nights.” this year, is Aladdin at the North Pole. According to re<ent advices, the great spectacular scene of the pantomime was to be that of the end of the first act. Here, following the story, Aladdin ami the Widow Twankey will b> found fighting their way to the precious lamp through the tableaux representing the Three Halls, through threatening and beautiful idols of bronze and ivory. At last, reaching the Garden of Light, Tres and Jewels, Aladdin, guided by the Spirit of the lling. reaches the Abode of the Lamp the climax of fancy and invention. There will be no opening "dark Scene” this year, says the “ Daily Express.” In the beginning Abanazar will be seen at work, ami this will lead quickly to the first spectacular scene, the Port of Peking, which will be lovely, with, its quaint merchantmen and its crowds of Chinese street vendors, its broom-sellers, cat-sellers, and the rest of them. The scene of The Baths will not be the merely comic or merely pretty episode usually presented. 11 will be entirely novel and animated. By means of coloured cinematography and many of Mr. Collins’ most ingenious devices- for real people will be combined with the motion pictures — the Princess and her retinue will be seen bathing in a splashing sea. Scene 3 of Part 11. is laid in Abinazar’s shop, and the exchange of new lamps for old occurs. In Aladdin's garden there will be a lovely view of terraces, with his palace in the background. By and by this palace will fly away through the air. growing gradually less and less before the eyes of the audience. At the North Pole, which the palace reaches at last, Cook and Peary will he seen indulging in their rivalry, and polar bears, Eskimos, and even a humorous parody of the performing seals at the Palace Theatre disporting themselves. This beautiful “ set ” will discover Aladdin’s wherein there will be a novel ending io the fable. In addition to all these wonder--, “Ala-d-

dm will show an extraordinary illusion of dancing in a marvellous effect of revolving light. The Censor and Orthodoxy. The recent production of the Egyptian drama “False Gods’’ in London, shows, very clearly how easily censorship of plays as regards religious matters can be successfully evaded by predating the period to somewhere B.C. There may, of course, be dull-witted folk who teatg nothing in “False” Gods” but a magnificently mounted spectacle, reproducing, with marvellous fidelity, as is the wont of Sir Herbert Tree, the daily life of the people of Egypt in the days of the rharoahs. But it can hardly have escaped notice that the motive of the author, M. Brieux, was to convey his view’s on the religious questions that are so profoundly agitating the French people—or at least a section of them —in our day. It surely requires little imagination to conceive of the High Priest as the Pontiff of the Vatican (or, for the matter of that, as the Archbishop of Canterbury, at least in the scene where She convinces Pharaoh of the paramount importance of an Established Church). The leading character of the play, Satni, the embryo priest of peasant parentage, who by foreign travel has acquired extreme Agnostic tendencies and iconoclastic views regarding the ancient gods of Egypt (or indeed, any gods), might ■t'and for any apostate probationer of the (Roman Church; and with a slight stretch of the fancy, Yaouma, the maiden who is called by the gods to be sacrificed in order to cause the Nile to rise, and who, dismissing her lover, Satni, as worth nothing in comparison, rapturously amwers the call, anight be taken to symbolise those women who, in our time, “take the veil” and consent to become dead to the world in some convent. A parallel might also be found between the miracle of the goddess bowing to the people and certain widely accredited miracles of the Roman Church. Again, in Mieris, the blind wife of the Egyptian grandee, with her selfish motives for worshipping any god who would grant her the boon of sight, we may see personified the spirit that pervades over the pilgrimages to Lourdes. The Hypocrisy of It. “No greater contrast, perhaps, in things dramatic,” remarks the “London Literary World” apropos of the question, “could be found than between ‘False Gods,’ with its strong religious element, which overpowers and completely crushes out the love feature, and a modern Society play like ‘The Best People,’ which is now drawing large houses to Wyndham’s Theatre. In this exceedingly up-to-date comedy we see the entirely pleasure-seeking selfish lives of the leisured classes, with their simple code of honour, which consists mainly In not being found out, and their utterly materialistic views. For anything that appears to the contrary, the statement, ‘the gods are dead,' might indeed be applied in its fullest extent to this mirrored presentment of modern English aristocratic households—-with one exception, there is still a tendency to bow down to Mrs. Grundy, but. just as in the case of the wooden gods and goddesses of old, a stronger tendency to hoodwink her. The acting of Miss Eva Moore as the Hon. Mrs. Bayle, and of Miss Lettiee Fairfax as Lady Emsworth, left nothing to be desired, and Mr. Charles Sugden made a delightful Lord Wynlea. One of the lastnamed's good tilings was his rebuke to his sou when he began to speak loudly: ‘.Don't raise your voice, my boy. It's the only thing left to distinguish us from the lower classes.’ ” Sweating on the Stage. “If an ’actor is employed for twenty-five weeks in the year he is extremely lucky,” declared Mr. Cecil Raleigh in opening a discussion held by the Dramatic Debaters in London recently. “Thirty-five weeks is about the limit. “I have taken the trouble to work out n few plain figures concerning what an actor can earn and spend. Beginners ’are offered 20/, 25/, or 30/ a week, and sometimes there are joint engagements of husband and wife at 35/. “That is a rank ami crying iniquity. “I calculate that an actor’s expenses on clothes, boots, hats, gloves, umbrella, rooms, washing, postage, omnibuses, baggage, tips, make-up, and hair cut. and subscription to the Actors’ Association .at .£37 C/. If ho gets £2 a week for thirtyfive weeks this leaves him 12/6 a week for food. "It is « brilliant calling, Is It not? “There are hundreds of actors and

actresses who are not engaged thirty-five weeks in the year, and who are getting 20/ or 25/. That is rank and horrible starvation. “In the country business has become worse and worse year by year. You will find at the theatre a comedy which has been going round since the year one, while at the music-hall you will fiud Miss Marie Lloyd and a magnificent show. “I appeal to you,” Mr. Raleigh concluded, “to use all your influence in impressing on all those connected with the calling the necessity for something approaching a trade union.” “ The King of Cadonia.” “The King of Cadonia” has had a busy week in Auckland. Mr. J. C. Williamson's New Comedy Company, with the inimitable Bert Gilbert spreading laughter broadcast, has done much to make the production pass that particular test of quality which is known as “the popular success.” The piece is designated comic opera. Comic opera is evidently not what it used to be in the heyday of Gilbert and Sullivan. It seems-to have been in recent years tangled up with farce, musical comedy, and even the music-hall turn. “The King of Cadonia” represents a combination of these elements. It is a light fragmentary story. Its music has little to recommend it (with one exception), save as the sketchy tuneful farrago that distinguishes the lighter side of the modern musical stage. The attractions of the piece lie rather in the individualisation of the leading characters by such artists as Mr- Bert Gilbert (the Duke of Alasia), Mr. Herbert Clayton (the King), Miss Dorothy Court (Princess Marie), and Malitza (Miss Lottie Sargent). Mr. Williamson did New Zealand a service by sending here the original company that was marshalled for the Australian production. The public showed their appreciation by piling up packed houses for every night in the week. It is evident that it pays to bring the best talent to this country as much as to Australia. But that in passing. “The King of Cadonia” is a very fine piece of staging. It is magnificently mounted, the costumes are an advance on the high standard set by the Williamson production, and are chosen with admirable taste. The choruses, for the numbers they muster, are fairly good, not particularly distinct in enunciation, and at times rather overpowered by the orchestra. None the less they are finished in performance, whilst the dancing and grouping can excite nothing but praise. Miss Dorothy Court comes to us from the Savoy, a young and pretty artiste, more accomplished as a singer than an actress. It may be that her impersonation as the Princess is not altogether suited to her talent, but she is not al way’s convincing. She has a distinct refinement and charm of manner. and her singing, particularly of Liza Lehmann’s beautiful “Prince Charming,” was an advance on what is usually’ associated with the comedy stage. The last performance of “The King of Cadonia” in Auckland w’ill be given to-night (Wednesday). Forthcoming Productions—- “ Havana.” To-morrow (Thursday), J. C. Williamson’s new Opera Company will make the first change of the Auckland season—when “Havana,” a new Musical Comedy by George Grossmith, junior, with music by Adrian Ross and Leslie Stuart, of “Floradora” fame, will be presented for the first time here. The plot as the name of the play suggests, is laid in the Island of Cuba, a locale which should lend itself prodigally to combinations of colour, light and handsome appointments. The story centres round the loves of Jackson Villiers (Mr. Herbert Clayton), and Consuelo, the Belle of Havana (Miss Olive Goodwin). There are also a band of highhanded Cuban conspirators—known as the “Red Liberados,” who havin‘g enmeshed “Mix”—the Boatswain of Vinter's private yacht “Wasp” into the heart of their struggle for Liberty. They proceed to deal with him in a way that according to Australian critics, is splendidly conductive to Mr. Gilbert’s unique style and manner of producing tile essence of high grade comedy from •the most hilarious, though.to the actor supremely serious, situations. Albeit the cup of Nix’s bitterness is full—seeing that whilst ashore, and under the influence of the insiduous vintage of Cuba he hats married, certainly in haste. His leisure he passes subsequently in trying to discover who the blushing bride is. The Liheradors, amongst other issues, are plotting to remove the reigning

Queen, with the object of placing “Isabelrta"—a sorry termagant and Gorgon in the position. It is this lady that Mr. Nix is led to believ-e he has espoused—his doings provide manifold avenues for humour of the kind of which Mr. Gilbert is so lavishly possessed. Again we are to have an old favourite, Mr. W. S. Percy, in a fine comedy part, Reginald Brown, the round and jolly yacht’s boy, is, the precise anthesis of Mix. The pessimist and the optimist 'with all the license granted by comic opera, a promising combination indeed. Of course Mix has in reality been fortunate enough tu. marry- Anita, a dainty, chic, and delightfully pert Cuban eigar maker, in the person of that charming artist, Miss Lottie Sargent. The amours of Mr. Frank Greene as the Don Adolfo, and Mr. Herbert Clayton as the dashing young Englishman, also provide much fuel to the fire. “Havana,” which is spoken of as being one of the most handsomely decked plays ip the J. O. Williamson repertoire, will be played for six nights. “The Country Girl's” three performances concluding the season. Stray Notes. The musical season in London this year seems to 'be one of unusual opportunity and excellence. Four of the world’s greatest instrumental soloists have all been appearing, Paderewiski, De Pachmann, and Busoni, amongst the pianists, and the great Belgian violinist Eugene Ysaye. The London Symphony Orchestra under Dr. Richter are giving excellent programmes every Sunday night at Covent Garden Opera House, in addition to their regular series of concerts. The Queen’s Hall and new Symphony Orchestra both have strong programmes, including much more of the works of modern writers like Richard Strauss, Max Bruch, and Sir Edward Elgar. The opening Philharmonic Concent which took place last month was devoted entirely to the works of the latter, who himself conducted the performance. Mr. Charles Frohman, probably the world’s greatest theatrical manager, confided his pet project to an interviewer in New York recently. “What I would really like to do,” he said, “is to produce' a wonderful something to which I would only go myself. My pleasure would be in seeing a remarkable performance that noleidy else could see.” At this, we are told, Mir. Frohman’s eyes half closed; as if he saw before him that visionary production. “But I can’t do that,” he continued. “The next best thing is to produce something for the few’ critical people. That is what I am trying for.” Incidentally, Mr. Frohman remarked that no one had ever given him a penny to do anything with. “I commenced with 3,800 dollars, and I think it is a bigger thing to take that little 3,800 dollars and do what I have ' done—artistically, I mean—than it is to do things that people will help along with millions.” “The Climax,” that delightful little story by Edward Locke, is forming a matinee attraction at Her Majesty’s Theatre, Sydney, during the holiday season. The piece has achieved a great success in New York. It possesses a real musical atmosphere allied to some intensely dramatic situations, and its treatment is altogether delightfully fresh and away from the ordinary run of pre-sent-day theatrical productions. The cast, which is composed of only four people—an old music master and his son, a young girl who is their resident pupil, and a young American doctor in love with the girl—includes the names of Miss Florence Young, who will make her debut in dramatic work; Mr. Reginald Roberts, Mr. J. B. Atholwood, and Mr. Dion Titheradge. Mr. Lionel Brough was once asked by an amateur what was the secret of good acting, and his reply was characteristic. “Can you stand still?” he asked. “If you can,” he went on, “you can act. This the golden secret', and it is one which very few people learn. Read Shakespeare and stand still. That is my advice to all young actors.” The opening concert of the Dominion tour of Miss Amy Castles will tike place in Auckland on January 24. Miss Castles will be supported by a company of artists. Mr. Peter Dawson, the basso of the company, is one of the leading bassos, and lias a reputation which is enhanced by his grama phone records, which are known everywhere. Mr. Anderson Nicol, the ■tenor, has become a great favourite wherever he has appeared. Mr. Victor Busst, the p’snist, is also a capable artist. Miss Spong was drawn to the stage while her father, W. B. Spong, W’as doing

very artistic scene painting in Sydney and Melbourne. Although she was born in England, the graceful young actress regards herself as “half Australian.” America is now claiming the fair Hilda. In a New York paper just to hand we find the following: “Hilda Spong has returned to America. Though an Australian by birth and English by training, Miss Spong is an American by adoption. Her long list of successful roles in America puts the American stamp of approval on her work. Her Lady Algy, though she followed others in the role, is still fresh in the minds of theatre-goers. Throughout her long list of creations, one remembers with pleasure her greatest triumph, when as Lady Algy she gripped the American fun-loving publie. As Imogen Parrott in ‘Trelawney of the Wells.’ she rollicked through her part with a spirit worthy of that famous cast, which included William Courtleigh, Henry Woodruff, the late Edward J. Morgan, and Mary Mannering.” Miss Nellie Stewart has been giving some sound advice to stage aspirants. “It is absolutely necessary,” she told an interviewer, “that everybody adopting the stage as a profession should start at the very bottom of the ladder. They must be content to play anything, and must never—this is very important—get what is known as ‘swelled head.' She recommends beginners to attend theatrical performances constantly, and to keep their eyes open. There is a characteristic Nellie Stewart note at the end of the interview. “Never disappoint your public if you have strength enough left to crawl on.”

Riggs and Briggs are two citizens, more or less interested in municipal aff.’irs. uey differ on several burning questions, but unite in a strong dislike for O’Flaherty (which is not the gentleman’s name). The same O’Flaherty has a positive gift for manipulating Votes and is capable of looking after a larger band of the “faithful” than any other Montreal politician. “It’s men like O’Flaherty who give this city a bad name,” said Riggs warmly. “He’s got no principles at all. In fact, he doesn’t tliink of anything but getting his man in.” “That’s so,” responded Briggs. ‘lf I had a conscience as elastic as O’Flaherty’s, I’d make it into a rubber trust.”