Music and Drama.

New Zealand Graphic, Volume XLIV, Issue 12, 23 March 1910, Page 14

Music and Drama.

By

BAYREUTH.

I (Dates Subject to Alteration.) AUCKLAND—HIS MAJESTY’S. March 14 to 24 Harry Rickards’ Company. March 26 (Easter Saturday* to April 16 — Marlow Dramatic Company. lApril 18 to 23- Amy’ Castles. April 28 to May 14—J. c. Williamson. , j May 16 to 29 Allan Hamilton. May 30 to June 18 Meyneli and Gunn. June 20 to July 6—J. C. Williamson. July 7 to 16- Meynell and Gunn. July 18 to 3! Hugh J. Ward. ’August 1 to 13 J. C. Williamson. September 1 to 3 — Auckland Boxing Association. September 5 to 24 J. C. Williamson. September 26 to October 19 Allan Hamilton. October 20 to November 4—Fred Graham. THE OPERA HOUSE. In Season —Fuller’s Pictures. ROYAL ALBERT HALL. In Season Hayward’s Pictures. i. ; WELLINGTON. -OPERA HOUSE. March 26 to April 16. J. C. Williamson. 'April 19 to April 27. Clarke and Meynell. 'April 28 to May IS. J. C. Williamson. May 19 to June 3. J. Williamson. . j June 4 to June 18.—Allan Hamiltou. i July 4 to July 23.—Clarke and Meynell. ’August 1 to August 13. Hugh Ward. 6ept. 1 to Sept. 14. J. C. Williamson. Oct. 7 to Oct. 26. J. ('. Williamson. Oct. 27 to November 5. Allan Hamilton. Nov. 12 to November 24. Fred H. Graham. December 24, six weeks’ season.—J. Q, Williamson. THEATRE ROYAL. Vaudeville (permanent). TOWN HALL. Feb. 19 to 26 Fisk Jubilee Singers. >•» — Author's Lost Profits—Mr. Barrie'i £16,000. THE fact was cabled from Home five weeks ago that Mr. J. M. Barrie, the well known author of “Peter Pan,” and other dramatists, had. lost, between them some £28,000, owing to defalcations of an agent. The particulars from Home, now available, show That, in addition, Sir Arthur Conan iJoyle, Mr. Ernest William Hornung |( author of “Raffles”), and Mr. F. Anstey [(author of “The Man from Blanknoy’s”), were involved. The disclosures came out in a partnership action concerning the estate of the late Mr. A. J. Addison Bright, a well-known and highly-respect-ed dramatic author’s agent in London. Il appears that, prior to entering into (partnership with a Mr. A. F. Hardy, Mr. Bright conducted the business of dramatic author’s agency. The dramatic author would write a play, and the agent y’ouhl proceed to secure contracts from theatrical managers for the performance of the play, the terms generally being tlie payment of a royalty of so much a performance. The agent checked the manager's accounts, the number of performances, etc., obtained payment of the royalties, and. after deducting his commission of IB per cent., handed the balance to the dramatic author. Mr. Addison Bright, who had a very high reputation in the theatrical world, was agent for Sir Arthur Conan Doyle, Mr. J. M. Barrie, Mr. Louis Parker, Mr. Ernest (William Hornung. Mr. F. Anstey Guthrie, Miss Constance Fletcher, Mr. Stephen Phillips, and other popular playwrights, and the profits of his business were considerable. History of a Partnershijj. Mr. Addison Bright was a member of the Authors’ Club. and he there became friendly with Mr. Hardy, k who just before 1903 embarked on ft venture in connection with a newspaper on which he lost a considerable amount of capital. Mr. Hardy was seeking some occupation, and it was suggested he should enter into partnership with Mr. Addison Bright, who stated that it was a thoroughly good business and .that if Mr. Hardy worked hard the prosjhhlh were excellent. Eventually an agreement was entered into. The business was not the success anticipated, and there was no accumulation of profits. iXVhat Itappened was this. In 1906 Mr. Hornung saw in a newspaper that there bad been in America one thousand repre•en tat ions of one of his plays. Be had received royalties from Mr. Addison Bright for nothing like that number. On May 29, 1906, Mr. Addison Bright died suddenly in Switzerland. Mr. Huruiuig

investigated the matter and communicated with Sir Arthur Conan Doyle and others, who also investigated their accounts. They found that for years Mr. Addison Bright had been systematically defrauding them; that he had not given them credit for a considerable number of performances of their plays, although he had received the accounts and royalties from the theatrical managers; and the sums which had since been discovered to have been fraudulently detained by him amounted to some £28.000.

This disclosure came out gradually, and the defrauded gentlemen made claims, which claims had been paid by the executors, Mr. Addison Bright having fortunately left a considerable estate. Sir Arthur Conan Doyle (who did not appear to 'be in good health) stated that after the death of Mr. Addison Bright he communicated with the executors, who paid him £BOOO. The fraud took three forms—changing of figures, suppression of figures, and in one case suppression of a whole tour. Mr. J. M. Barrie said he knew nothing about the irregularities until the executors asked him to look into his accounts. He then found that there was £16,000 odd due to him. He was not a business

man, and he put the matter into the hands of solicitors. They made a claim for the £ 16,000, and the executors paid it. Mr. Hornung said he discovered that there was £650 due to him as royalties for the run of “Raffles’’ in America. His claim was settled by the executors. Mr. Justice Warrington said it was impossible t'o avoid the conclusion that Mr. Addison Bright had acted dishonestly, and that lie deliberately withheld moneys due to his clients. An Interview with Charles Rann Kennedy. Charles Rann Kennedy, author of “The Servant in the House,” is the latest of the modern dramatists to “arrive.” The play, which was recently produced in London, proved a great success and is still drawing large audiences in the metropolis. To an interviewer Kennedy- stated last month that his play was written over three years ago —-it was even copyrighted and entered at Stationers’ Hall as far back as June 19, 1907. “Since then,” said Mr. Kennedy, “I have produced ‘The Winter Feast.' In the former play 1 have endeavoured to show the power of comradeship—of human love; whilst in the latter 1 have endeavoured to depict the tragedy of hate, by way of contrast.” Speaking of further plays, Mr. Kennedy said: “1 have planned a aeries of seven.

each of which will deal with some great problem of human development. In addition to the two plays already mentioned I have in preparation a study of tho struggle for individual liberty personified in the anarchistic will. That. I think, will be called ‘The Idol Breaker.’ ‘The Army With Banners* will deal with the problem of militarism, whilst another play, which I shall probably entitle ‘The Rib of Man,’ will be devoted t'o a study of the position of woman. Then 1 am working on a play to lie called ‘The Betrayers of Cities,’ which will deal with the struggle towards social freedom, as against the freeing of the individual shown in ‘The Idol Breaker.’ I may tell you, in parenthesis, that' the term ‘Betrayer of Cities’ will not be applied to the grafters in .high places only, but those who, day after day, are sacrificing their birthright of liberty.” “And the seventh play?’’

“That is only in my mind at present. I hope to make it a study of the racial problem in its broadest sense —i.e., tho conflict between East and West. If will probably be laid in Aryan times. Thp other plays, with the exception of ‘The Winter Feast,’ have each a modern setting.”

“Have you found your audiences receptive or otherwise?” “I am more than satisfied. The way in which the message I have striven to give in ‘The Servant of the House’ has been received is intensely encouraging, particularly from the clergy, who were, until recently, regarded as a hopelessly

conservative class. In Germany, Sweden, France, and Russia, the play has been discussed most favourably. It had an extremely successful run in New York, as you are aware; and in Chicago also. In the ‘Windy City,’ in fact, the occupants of the gallery even went so far as to take sides!”

“Do you find any difference between English and American audiences?” “Well, a New York audience, is more easily- gripped, and is more responsive, generally speaking, than is a London audience. Then, again, in America the working classes—the thinking section of the manual workers, I mean—patronise the theatre to a greater extent. In England the majority of the serious plays staged deal with walks of life to which the worker is a stranger, and with problems that have no interest for him. The consequence is that, if he goes to a place of amusement at all, it is usually to a music-hall, where, at least, there is some human touch to which he can respond.” Sir H. Beerliohm T 1 ■ee at His 'Majesty’s, London, has produced as his latest play a romantic melodrama from the pen of Mr. Justin Huntly McCarthy, entitled “The O'Flynn.” The O'Flynn is the typical Irishman of romance. His castle is a ruin. His servants are the process-servers. His larder is empty, but the supply ol punch

is apparently inexhaustible. His good spirits are unconquerable. The time is just before the battle of the Boyne. James 11. is in Dublin. William is in London. The O’Flynn is a soldier of fortune. He cares for neither Dutch William nor Scotch James. He is

“Captain of Austrian Dragoons, Chevalier of the Order of the Rose of Lithuania, Knight Commander of Poland.” Conacher O’Rourke, tatterdemalion and incidentally fifty-second King of Munster, is his body-servant. He will fight for Ireland, for money, or for the woman he loves. Persuaded by a Woman.

And it is a woman and a Jacobite, the beautiful Lady Benedetta Mountmichael, who persuades the O'Flynn to go to Dublin, and enlist in King James’ cause. He travels with a company of strolling players. He tells the manager, a wondrously confiding gentleman of the name of Beggles, that there is a buried treasure in Castle O’Flynn, and on the strength of this invention borrows moneywholesale.

Unfortunately the Lady Benedetta loves another, and, of course, the “other” is unworthy. He is Philip Defford, Earl of Sedgemouth, libertine and traitor. The O’Flynn picks a quarrel with his rival before he has been in Dublin half an hour, and, as Sedgemouth is drunk, he drains a bowl of punch before the duel begins, and takes glass after glass during the fight, that he may have no unfair advantage. Indeed, “a bhroth of a bhoy” was the O’Flynn! Then he forms the play actors and the bailiffs into a regiment, which he christens “O’Flynn’s Own,” purchases gorgeous uniforms (at Beggles’ expense), and sets out to capture Knockmore Castle. The Tardy Benedetta visits the camp with the Duchess of Tyrconnel, and the O’Flynn decorates guns and bastions with red roses (thanks again to Beggles). After this it was mere poetic justice that she should discover Sedgemouth’s real character, and should begin to love the O’Flynn as he is setting out to beguile the Dutch Governor of Knockmore —the aforesaid taciturn Luitprant Van Dronk—to his ruin. This he does with the greatest ease. Knockmore is soon won for King James, and then this Irish d’Artagnan proceeds to save the Sovereign from Sedgemouth, to find the treasure which he had dreamed, but which really existed after all, and at last wins the girl of his heart. Grand Opera Singer. ■Mdlle. Bel Sorel, the leading soprano of the J. C. Williamson Grand Opera Company at present in Sydney, inherits her musical ability from her mother, who was well known in Norway, Sweden and Denmark as a concert singer, and with whom little Bel, then only five years of age, travelled as a solo pianiste. At a later stage the daughter developed a voice which gave promise of great possibilities, and she was sent to Bulo, the renowned teacher, to have it cultivated. So apt and intelligent a pupil did she prove that it was decided to have her trained for an operatic career, with this end in view she visited Paris and Milan. At the latter city she met Edouardo Sonzogno, who was so pleased with her singing that he engaged her at once for the part of Mimi in Leoncavollo’s “ Boheme,” a great compliment considering her youth and comparative inexperience. However, she quite justified the faith reposed in her, and was rewarded by being re-engaged for “ Mignon,” “ Nozze di Figaro,” and “Manon e Pagliacci,” in all of which works she appeared in the Lyric Theatre, Milan. Then followed a season in Trieste in “Manon” and Massenet’s “ Cendrillon.” The composer of the last-named opera was so delighted with her work that he sent her a photograph of himself with these words written thereon:—“ Globe a vous, divine et charinant, ‘Cendrillon’.” Seasons in Rome and Turin were then undertaken successfully, and thereafter Mdlle. Sorel was invited to appear at the Imperial Theatre in Warsaw, one of the most famous opera houses in Europe. During this season she was associated with Caruso, playing Mimi to bis Rudolph in Puccini’s “La Boheme.” She also appeared as Violetta to Caruso’s Alfred and Carmen to his San Jose. She has visited professionally nearly all the principal centres of Europe, ami in Madrid in particular she scored a triumph with her presentaiton of “ Carmen," which was spoken of as “ inimitable, full of fascination anti dramatic power." That Mdlle. Sorel is highly thought of by Puccini, the composer of “ Madame Butterfly,” is proved

Dv Hie fact that when the latter heard that she was coming out to Australia, to take the name part in his work, he wrote to her expressing his pleasure that his beloved “ Butterfly ” was to be introduced to music lovers here by so brilliant an artist. “ Married to the Wrong Man.'’ The possibility of such a thing ever happening to any unfortunate mortal as the heading suggests is, to say the least, revolting. But, through several acts of melodrama that will thrill Aucklanders with frigid horror and brain-splitting excitement, Mr. George Marlow’s Dramatic Company are due to make their first flight at His Majesty’s on Easter Saturday night. The author of the play is the notorious Fred. Melville, who has innumerable melodramas to answer for. The London papers swallowed the forthcoming production in gulps. Here is w hat some of them say: “Lloyds”—“The world is waiting for some better word than melodrama to express the del irons dramas fired off at intervals by Mr. Fredk. Melville.” “Weekly Times” —“If you pride yourself on being a student of human nature, go and look at the eager way in which the audience takes it all in as gospel truth.” “People”— “There is something quite breathless in the rapid ingenuity of Mr. Fredk. Melville as a dramatist. He can pile on plot on plot without a pause, and in ‘Married to the Wrong Man,’ which has just been produced with characteristic success, his resourcefulness leaves one won during and astonished.” “Daily Express” —“ The play of the year. Melodrama has been saved. Nowhere was there more excitement to the square inch.” A Possible Science. A German “psychologist” has placed the world under a lasting debt by carrying out some scientific investigations regarding feminine attributes as revealed by the susceptibility of women to different kinds of music. The results of the learned professor's amiable researches are in the highest degree illuminating. Thus, he may claim the valuable discovery that she whose musical god is Strauss (the composer, be it understood, of “Die Fledermaus,” not of “Elektra”) has a frivolous disposition; that a love of Beethoven in one of the fair sex betokens the instincts of a dreamer, and that admiration for Liszt denotes, ambition. Furthermore, the woman who declares her preference for Gounod is “romantic”; >he who loans to Massenet is “shy”: she whose favourite composer is Saint-Saens proves herself “well balanced”; ami she. again., who loves the melodics of Flotow (poor thing!) is “vulgar”; while the fair disciple of Wagner, we regr»*t to learn, is a “mcgalo-maniac.” The list, truly, is incomplete, and so, too. it will be admitted, are the labels. One would like to know, for instance, whether the girl to whom the music of Max Boger strongly appeals may boast a mathematical mind, and some information as to the relative virtues—and vices — of the feminine admirers, say, of Schubert and Schumann, Bizet and Brahms, Dvorak and Debussy, would not come amiss. Tn fact, if the German professor will but extend his investigations and reduce them to an exact science, the greatest of all problems that face mere man will be brought down to vanishing point. The answer to the simple question, “Who is your favourite composer?” will then decide the fate of many’ a couple. Was Beethoven also Among tlie Prophets ? That great men possess the faculty’ of looking ahead of their own epoch is well known, but it is not given to many even of them to be able to enjoy the things that have not yet come to pass. According to an eloquent American preacher, however, this is one of the articles that must be added to our creed, for on the first Sunday in December he l>ur-d into the following fine flight of imagination: — “A short time ago, T heard a violinist playing a beautiful, heart-searching seh’ction, the staccato notes sounding like the breaking of heart strings. I asked a friend what the selection was, and he informed me it wqs Beethoven’s ‘Farewell to the Piano.’ It was written when deafness had overtaken the great composer. What did that deafness mean to him who gave the world his immortal harmonies? Tt meant farewell to the Hound of the rippling streams flowing from- the hilltops; it meant farewell to the prattling voices of little children, to the well loved voices of friends. It

meant, my friends, farewell to the glorious Li-zt Rhapsodies and to Mendelssohn's ‘Songs Without Words.’” However much satisfaction it might have accorded Beethoven that he didn’t hear either the glorious Liszt Rhapsodies nor the Mendelssohn “Lieder Oh no Worte,” the fact remains that he died years before either were written. Without a doubt, if our American friend i:> right, Beethoven in his closing years, when deafness crowded in with his mis* ery T , must have many times regretted that never, never again would he hear hi life many of those masterpieces which were yet to be written. Auckland and Wellington audiences will see, for the first time, Henry Arthur Jones’ famous play, “The Hypocrites,” which created such a sensation when staged in Sydney and Melbourne, and in the former place was preached about from the pulpit. It will be presented by the Harry Roberts-Bea trice Day’ Co. Sir Edward Elgar has nearly completed his violin concerto, ami the Second Symphony’ is in an advanced stage. Strauss’ new comic opera, or comedy with music, is to be called “Ochs von Lerichaer,” and is nearly half finished, It will be published by Herr Furstner, of Berlin. “Endymion’s Dream” is the latest cantata from the pen of Mr. Coleridge Taylor, which was produced recently at Brighton, England. It consists of a short prelude, an opening chorus, two solos, and a long love duet punctuated by a running choral commentary’ originally written for the stage with a hidden chorus. The music is some of the best which Mr. Taylor has composed since “Hiawatha.” It suggests great drama-

tic possibilities, and indicates that the composer would make his mark in operatic work. The Band Contest. The North Island Brass Band Association's annual contest at Wanganui last week enjoyed exceptional weather and popularity. Local patriotism was naturally running very high in the River community. The Wanganui Garrison Band has so long enjoyed distinction that it would be quite pardonable if a few enthusiasts did let it be heard through the land that “Wanganui must win.” Win they’ did. and, of course, they’ could hardly’ help it whilst the standard of their playing and the material pitted against them remain what they’ are. Betone were their only competitors. They carried off both the quick step and final test without serious opposition. The Pc* tone Band, under Lieutenant Herd, who in days past led the Wellington Garrison Band to some of its notable, triumphs, were second after giving a good performance of the second teal piece. The judge

left no doubt in his remarks as to where they failed. They lost more points than they should have done in the military section of the quick step competition, being 14$ points behind Wanganui. Blenheim, for a B grade band, gave a remarkably’ good account of themsehe-. in the Quickstep, being six points ahead of Wanganui for military and only eight points behind them in music. In the final test, however, they fell away, Nelson and Gisborne ticing for leading place. The former won the shield, owing to their superior performance in the Quickstep. The Lack of Competition. The contest for the first grade bands cannot be regarded as at all satisfactory. Neither Auckland. Napier, nor Wellington were represented for reasons not disclosed. It was virtually a verdiet by default for the champion band, which this year wins the Besson shield outright. In the B grade bands some of the competitors came in not all undeservedly for some plain criticism by the judge. There is not the shadow of a doubt that the qualities of some of the B grade bands which competed could bp improved on. Here is a characteristic excerpt from the judge’s remarks on the performance of an old band quickstep in the selection: “Band out of tune Soprano missing notes 21 and 22. Soprano better 24 and 25. Cuts sforzamlo notes too short. Bass solo poor. Bars 73, 74. ami 75 indistinct. Eupho. frightfully out of tune. Band out of tune. Band very shaky. Band not improving as they go along. Where is the soprano at 34 and 35? Band badly balanced. Not working together. Articulation bad. Notes cut too short. Better from the trio when sta-

tionary'. Tempo too fast. Last two noted played correctly.” There may be much cause for congratulation in that the last two notes w’ere played correctly but such remarks only show the va<st room for improvement that exists. The instrumental items were on the whole good, but in the case of the solos the old evil of performers playing without knowing or having read the words, to which 1 he music was written, was much in evidence. Dr. Jekyll and Mr. Hyde. From an artistic point of view’ (•writes our London correspondent on February 4), “Dr. Jekyll and Mr. Hyde” — the dramatization by C'oinyns ( arr, of Robert Louis Stevenson's story is not an unqualified success, but regarded as good old-fashioned blood-curdling melodrama it is, and shows signs of drawing enthusiastic audiences intent on living strung up to the highest pitch of terrifying excitement. 11. B. Irving as .Jekyll and Hyde is the pivot on which all the main interval

turns, ami it i- obvious that the ocher characters are only &idv lights, created to make more effective the extraordinary dual personality of Die hero. Hie feminine characters Laura, ihe beautiful blind wife, maimed by the explosion that revealed to Jekylf the bid eons secret <. f nature on which the play turns, and Carew, a former love of Jekyll’s ami now wife of a distinguished diplomat, are introduced by the playwright, hut do ifo» appear in Stevenson's story. Their presence is, at once, a success ami a drawback—a success in that it enables the onlooker to. occasionally, rest his lacerated nerves with a tonic of something soft ami human in the long nightmare of horror piled on horror—a draw Kick in that it perverts Stevenson’s plan oi unfolding tin* two characters in one. ami at the same time, a’L*rs the onlookers' point of view, by giving motives. other than those of Stevenson, for the behaviour of Hyde. Mi-s Tit tell Brum* uk Lady Carew does excellent work, and is carrying out the prophecies made about her when sh<* wus such a conspicuous su-cceiss in “The Woman in the Case” a few weeks ago. In “Dr. Jekyll and Mr. Hyde” her part is .subordinated by many degrees to that of the hero, but she is still called upon for a good deal of tense dramatic work, and this she does capit illy. As Hyde it is said, that Mr. 11. B. Irving is |»rc'.«*nting the most intense piece of work that he has ever done; his Jekyll is a dull person, propounding uninteresting philosophy ami with no “grip” or distinction, 'nut his Hyde is an apelike, gibbering monster, with talon lingers alwav- clutching the air. a.'

horrible lunatic's <*a<kle and a indrawing of the breath like a. panther. His actions art* panther like too. ami he creeps ami cringes ami writhes until the feminine members of the audie/me, at least, are in a very ecstasy of fat»«*inat<*<l To iik in the Antipodes, all this sounds ■a lit th* flavoursome, so to say. and reminiscent too. of tin* Andersoniftn horrordrama, “Eace at the Window,” but the “Times” critic says it provides “Altogether an agr<*eibly horrible evening.” “ What Every Woman Knows.” It is with very great curiosity that one awaits the verdict of an Australian audience on “What Every Woman Knows”; ami esp<*<ially mu-t this be the case with those who have seen the play in the Ohl Country. For it is a most curious play—daring, quaint, Bar-i-i<*-<*«•<pie to the last degree, ami with a final scene, ami tag speech that will set some blushing, Koine laughing uproariously. and all. if they would admit puzzled. Puzzled at Mr. Barrie's mea»*

Ing, or at his hardi’KJod, or—well—that is just what everyone will lx* talking alx>ut after the play. That some will be shocked is certain. Mr. Harry Lauder, who celebrates in deathless ditty the pleasures of the bottle, and the abandonment of trusting females on the shore, raised quit? a commotion last summer in London by confessing he thought the play “immoral” or, at al! events, deleterious; and what shocked the Scotch comedian, who was obviously sincere, will, perhaps, jar other sensibilities, but the play is extraordinary, abounds in wit, in knowledge of human nature, and possesses all the contrariness characteristic of Mr. Barrie. It will bp roundly abused, and ardently praised, and will perhaps arouse comment from a pulpit or two. If so, and the management look after most things nowadays, it will draw full houses, even though opinions may divide sharply—hr probably they will. Fraulein Ida Roland, one of the promi inent members of the llebbel Berlin Company. distinguished herself (he other day by boxing the ears <rf a well known (Berlin critic, Herr Siegfried Jaeobsohn, as he about to leave the Deutsches Theatre after a first-night porforman e. The lady's ire bad been aroused by some very personal remarks of a private nature recently made in Herr Jacobsohn’s paper — a theatrical organ. Crying •‘You'll understand what this is for," the actress rushed forward and administered the box. while the crowd of spectators pre .-pt!ted. further at tack, otherwise Herr Jaeobsohn would have probably receive 1 another. Stray Notes. David lames, who will be the leading comedian in “The Night of the Party” ' 'when it comes to His Majesty's, to be staged here by the Willoughby . Company, is one of the famous Belasco ! family, which is playing such a notable ’ part in (be American theatrical world today. As a matter of fact, his real name is David James Belasco, Leiug a cousin of David Belasco, the famous author of ‘ The Darling of the Gods,” etc. At 3iis death, his father, David James, left a fortime of over ,£200,000, including a t>»?quest of £60,000 to charities. Two organs, not elaborate to look upon, but costing £4OO each, have been landed from the Rimutaka at Wellington to the order of the Messrs. Fuller. They iwere made in Franco, and are considered the finest that money can buy. One is to be installed in 11 is Cour-ienay-place, and the other at the Royal. IMr. Frank Crowther, who is a master on the organ, will improvise on the one at •His Majesty’s. ' Amongst Auckland’s older theatregoers mention of 11. R. .Jewett will call up agreeable recollections of an agreeably wH! favoured, admirably-presenced youth, with a melting and persuasive voice of richest quality. A Dunedin boy l>y birth, he was once up here in a representative football team, before he went on the stage . and a few may perhaps recollect the dinner at which he recited ’ I.hren on the Rhine.” He afterwards played “Spider” here. A most capable and pleasing actor, Jewett lias got on well in America, and is now playing the Grand Dake Vasili in “The Man from Home” at the Park Theat.e in Boston. Be appeared in that city find in New York as John Storm with Miss Viola Allen in “The Christian,” c»nd Lit* r as J monies tn her Hermione in •‘A Whihr’- rale,” and Malvolio to her (Viola in “Twelfth Night.” On several ‘tours he played Komen, Benedick, and other Shakespearean leading roles with Miss Julia Marlowe. He was leading man one season with Miss Ada Rehan, and later for two years was leading man with Miss Virginia Hamed in Pinero’s •‘lris." H is said that the character of the Grund Duke has boon so elaborated i>y Mr. Jewett that it stands out as a Islriking .feature of “The Man «from Home.” To make up for it in the face fdono occupies an hour. One critic in •New York compared his work with that of Mr. Lester Waflark and Mr. Charles ICoghlan. • And,” says Mr. Jewett, “he could not have paid nic a greater compliment.”

Hall Caine is. we are told by one of the Press Agency advance pars, keenly interested in the forthcoming production tof ‘ Pete/’ and in a letter to Mr. Clyde Mcynell, says: "1 am glad to hear that you have secured such a capable young actor in the. person of Mr. Roberts to produce ‘ Pete" in New Zealand. I read the Press Notices concerning him with great interest, but I had already heard of his previous siicccm in America. 1 shall look forward to hearing how tho vaault of my effort* to write a play that

will be appreciated by all classes of those who go to the theatre will be received.” The majority of the members of tire Willoughby Company will appear in their original roles in “The Night of the Party," which they created in London. Sir Herbert Tree (says “Caswell's”) was once prevailed upon in his kindness of heart to engage a servant-girl out of the workhouse. She was desperately untidy, and, after various attempts to t-eaeh her method, Lady Tree told her husband that it was no use. tire girl must really go. “Oh, try her a little longer,” urged Sir Herbert. And she was granted a respite. However, it was all in vain, and to Sir Herbert Trep, as he had engaged the girl, fell the task of getting lid of her. He told her that if she did not mend her ways she must return to the workhouse. “Oh, no, I shan’t.” she snapped out, rudely, “PH get another situation.” “But I cannot give you a character,” returned the actor, and you will find it very difficult to get another situation without a character.” “Perhaps!” was the retort. “At all events, if the worst should come to the worst, I can always go on the stage.” As the great singer, Madame Mazarin fell unconscious at the conclusion of “.Elcktra" in New York, 4.500 persons in the audience, men and women, rose uip and remained standing, while waiting for tidings, and did not depart until it became known that the singer was unable to appear upon the stage again that evening. When Aladame Mazarin first appeared before the footlights at the end of the opera she seemed to be very much fatigued, but was all smiles. She was recalled again and again, and then appeared accompanied by the leading members of the east. M. de la Fuente, the musical conductor, jumped on to the stage and embraced her, while men and women in the audience clapped their gloves into ribbons. Dr. Charles Harriss is completing liis arrangements in connection with the Sheffield Choir's “Empire” tour of the Ovenseas Dominions in 1911. The Canadian impresario’s programme includes visits to Canada, Australia, New Zealand. Tasmania, and South Africa. Dr. Harriss proposes to spend some fifty day- : n Australia and New Zealand, during airh time the Choir will give thirtysix performances, and assist iu a special Festival week at Sydney. Local choral organisations will be asked to join forces in the enterprise, which, in the event of certain safeguards being forthcoming, can be productive of little but good.

Many stories are told oi .Madam? Calve, one of the queens of song. She was busy writing iu her hotel in New York one day when the door opened, and two little girls whom she had never seen before looked in. She greeted them cordially, and asked them what they wanted. “Oh,” they replied, “we want to hear you sing.” The famous prima donna put aside her work and went instantly to the piano, and sang to them some of her most popular songs, for which in opera she would have received hundreds of pounds. When she had finished, she ordered cake and tea, and having regaled her little visitors to their heart's content, sent them away delighted. The same critic is not an admirer of Tetrazzini. Madi'me Tetrazzini occupies ■a position won by astonishing her public. Her fluent staccato, her wonderfully executed swell on high tones and some other feats are the topics of general comment. Her voice is fresh and unworn, but it is not equalized in. scale, the lowest 'tones being thin and infantile, while the upper middle notes are full and powerful, and, to a delicate ear, just a little coarse. Her best tones, however, are those above the treible clef, and it is with these that she excites her hearers. She is clever, though not perfect, in the colorature feats which she- performs amid so much applause. Site sings staccato charmingly, but her trill is rarely correct in intonation or clear in articulation. In <t-he delivery of simple, flowing melody her singing is not Ural of a real artist. 'The breaks between ‘her registers come out most unpleasantly, and her phrasing, which is usually in short and spasmodic groups, without consideration for the meter of the melody or the sense 6f the text, is a serious blot upon her delivery. Furthermore, the pallid colour of her lower tones makes depth or tenderness of expression impossible. Persons of sound taste cannot overlook the defects in Madaime Tetrazzini's singing, nor forgive them for the sake of a few brilliant tricks, some of which are but imperfectly performed, nnd most of whidh are executed after unconcealed preparation.