Music and Drama.

New Zealand Graphic, Volume XLV, Issue 23, 7 December 1910, Page 14

Music and Drama.

By

BAYREUTH

BOOKINGS. (Dates Babjeot to Alte'-itloo.) AUCKLAND—HIB MAJESTY'S. December 5 to 17—Meynell and Guua (George Willoughby). December 19 to 24—MaeMabon Bros. December 26 (three weeks' seas nil —I’lim-mer-Deuniston Company. THE OPERA HOUSE In Season—Fuller’s P.ctures. TIVOLI Vaudeville (permanent). WELLINGTON’.—OPERA HOUSE. J’ 6 ” 23 to Jan. 14.—“ The Dollar Princess.’’ ‘I??* Q B . to ,?' eh - 2 -— J - C. Williamson. I eb. 3 to L-eb. 9.—George Willoughby. a ? 11 52 Juue J- C. Williamson. August 17 to August 27.—J. c. Williamson. theatre royal. Vaudeville (permanent). The Green-eyed Monster. t " > 7 r GOOD deal of comment has been f I caused at Home by the failure 4 7 1 "The Morning Post”—one of the oldest Conservative Unionist journals in London — to publish any critiques of Mr. Thomas Beechams present season of grand opera at- Covent Garden. The explanation is suggested by the fact that the proprietors of this very respectable and exclusive journal, which is the unofficial mouthpiece of the Court, are susceptible to tire influence of the aristocratic magnates who represent the syndicate which controls and manipulates Covent Garden Opera House as . a going concern. This syndicate, which is composed of a number of well-known peers and dukes, has for years had a monopoly of Grand Opera in Ixmdon. Until the American Aims got to work and-raised the salaries of leading singers. Covent Garden Syndicate enjoyed very comfortable and eminently respectable profits that not infrequently ranged between 25 and 30 P*-i' cent per annum. Having, of course, the direct sanction and patronage of the Sovereign of the realm, its social prestige was unquestionable, whilst the fees, at tiie lata of £3OO .per season for a box ou the Grand Tier, found ready purchasers. Since, however. Thomas Beecham came along with £lO,OOO a year Of pill money, placed at his disposal by his father, and has started to give the more modern works, popularise British composers and singers, and cut down the prices of admission to bring the performances within the reach of the public, Covent Garden Syndicate is not at all pleased. The prospects of its next season, so far as the musical public is concerned, are becoming every week more jeopardised 'by Mr. Beecham's enthusiasm and progressive innovations. There is not a daily newspaper in London that would dare to be so rude to as much as hint at the suggestion that Covent Garden Syndicate and she ‘Morning ■Post (much as Tweedledum and Tweedledee) are sublimely of the identical opinion that Mr. Beecham must not be encouraged. The nearest suggestion of collusion in the matter comes from the “Musical Standard,’’ from which a par is taken as follows:—-‘AX hen is our excellent contemporary, the ‘Morning Post,' going to resume publishing critiques of the Beecham operatic activities at Covent Garden? We have paid many a penny with the hope of seeing a report in that august journal, and hundreds of its numerous readers must have done the same thing. In a ‘news’ paper ■we do not expect to see important ‘news’ ignored, even If we may suppose that the readers of the ‘Morning Post’ ace not wedded to one newspaper per •lay. If we have ever had in Ixmdon a more important operatic season than the present Beecham opera season, let it be named! The prices of tickets are far lower than during the Syndicate’s season. One shilling and sixpence for a gallery scat for sumptuously-performed opera seems the last word in reasonableness.’ It would be rude in respectable England to.tell the truth. It is only tin tutored colonials that, have the effrontery to make inconvenient disclosures •n the subject.

The Dance in “ Our Miss Gibbs.” There are two Australian dancers in “Our Miss Gibbs” (at the present moment drawing crowded houses in Sydney), who go a. long way towards demonstrating that there is good theatrical material in this country, remarks the Sydney > iff Sun.” The artists are Fred. Leslie and Ivy Schilling, and a better dancing partnership than they prove to be has yet to be imported. Furthermore, the dance has originated here. It came from Fred Leslie, and goes to show that he is clever at both extremities. This is the day of the man who can invent something, and it is not the first time that Leslie has shown his talent this way. His dance in “The Orchid” gave playgoers an indication of his ability to fit gymnastics to music, while his “Devil Dance” in “The Cingalee” was another instance of what he could do. In “The lied Mill” it will be remembered that Leslie was put on his mettle 'by having Johln Ford, “the champion buck and wing daneer of America,” up against him. How he came through the ordeal without lowering Australian colours was probably not made quite as much of as was deserving. If an Australian athlete went up against an American champion in some branch of sport and gave such a showing as Leslie did on that occasion he would have been acc'.ai led something of a credit to hie country. America has developed dancing to about as high a pitch of perfection as pugilism. There were columns on Jack Johnson’s footwork, and just casual references to Leslie’s. And yet Johnson would have been one of the first, to acknowledge the music of Leslie’s steps on the sand. Miss Schilling, a Melbourne girl, has been a member of the dancing corps of the Royal Comic Opera Company for some time. She was leader of the pony ballet in “Jack and Jill,” which, by the same token, was arranged by Leslie, and was Addie Hine’s understudy for the big solo dance when the moon rose over the Bad Baron’s cornfield. This she performed on tour, and to say that she did it so well that Addie Hine was not missed is something of a compliment. Miss Schilling has since then been waiting her opportunity. She got it with Fred Leslie, and that she was equal to the change is testified to nightly at Her Majesty’s by the dance getting the 'biggest round of applause of the evening. Miss Schilling is physically bigger than the general run of dancers, but she has natural grace and lightness that mark her for the work. What is more difficult to find she also has, and that is a gift for mime. Her expression through the Rogue’s dance tells its story. The scheme of the dance depends in this coming chiefly from her. Mr. Leslie has to bring his wiles to Ivar, while she has first to repel and then catch the spirit of mischief which he brings to the measure. This has next to grow into a reckless abandonment, such as dancing only can suggest. This takes them both off the floor, so that they almost seem to fly, and they only come to earth for Leslie to perch crosswise on her back—a feat requiring the nicest judgement on the part of each and not a small amount of muscular strength in Miss Schillings arms, which, neatly hooked 'behind, provide the support. If this were not" done so that the weight was distributed! entirely on her wrists and back, it would be ugly in that it would show* the muscular strain about the neck and shoulders. The whole idea of the dance is that it must appear effortless, and this is carried out with (he airiest success It meant long rehearsals, and it requires daily practice. Terpsichore is most exciting. No prizes are won without hard work. Mr. Leslie and Miss Schilling are now busy on another dance, which their admirers will see in due' course.. Back in London. Oscar Asehe and Lily Burton have opened in London at the. New Theatre with'tlic dramatised version of Mr. Stanley Weyman’s novel, “Count Hannibal,” The piece is “ a romantic play,” otherwise described by critics as “an impossible melodrama." The play is no worse and no better titan the others of its class (says the “Daily News" critic). Thera

is plenty of incident and much brouhaha of warfare. All the incidents are delightfully impossible. Mr. Oscar Asche and Miss Lily Brayton received an enthusiastic welcome after their long absence, and it is quite possible “ Count Hannibal ” will be as successful in London as it was in the provinces and Australia. The Essential. According to a London paper, no drama can hope to win success unless it contains a bedroom scene. Mr. George ■Marlow's agent sends me notices of the firm’s latest attraction, “The Bad Girl of the Family,” which will be produced durign the forthcoming New Zealand tour, and I notice that the piece contains this accessary attraction. Whether this accounts for the fact that “The Bad Girl ’ has passed her 400th performance at the Aldwych Theatre in Ixmdon (again I quote the enthusiastic agent), would be hard to say at present,-but a Brisbane notice of the play promises three and a-half hours of “thrill and sensational episode.” It is to be Mr. Marlow’s opening attraction throughout the New Zealand tour. Plixunaer-ZS Aniston Company. Apropos of the above, I have a letter to hand from Mr. Denniston, in which lie states the Christmas season in Auckland will open with 'The Message from Mars,” which will be followed by “Mrs. Tanqueray,” and a revival of “The Passing of the Third Floor Back,” which, by the way, has been a huge success down Son'll. So pleased are the Plim-■mer-Denniston Co. with their reception in. New Zealand, that they have booked a return tour, as far as Wellington, anyhow. They open in the Empire City on February 11. Stage and Strikes. Rejane, whom, perhaps, we may one day see here—one never knows—has proved herself not merely a great artist —it hardly needed demonstration—but a woman of resource and moral courage. At the “premiere” of the revived ‘M’Amour”—an amusing comedy, even if a little too French for English palates—the great comedienne was suddenly faced with a strike of stage carpenters, the

latest Paris way of claiming a rise fan salary. Was she dismayed? Not one whit. Calling her friends to her aid, she was able to continue the performance. A leading dramatist was seen struggling with a large sofa; a delicate poet grappled a Louis Quinze clock, a leading critic swarmed ladders with a surprising agility. The public entered into the fun of the thing, and volunteers, in evening dress appeared on the stage, and disputed the honour of aiding wit and beauty in distress. Rejane, in the prettiest speech, said she sympathised with people who earned their living—she was willing to take a little less that they might have a little more —blit she did not approve of tire latest methods. Meanwhile, the machinistes who had lowered the iron curtain in the hope of preventing the performance, learned how easily unskilled labour can 'be dispensed with. A Parisian Farce. Tire play itself seems worth a note. There never was a more traditional French farce. It would be all the blandest immorality if one had not learnt with the Parisian public to divorce oneself entirely from the moral point of view when one goes to a Palais Royal farce. The characters are, of course, thd ancient trio, the husband, the wife, and the “happiest of the three,” who is happy in being called by the lady by the endearing name of “M’Amour.” Tire whole problem of the play is whether, for a respectable married woman, it is better to have a lover who gets on with her husband or one who does not. The former course at first appears preferable to the lady, and in spite of his forebodings, she introduces ‘’Ducky,” as we may translate him, to her husband. The result is disastrous. Ducky gets cn so well with the husband that the latter, who collects pots and warming pans, never will let Ducky out of his sight, and insists on his helping him day and night to ticket his collection. The respectable married* woman, in desperation, throws Ducky over, and chooses another Ducky, having previously* taken the precaution to sow seeds of deadly enmity between Ducky No. 2 and her husband, who will go on being the bosom

friend of the No. 1. Madame Rejane dances through this frantic farce, we are told, with prodigious ease and skill. W© were not exactly overjoyed by the farce (says the “Telegraph’’ man), but it was a* delight to watch the actress. There never was such lightness of touch, so sure a step skimming over the thinnest of ice, such bounding vitality, giving life to a puppet. By her side M. Dubose and M. Signoret drew pleasant caricatures of Ducky and th© husband. Attractions for Next Year. Mr. Bert Royal has booked the follows ing tours for the season 1910-11 for the J. C. Williamson firm: — NEW COMIC OPERA CO. Wellington.—Dec. 23-Jan. 14. Master-ton. —Jan. 16. Daunevirke. —Jan. 17. I fast ings. —J a n. 18. Napier.—Jan. 19-20. Gisborne. —Jan. 21-24. Auckland — Jan. 26-Feb. 18. New PlymoiUh. — Feb. 20. Wanganui.—Feb. 21-22. Palmerston North. —Feb. 23-24. Dunedin.—Feb. 28-Mareh 10. Oamaru. —Ma roll 11-13. < ’bristchureh. —March 14-29. KATHERINE GREY-WILLIAM DESMOND COM PANY. Christulinreh.—Dee. 26-Jan. 7® Dunedin.—Jan. 9-14. Oamaru.—Jan. 16. Wellington.—Jan. IR-Feb. 2. Wanganu i.—Feb. .3-4. Stratford. —Feb. 6. Hawera. — Feb. 7. New I’lymov.'rh.--Feb. 8. Palmerston North.—Feb. Hastings.— Feb. 11. Napier.— Feb. 13-14. <; i s 1 torn e.—Feb. 15-1.8. Auckland. —Feb. 20-Maroh 11. “THE WHIP” COMPANY. Wellington.—April 15-May 6. Masterton.—May .8. II as tings.—‘May 9. Napier.—May 10-11. Gisborne. — May 13-16. Auckland. —May 18-June 10. New Plymouth.—June 12. Wanganui.—June 13-14. I’fclmerston Nonth. —June 15-16. Christclum-h. —June 19-3<X Ti maru.—J uly 1. Oamaru. —July 3-4. Dunedin. —July 5-20. Invereargi 11. — July 21-22. ROYAL COMIC OPERA CO. Auckland. —April 17-May 6. New Plymouth.—May 8. Wa ngahui.—May 9-10. Palmerston North. —May 11-12. Hastings.—May 13. Napier.—May 15-16. Master ton. —May 17. Wellington.—*May 18-June 7. Dunedin. —June 10-24. I nvercargill. —June 26/27. Oamaru.— June 28-29. Timaru.—June 30. Christchurch. —July 1-19. JACK THE BEANSTALK" PANTO. Auckland.—July 24-August 5, s’* 5 ’* New Plymouth.—August 7. Wanganui.—August 8-9. Palmerston North.—August 10-11. Hastings.— August . 12. Napier.—August 14-15. Mhsterton.—August 16. Wellington.—August 17-26. Christ e,hur<-h.—August 28-Sept. 6. Oamaru. —Sept. 7. Dunedin. —Sept. 8-14. . Invercargill.—Sept. 15-16. 'Phe attraction for the following tour has not yet. been announced: — Auckland.- Sept. 4-23. > New Plymourh.—Sept-. 25. Wanganui.— Sept. 26-27. Palmerston North.—Sep*. 28-29. Hastings.—Sept. 30. Napier.—October 2-3. ■Ma wtenton.—Octuber 4. Wellington.—Oetober 5-25. Christchuri-h.—Oct. 27-Nov. 13. Oamaru. —Novi 14-15. Dunedin.—Nov. 16-29. Invercargill.—Nov. 30-Dec. 2. George Willoughby Company in Auckland. Mr. Preedy is an obscure unim pea diable ami somewhat mediocre person, and the Countess of Rushmere is first a. woman and then an aristocrat who is keenly alive to the fact she is living in the twentieth century. Mr. Preedy is worried by his intense respectability, and very much the prototype Shaw has hit off in his epigram—“An Englishman imagines he is moral when he is only uncomfortable.” The Countess takes a

malicious and, not altogether, nnfeminhie delight in discovering this fundamental faet for Preedy’s being. They are together the axis on which R. C. Carton’s clever comedy turns as it was revealed by Mr. George Willoughby's company at His Majesty’s, Auckland, on Monday night. The Countess, escaping from a dissolute husband, has been foolish enough to run away with so unlikely a suitor as the aggressive John Bounsall. She is brought by him to the flat of his timid and bullied junior partner, Preedy; and as Bounsall io suddenly called away by

the illness of a relative from which he has expectations, he leaves Lady Rushmere in his partner’s hands. Preedy is thus compelled to go out cm a wet night to find room for himself in an hotel, and submit to all the malevolent interpretations of his assertive man-servant and cook,,in the discharge of his duty towards the imperious Bounsall. The, complications crowd thickly upon him next .morning, in the second act, the most laughable of the three. The father of the. girl he is engaged to marry liappens.to. call early and is perplexed at the noise in Preedy’s room, the explanation of .his nervous host that it is caused by the canary, merely serving, of course, to increase his bewilderment. The lady’s maid, who has been hurriedly engaged to attend the Countess promptly demands a substantial increase of wages when she . learns that the lady is neither Preedy’s wife nor a relative of his; the domineering man-servant gives a month's notice, and the cook leaves at once. The infuriated dentist whom Miss Sidgrave has thrown over for the sake of Preedy comes, to demand an explanation, and screams with delight when he discovers the state of affairs at the flat. Finally Lady Rushmere's relatives appear on the scene, and Preedy rapidly changing from the evening dress of the night before in the pantry, stalks forth to meet his aristocratic visitors in garments that make him look a caricature. Preedy is bullied and brow-beaten at every turn, but in the last act, which is skilfully constructed, the tide turns in his favour, and the little man, regarded at first as “a bounder” appears in the light of a hero. The Cast. The fact that Mr. James decided in the last half hour before the steamer

sailed not to accompany Mr. George Willoughby to New Zealand, is not a matter for little lamentation. It is difficult to understand why the management did not take the public into their confidence over the matter, particularly as Mr. James had been announced to appear. His absence was evidently not apparent, and no particular loss so far as this country is concerned. Mr. Willoughby ie to be complimented on securing an effective substitute at such short, not to say reprehensible, notice. The audience was frankly delighted with Mr. Harold Parkes’ easy and natural presen. tation of "Mr. Preedy.” It was a first performance under handicap for a young comedian, but his success wiuh .the- piece was beyond question. Miss Beatrice Day, whose talents the public have recognised in parts very dissimilar to that of the Countess of Rushmere, acted with restraint and feeling. It was a better performance perhaps than some might have expected, and the quality of it all through afforded much pleasure. The part of the righteous Bounsall—an incisive piece of dramatic portraiture—was filled bv the ample proportions and well-known qualities of Mr. Willoughby himself, and all through it was marked by g-ood straightforward acting. Mr. Harry Overton was particularly successful in hie handling of "Lord Kinslow”— a character to which he imparted some fine touches that did much to raise his rendering to a conspicuous place in the cast. Another excellent piece of work was Mr. Arthur Cornell masquerading as a very laughable and absurd dentist in Reginald Saunders. Mr. Preedy s valet, Bilson, added diversion to the cast, which, with few exceptions, made !ts much of the piece as could be expected. The comedy is preceded by a quasihumorous curtain-raiser, brimming with characteristic touches of W. W. Jacobs, and entitled "The Grey Parrot.” It was well acted, the most prominent of the cast being Mr. H, Halley as "Sam Rogers.” Stray Notes. The Sydney "Bulletin,” in its issue of 24th ulti, takes some extracts from an interview published recently in Perth with Hugh J. Ward. The West Australian journal pirated word for word the whole of the interview from these columns which -was published at the time of Hugh J.’s visit to Auckland nearly throe months ago. Whilst a compliment may have been intended to “The Weekly Graphic,” it would have been more to the point it expressed by the usual acknowledgment. Apropos of Sunday music: The New Symphony Orchestra, conducted by Mr Landon Ronald, has been engaged for the entire season of the Sunday concerts at the Albert Hall, London, and the concerts are now in progress. The vocalists who are appearing are Mesdames Aino Ackte, Julia Culp. Donalda, Ada . Forrest, Gerhardt, Kirkby Lunn, Blanche Marchesi, Jeanne Noria. Lenora Sparkes, Alice Verlet, and Beatrice Wilson, and Messrs Herbert Brown. Edmund Burke, Charles W. Clark. Morgan Kingston, Joseph O’Mara, and Sammarco. The instrumentalists will be Miss Irene Schai rer, and Messrs Backhause, Casals, Mischa Elman. Percy Grainger, Mark Hambourg, J. Hollman. Kreisler, Moisiewitscli. Max Mossel. A. Randegger, Sametini. Sauer, Sapellnikoff, and Zimbalist. This altogether apart from the concerts promoted by the. National Sunday League and the Sunday Concert Society. The rights of the provincial production of “Elektra” have been secured by Mr. Ernest Denhof, the pioneer of the “Ring” performances in Edinburgh last year. The Scottish city will also be honoured by the first appearance, outside of London, of Strauss’ famous heroine. Moreover, this will be the first performance of the work in English. It will be produced at the King’s Theatre, Edinburgh, on February 18th next, and a

tour Is contemplated, to include visits to Manchester, Birmingham. Liverpool, Leede, Sheffield. Newcastle, Glasgow. Belfast, and Dublin. Mischa Elman, the boy violinist, told on his last visit to New York a story of his' early childhood. "When 1 was very small indeed,” he said, “I played at a reception at a Russian prince’s, and, for an urchin of seven.. I flatter myself 1 rattler! off Beethoven's ‘Kreutzer Sonata’ finely. This sonata, you know, has in it several long and impressive rests. Vt ell. in one of these rests a motherly old lady leaned forward, patted bv shoulder, ami said: ‘Play something you know, dear.’ ” —"Washington Star.”* 'Die French Government has bestowed the cross of a chevalier of the Legion of Honour on Ferruccio Busoni. At the birthday celebration of the Em peror Francis Joseph at the Imperial Court Opera in Vienna recently, a wonderful child composer came into prominence. His name is Erie Wolfgang Korngold, and he appears to have had an experience which is probably unique—namely, for a boy of thirteen to appear before the curtain of a grand opera house to acknowledge the loud applause with which a composition of his had been received. This was entitled "The Snow Man: a Pantomime.” It appears that the boy two years ago wrote the music for the piano, rather as an exereise thar< anything else. Now it has been orchestrated; by the boy’s teacher. Herr Zemlinsky, conductor at the Vienna Volksoper, and in that form played by the first orchestra in the world and loudly applauded by a critical Viennese audience! Without doubt in its original form it is an astonishing work for a child of eleven, showing that he was even two years ago able to think in music. Rhythmically and; melodically the work is full of interest. A trio, written scarcely two years later than the pantomime, shows that a most remarkable development has taken place in the meanwhile: it is about to appear as his Opus 1 in the "Universal Edition.”