Music and Drama.

New Zealand Graphic, Volume XLV, Issue 26, 28 June 1911, Page 14

Music and Drama.

By

BAYREUTH.

BOOKINGS. (Dates subject tu alteration.) AUCKLAND—III S MA J EST YS. July 17 to 22 — Auckland Amateurs of Pcnzauce"). July 24 to August s—“ Jack and the Beanstalk.*' August 14 to September 2—“ The Arcadians." WELLINGTON OPERA HOUSE. June 10, July 1- William Anderson, “The Prince and the Baggar Maid.” July 6-29—Clarke and Meynell, “The Arcadians.” July 29, August 4—“ The Scarlet Troubadours,” August T-16—J. and N. Tait. August 17-20- J. C. Wiliamson. Pantomime, “Jack and the Beanstalk.” August 28, September 4—Florence Baine Comedy Company. September 11-30 —Clarke and Meynell. October 5-25—J. C. Williamson. November 3-16—Clarke and 'Meynell. December 2-16—Maxwell Dramatic Co. December 23, January 16 —J. C. Wiilinmson.

Melodramatic Twaddle. /"K\ B. George Marlow, champion fl I ■ purveyor of melodramatic 317 fare in Australasia, has been / voicing some unique views in Adelaide. “Melodrama has a distinct mission,” lie claimed to an interviewer. “The appeal of melodrama is so direct that it can be easily understood by all,” he went on. “which is a very important consideration when you come to think how intensely modern audiences dislike to be compelled to exercise their brains at the theatre. If the public desired it 1 would give them magnificent productions of the masterpieces of Maeterlinck, Ibsen, Rostand. Sardon, and George Bernard Shaw. 1 would gladly, if my instinct so judged the popular demand, present Stephen Phillip’s poetic dramas with all the idyllic beauty of a Weatherby painting. It is because I have already in my life had a sufficiently intimate acquaintance with starvation that I do not do these things. After all, no human problem under the sun is new, and probably the same emotions that overwrought Monna Vanna or La Tosca are to be found in ‘The Bad Girl of the Family.’ The- same romantic heroism that characterised Cyrano de Bergerac may- possibly be revealed by ‘Nick Carter, Detective/ ” The' Production Magnifique.

Apparently there are no artistic heights to which the producer of “The Bad Girl of the Family” would not aspire if only the public desired it. It is to be presumed, by “magnificent productions,” Mr. Marlow means that plays like “Monna Vanna” or “A Doll’s House” would be presented on the same lines as that of the screeching jade which lately assailed us. We can imagine the author of “The Life of the Bee,” and the finest imaginative dramatist of to-day in conclave with Mr. George Marlow, earnestly discussing the details of the production of "Monna Vanna.” Equally so do we see the great French poet Rostand working himself into a state of feverish excitement at the thought Mr. Marlow might in the eleventh hour decide “Chanteeler” was really not worth his distinguished patronage. Lastly, there is Bernard Shaw, the greatest genius since Shakespeare on the English-speaking stage. Who could not picture him on bended knees before Mr. George Marlow, soliciting his managerial patronage to “Man and Superman.” rather than the opportunity should pass for a production on the scale magnifique so eminently characteristic of classic ’“Marlowdrama?” It has beef! left for the Australian King of Shriek to discover an affinity between “Monna’ Vanna” and “The Bad Girl.” The discovery show s nothing of the sort. I t merely rg> eals .tUe fadt that Iris article disceriimmit has mwer tranacmided the puppets of ,tlm- melodranwV4c innigiliath»m Mr. Marlow jjs unite seri--ous in the. process of maj<ing liMnht'lf rididulojis, and it would be a waste of good* ink to ‘ attempt to;disillusion hiiji. The 5 reason why he is ho -sefioua jiboUt mel<Nlrani<i is jW- because Lv i/». emimonj* ed of its inartistic metlidas, buf simply because it pays;' 1 Tt is tho.*soul of the box office tha‘ sees “The same rdTnnqtic herdisin” bMween ('jp'aho.de Bergerac and that penny dreadful j>er»on4ge,

“Nick Carter, Detective.” It is not Mr. Marlow, but the dollars that talk. And the pursuit of dollars can induce and invent any amount of humbug, and impudence as occasion requires. Why cannot purveyors of maudlin sexual melodramas be content to rake In the shekels from their traffic without endeavouring to throw dust in the eyes of the public, and defile genius in the procsss’

“ The Tempest " in Anchland. The reading of “The Tempest” by the Auckland Shakspere Society last week proved rather a prolonged ordeal. Being the opening night of the season, it was not inappropriate that the society should have something to say of its work. The society, therefore, spoke, and the spokesman was, of course, Mr. J. F. Montague. He recalled the record of the society’s eight "years’ labour—that is, the society and himself, which time has accustomed us to regard as inseparable. The society lias an excellent account of itself. It has done all the best of the plays of Shakspere — some two, some three times. It has played Sheridan, GoTdmith, Stephen Phillips, Henry- Arthur Jones, Wilde, Ibsen, and Shaw as well. It is going to Wellington next October to give readings at the capital, and next year Mr. Montague forecasts an attempt to do “The Tempest” in costume, with Sullivan's incidental music, and instead of scenery plain curtains. His Majesty's Theatre would be requisitioned for the occasion, and the production the jointefforts of the local societies. During the course of his remarks, Mr.. Montague also claimed that since the society had been in existence, many other kindred societies had come into being in different parts of the country. He had never lost any of his readers, and always the best parts had been given to the best readers.

The Reading. Recalling his plea that the audience should not be too harsh in the judgment of a first reading of the season, as members had not yet settled down into their stride, one is inclined to stop short of criticism. Admitting the plea, it must be said the reading was not the best effort the society is capable of putting forth. “The Tempest” is an extremely difficult play to attempt at any time, and much of the supreme beauty of the piece to the public depends upon its action and scenic transformations. Devoid of all the trappings, which modern theatrical art has invested the Elizabethan prose with, the singular purity of the language and the glamour of the whole story- should readily hold a sympathetic audience enthralled. The episodes associated with Trinculo and Stephano were given in a manner that had little to recommend it; To see two gentlemen in evening dress submerged beneath a travelling rug, kicking their feet in mid-air, suggested nothing of the original. It was simply bizarre and incongruous. Mrs. Frank Turner made a charming Miranda, whilst Miss Bartley as “Ariel” spoke her lines with evident care and distinction. Mr. J. W. Ryan put a lot of hard work into his “Caliban,” and it was a conscientious performance. Mr. Montague himself was content to play Sebastian, a performance distinguished for its ease and quality. Of the remainder of the casta, the prominent ones were: Mr. Harris (Prospero). Mr. McElwain (Stephano), and. Mr. Lurking (Alonso).

The Coronation Plays. T(ie following is the programme, as finally approved by the King, of the Coronation ghla performance which was due to be given on Tuesday, 27th .nst,, at His Majesty's Theatre, London:- —■ Prologue, written by Mr. Owen Seaman, spoken by Mr. Forbes Robertson.

Scene frofn “ The Merry Wives of Windsor,’ in which Mrs. Kendal, Miss Ellen Terry, and Mrs. Charles Calvert will appear. - . . The second act of “David .Garrick,” in which Sir Charles Wyndham, Mr. Edward Terry, Mr. Weedon Grossmith, and Miss Mary Moore will appear. The Fpriim Sceiie froirf “ Julius Caesar,’* In which Sir Herbert’Tree and Mr. E. S, Willard, will appear. ' ’ _ “ Tlie Critic,” the east of jvhiqfi will include Mr. Ceorge Alexander, Mr. Arthur Bourcluer, Mr. '.Cyril Maude, Mt.

Charles Hawtrey, Mr. Oscar Asche, Mr. Gerald du Mauner, Mr. Laurence Irving. Lady Tree, Miss Winifred Emery, Miss Marie Tempest, Miss Gertie Millar, Miss Lily Elsie, and Miss Violet Vanbrugh. Ben Jonson’s masque, “ The Vision of Delight,” in which will be seen Mrs. Langtry, Mrs. Patrick Campbell, Miss Lena Ashwell, Miss ElliS Jeffrey’s, Miss Evelyn Millard. Miss Gertrude Kingston, Miss Marie Lohr, Miss Eva Moore, Miss Lilian Braithwaite. Miss Evelyn D’Alroy, Miss Lillah McCarthy, Miss Mabel Hacklier, and Miss Constance Collier. The National Anthem will be sung by’ Madame Clara Butt. Many other well-known actors and actresses. in addition to those mentioned above, will appear in the programme. The King and Queen will be received by Sir Herbert Beerbohm Tree and Sir John Hare, and during the performance Sir John Hare will be in attendance.

Absurdities of Grand Opera. The absurdities of grand opera_ forms an amusing topic for discussion by Louis C. Elson in a recent number of “ The Etude.” The early Italian opera was particularly noted for its incongruities. Such an event as a decapitated saint walking off the stage with his head in his hands, or ascents into heaven by means of invisible wires were frequently presented. Dragctis, generally spitting fire, were an ordinary event. Sometimes entire menageries were turned loose upon the stage. Soldiers and great processions were profusely in evidence. *

With the advent of Rossini, Donizetti and the earlier Verdi, matters became somewhat 'worse. The conventionality of the operatic plots at this time is almost maddening. And, by the way, many of the heroines in these grand operas did go mad, although not because of the stupidity of the libretto. Lucia di Lam mermoor, Linda di Chamounix, Dinorali, Ophelia, and several others went crazy. The crazier they became the better they sang. Their insanity always took the form of singing in the highest register, of trilling and of giving brilliant luns. Tn their mental aberration they showed a predeliction for the flute, and would sing against that sighing-tube for long stretches at a time. In studying the pathology of this matter'we discover that tenors are far less liable to insanity in opera. Lionel, in “Martha,” is almost the only ease we can find, and even he does not display any vocal firewtorks- when lie goes crazy. Basses and altos are altogether immune. Nothing ever disturbs their mental balance.

Per contra, basses are very wicked. They often pursue the soprano with unwelcome attentions and although they exhibit a commendable constancy, the object of their affections only scorns them. Tn opera the lower a man sings, the lower his character generally. is. The alto is often made into a receptacle for the woes of the soprano. Tn “ Lucia di Lammermoor” and in “II Trovatore ” a faithful contralto follows the sonrano around with no visible object, excent to have the latter recite her troubles at intervals.

A Queer Geographical Mix-up. When the censor forbade the performance of the opera of “Un Ballo in Maschero.” because the King of Sweden was assassinated in it. at a masked ball, Verdi calmly changed the king into a duke—the Duke of Mantua. When this also was considered too revolutionary he determined to make matters entirely safe in the next change. Tie put the entire action of the opera in Boston, Mass., in Puritan days, and had the “Governor of Boston” (whoever that official may lie) assassinated at a masked biill. presumably given by old Puritans. When Mario; the tenor, objected to the costume of a Puritan governor, Verdi said, “Dress' as you please!” whereupon the Governor of Boston came forth attired as ?. Spanish cavalier. It was Wagner who became the thunderstorm which cleared the atmosphere of such silly librettos. After bis great dramas no one dared to return to the inanities of the earlier operas. “Every Operatic libretto should be capable of being produced as a play without any ifiusie.” said he, and the world has come to his opinion.

Obesity and Dramatic Consistency. Verdi was rtt one time a glaring example of carelessness in preserving 'dramaticUnity. In the flrstt performance Of “La Trdviata” he chose rt very Obese priraa donna for the part of Violetta. The crime brought its own punishment fo’r once, for when in the’ lastt. setne tlie doctor came into the sick chamber and

pointed to the three hundred-pounder and said to the weeping maid: —“Tn a few short hours she will be dead of consumption!”—the house burst forth in gleeful mirth, and the end of tlie opera was ruined.

Tlie cases of semi-starvation, in opera, are also very hazardous upon the stage. Thus in the second act of Beethoven’s “Fidelio” it is always a ludicrous sight to see two hundred and fifty pounds of tenor clinging to two ounces of bread and pouring forth his gratitude to Leonora for saving him from starvation. Things That Will Happen.

It was in the Boston tlieatre that in the first act of “The Flying Dutchman,” as the phantom vessel was swinging to its wharf, the craft upset. A crew of one (Galassi, the baritone) rolled down to the footlights amidst a spontaneous chorus, evidently improvised, of “Oh Ciel!” “Mein Gott,” etc.

Mme. Alice 'Nielson has related an experience with the child in “Madama Butterfly.” It was in Pittsburg, I believe, where they did not have the restriction against allowing a child to appear upon the stage. In Boston, where they forbid such appearances, Puccini’s opera is spoiled by the appearance of a large doll in the character of the child. In this case the child was very much alive—and frightened. “I want my ma!” wailed the scion of the house of Pinkerton. “Be still! I’m your ma!” hissed tlie now doubly agonised Butterfly. Then a happy idea entered into the brain of one of the “supes” standing in the wings. He had a box of chocolates, and he took one of these and pushed it towards the child with a wire. Madama Butterfly saw this black thing approaching and thought that it was a mouse, and reached a high note with amazing brilliance. “ Nicola ” at His Majesty's.

A large audience filled His Majesty’s Theatre, Auckland, on Monday night, when Nicola, conjurer and illusionist, opened his New. Zealand tour. He has an extensive repertoire, which includes a number of novelties,, as well as many tricks which have seen the light before; but Nicola has to carry practically the whole entertainment on his own shoulders. and it would be impossible for him to have nothing that had not been seen before. As it is, he performs all his tricks with singular deftness and unerring accuracy. In addition, he talks when it is necessary, and does not keep up that; incessant stream of irritating patter which some performers consider necessary. His performance includes several variations of the cabinet trick, an evergreen illusion which always prompts the audience to explain to each other exactly how it is done. His work with the cards, too, was excellent. One item of exceptional cleverness was that in which a lady assistant. bound firmly to a bar, was placed iff a cabinet very much like a pillar-box. She could stand upright, but barely turn. The door was closed, and in three seconds was opened to find the lady’s position mysteriously reversed. She was standing on her head. The programme says that “nothing on earth will hold Nicola prisoner,” and’ after seeing his manipulation - of handcuffs and shackles of regulation pattern, one is inclined to believe it. Handcuffs and ankle-irons of various patterns were adjusted by volunteers from the audience, but all to no avail—sooner or later Nicola emerged from his cabinet free, and in every case the locks of the manacles were open. No doubt his challenge will be accepted, and various people will endeavour to lock him. .up in such a way that lie cannot escape; but on Monday night’s showing!: the task is.no easy one. A comedy juggling and hand.balancing act by Nadolnv, Fern, and Alack caused no little.amusement. Nicola and his company should he ensured, of large and much mystified audiences during, tire New Zealand tour.