Music and Drama.

New Zealand Graphic, Volume XLVI, Issue 2, 12 July 1911, Page 14

Music and Drama.

By 1

BAYREUTH.

BOOKINGS.

(Dates subject to alteration.) AUC K LAND— HIS MAJ EST Y July 17 to 22 Auckland Amateurs (“Pirates of Penzance’’). July 24 to August 5- “Jack and the Beanstalk.’’ August 14 to September 2—“ The Arcadians." WELLINGTON OPERA HOUSE. July 6-20—Clarke and Meynell, "The Arcadians.’’ July 29, August 4—" The Scarlet Troubadours,” August 7-16 J. and N. Tait. August 17-26—J. C. Wlliamson, 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. Williamson.

Signor d'Annunzio’s Wonderful New Play. THE forejnost playwright of Italy, Signor d’Annunzio, has gone backi to the religious days of the Middle Ages according to the accounts of his new play which made its first appearance at Paris recently. The theme is the one worn, terribly threadbare by the early Italian masters of painting—namely “The Martyrdom of Saint Sebastian.” M. Claude Debussy, about whom one hears so much of in Home papers these days, has written the incidental music. The criti’c of the “Daily Telegraph,” whose notice must be accepted with caution, does not view the new play very favourably. During the course of a column notice he shows an obvious and distinctly British prejudice against the broad fluidic scliqol of mod’ cm musicians and playwriglits. “The piece is, in intention,” he writes, “throughout a devout reconstitution of the mystery or miracle plays of the Middle Ages.-, It never once means to be a ugh t but a pl a y of si m pie. .fai t h; it never once- is a play of simple faith. The mediaeval mysteries mixed lewd jokes with their religion, and were always really religious. . Signor d'Annunzio’s language is always lofty ami chastened, and sometimes really poetic, and his meaning always is to exalt faith. But there is more real religion in the clowning interludes of mediaeval miracle plays than in his highest passages of exaltation. His work must be classed with Oscar W ilde’ “Salome.” It has the same gorgeously false colour, the same spieddour of artifice. Paste never shone so brilliantly before.” “But between Dr. Richard Strauss’ music and that of M. Claude Debussy a whole world lies. The music of “Salome” is as magnificently per terse as the poem. M. Debussy’s amazingly adaptable and sensitive imagination has revived the spirit of mediawal faith much more successfully than the dramatist in his play. It is not the real thing, and oply an imitation, but it is an exceedingly deft and intelligent imitation. Some unaccompanied choruses, in which I fancied I detected echoes of Moussorgsky. are particularly good. One felt that the composer understood exactly the. simple, religious spirit to be expressed, though he did not himself share it. The score is much more important than was believed, and about a third of the play is accompanied by music.’’ This sort of criticism is not criticism at all, but sheer cavilling. Between the lines one can read the insular prejudice of the Britisher, who invariably mistakes bis own personal feeling.*’ for artistic principles. '1 he play is. I gather, a series of Hue remarkable scenes presented with tremendous artistic efTcct. The first act is the saintly archer’s war on watering faith. Two brothers are tied to the stake, and their mother nml sisters plead with them not to cast away human love for the shadow of a new faith. The saint gives them fltrength, his fervour converts their mother, and ho performs a miracle by walking on a rod hot gridiron. The sec ; Olid) feat of Saint Sebastian is to convert a . mob nf worahlpper-fl in a strange temple dedicated to pagnn mysteries, a •come, of extraordinary riehacM and beauty.

In the third act Signor d’Annunzio’s ingenuity reached the best moment of dramatie effect. The Emperor Domitian seated ,on his throne, has the captain of archers, who has gone over to the new faith, brought before him. Sebastian breaks the Orphean lute, throws down the symbols of Roman majesty, and insults the gods and the Empire of Rome. At each fresh outrage the Emperor wishes to order him to be put to death, but refrains. “How beautiful he is!” cried Domitian. and will not punish but reward him. “He shall be a poe't; he shall be Emporer; he shall be a god, and temples will be built and burnt offerings made to him!” At the last the Emperor loses his patience and has the saint smothered by a shower of rose petals. The Martyrdom Scene.

He comes to life, however, to die again, and the last picture is the shooting of St. Sebastian by his own archers. “Who loves me best shoots straigh'test. Your arrows, giving me death, give me life! Every dart striking me with anguish brings me heavenly bliss!” cries the ecstatic martyr, and his weeping archers shoot their loved captain dead for love of him. The tody, stricken by arrows, is carried away. The stage is empty of human beings. Only an immense circle of light, with concentric rays, descends, covering all the back-cloth.'and the last act is all in music from the orchestra and from the voices of unseen singers, the effect of which no words could describe. The scenery was said to excel in its artistic appeal. The palace of Domitian, with its immense black roof on black marble pillars and frescoed walls, was very sumptuous, and there is a profound sense of mystery in the wood of the .last scene, in which the great tree trunks turn blood-red as the martyrdom is accomplished. Richard Wagner's Life.

At last the world is in . possession of a book the ultimate publication of which has been keenly, anticipated for many a long day. ."“My Life,” by Richard Wagner,' has at . last made its appearance in London in an admirable, and, it is said, an entirely faithful, English version for those who arc unable to read it in the original German. The appetites of all who are interested have been whetted considerably of late by means of copious extracts that have been transmitted to various English newspapers by their foreign correspondents. Rut no number of extracts can give a complete idea of the immense in-

terest, and even charm, of the book itself, which is of great value. Moreover, in its freshness and vigour of language it is infinitely easier to read than almost any other of Wagner’s numerous writings. Unadorned Veracity.

It is this “unadorned veracity” of the story of course, that while being of the very essence of the book, is as well the cause of the long delay in its publication. “As the value of this autobiography consists in its unadorned veracity,” says Wagner, “which, in the circumstances, is its only justification, therefore my statements had to lie accompanied by precise names and dates. Hence there could be no question of their publication until some time after my death, should interest in them still survive in our descendants.” Wagner died eight-and-twenty years ago; the date at which the autobiography ceases is 1804. No one will, therefore, take offence at any statement or criticism after, this long lapse of time, though frankly, it is conceivable that had the publication occurred five-and-twenty or more years ago some folk might with some reason have been a trifle annoyed. The unadorned veracity makes the book delightful reading: it makes the thing ring true, more especially to-day, when every critical pill must be administered in every imaginable disguise. And even the often very severe criticism of Wagner’s contemporaries in musical life, and of others, and the candid expression of his supreme contempt for some who later came to be regarded by the world at large as men of eminence and distinction, who in some way or other hadi irritated Wagner, are more likely to-day to raise a smile on the face of the reader than his wrath, even if perchance he or she may be literally a descendant from the person upon whom Wagner poured out the vials of his wrath or his contempt.

Ludicrously Incompetent. Here, for example, is a somewhat- trenchant pen-picture of “a certain Doctor Wilde” (Henry Wylde is meant), the founder of the New Philharmonic Society, at which he produced Liszt’s “St. Elizabeth” in 1870. “A typical, chubby-faced Englishman, remarkably good-natured, but ludicrously incompetent. He had taken some special lessons in conducting from the Stuttgart conductor, Lindpaintner, who had trained him up to the point of at least attempting to catch up the orchestra with his beat, the orchestra itself going its own way entirely.” Wylde it was who induced Berlioz to eome to conduct at his concerts. At one of these Wagner was present. “I thus heard him conduct some classical works, such as a Mozart Symphony, and was amazed to find a conductor, who was so energetic in the interpretation of his own compositions, sink into the commonest rut- of the vulgar time-beater.” With Cipriani Potter, “an old-fashioned but very friendly composer,” Wagner seems to have got on well when in London for that historic visit as

conductor of the Philharmonic Concerts, But “I got,on less well,” he says, “with a Mr. McFerrinc (Mr., afterwards Sir George, Macfarren), a pompous, melancholy, Scotsman, whose compositions, I was assured, were held in high esteem by the Committee of the Society. He seemed too proud to discuss the interpretation of any- of his works with me, and I was therefore relieved when a symphony of his, which did not appeal to me, was laid aside, the substitute chosen being an overture entitled, ‘The Steeplechase’ (‘Chevy Chase,’ of course, is meant), which I enjoyed playing, on account of its peculiarly wild, passionate character.” But though many of the portraits are couched in language somewhat severe, not by any means alt are so. Again and again such descriptions occur as of Howard, secretary of the Philharmonic Society, “a worthy and agreeable old man,” who is cordially thanked as being the only Englishman who “took the trouble to entertain me.” Rather curiously-, perhaps, Wagner long 1 continued on friendly terms with Gounod, whose zeal he describes as pedantic, and who is said to have executed sundry secretarial duties “with unflagging and nauseating garrulity.”

During one of his visits to Vienna Wagner had occasion to read his book of “Die Meistersinger,” Hanslick, who subsequently became one of Wagner’s bitterest critics, was present. “We noticed that as the reading proceeded the dangerous critic became more and more pale and depressed, and it was remarked by everyone that it was impossible to persuade him to stay on at the close, but that he took his leave there and then in an unmistakably vexed manner. My friends all agreed in thinking that Hanslick looked on the whole libretto as a lampoon aimed at himself, and had felt an invitation to the reading to be an insult.” Whatever the right and the wrong of the matter, it was from that date that Hanslick’s attitude towards Wagner’s music and his propaganda entirely- changed from friendliness to uncompromising hostility. A Visit to London. Of things as of men, Wagner’s unadorned veracity is pointed, and his descriptions are often a joy to read, if sometimes on account of their very naivete. What could be more delightful than his account of his attempted visit to Bulwer Lytton to try: “to come to an understanding about the operatic performance of his novel ‘Rienzi,’ which I had dramatised. Having been toldl, on the Continent, that Bulwer was an M.P., I went to the House after a few day-s to inquire on the spot. My total ignorance of the English language stood me in good stead here, and I was treated with unexpected consideration, for, as none of the lower officials in that vast building could make out what I wanted, I was sent, step by step, to one high dignitary after the other, until at last I was introduced to a distinguished-looking man,

who came out of a large hall as we *lfs an entirely individual.’ He asked me very eiVilly what 1 wanted, in French, and seemed favourably ftnpreß4ed when 1 inquired for the celebrated author.” Lytton, however, was out of town. But Wagner’s unknown friend, being’ pressed- urgently, ehaper-on<-d Wagner into the House of Lords', where "1 was immensely interested to see and hear the Premier, Lord Mel - bourne, and Brougham (who seemed to me to’take a very active part in the' proceedings, prompting Melbourne several times, as I thought), and the Duke of Wellington, who looked so comfortable in his grey beaver hat, with his hands diving deep into his trousers pocket, and who made a spescli in so conversational a tone that I lost my feeling of excessive awe.” As a matter of fact, the sole speaker who failed to interest Wagner was the Bishop- of Lon(lPn—the only one “whose voice and manner seemed to me stiff or unnatural, but possibly I was prejudiced by my dislike of parsons generally.” . Of Wagner’s travels in Germany and to Paris, of his attitude in connection with the May Insurrection in 1849, of his Hight and long exile, of the prohibition of many of his works, there is surely no need to speak here, even if space permitted. The whole charm of this fascinating "Life” lies not so much in any new information it may contain as in the dplightful, personal, candid manner of its expression. The reading of many of the numerous previously existing "Lives” of Wagner may easily have created in the reader’s mind the impression that Wag/ ner was essentially a critic of mordant, caustic spirit, who decried for the mere pleasure of decrying all and sundry that stood in his way. His own “Life,” on the other hand, shows him to have been candid, mordant, caustic when occasion required, but also, naive, gentle, and generous. It is a book full of delights that will appeal to many a reader who is not at all a mere musician, in virtue of its singularly human dualities.

The book is published in two volumes by Constables, at 31/6 net.

A Bit of Fun Taken Seriously. Talk about returning to the worst days of the drama in Britain! The exclamation hinges on to a strange thing that happened recently in London. A twen-tieth-century audience, in the heart of the West End of London, became in effect a Surrey-side audience of early Victorian times, and revelled in blood-andi-thunder melodrama.

The miracle was worked by Mi’ Laurence Irving with a new play of the eighteenth century, acted after the fashion of 1840, entitled, "The Life and Adventures of Margaret Catchpole.” In order to heighten the illusion, Mr Irving issued a special "bill of the play” in imitation of the old inky broadsheet printed in bold black type and luridly setting forth the multitudinous attractions of this “exciting, vivacious, and spectacular drama in fourteen scenes and three tableaux.”

The experiment was completely successful. The audience abandoned themselves whole-heartedly to the delicious Idea, rioting in the humour ami the realism of the thing, and. in the end, overwhelming the ingenious producer with applause.

“Margaret Catehpole” is “straight-from-the-shoulder” drama, “tuppennyeoloured,” in fact; but coloured so well by first-rate acting and by the ablest seene-pgipters and costumiers that even the most sophisticated playgoer can enjoy it without loss of self-respect. Margaret Catehpole is, of course, that East Anglian celebrity who emulated Hick Turpin by stealing a horse and riding furiously from Ipswich to London. She is epically heroic in the play. Twice she dons the breeches in order to accomplish unfeminine feats, of gaolbreaking and the like. - Her character is compact Of all that loyalty, .romance, and ■plendid daring which belongs to the ! ages of the novelette, and right glad was everyone when, after finally disposing of the beetle-browed smuggler-villain "ho has so long pursued her,” she settles down in Australia to live happily ever after.” •

Poor old Australia. How dearly do I he British public love to work it intp I he melodramas. No supporter of the 1 heap sensationalism’ of the “popular” theatre in London would accept our neighbours as they arc-civilised, languid, cynical, and not. -infrequently brilliant mortals. No doubt, to the idea of the gielodraniatie crank, it. would have been much more in keeping with popular

ideas if Mr. Andrew Fisher, Australia’s Labour Premier, had gone to the Coronatio’n in a red shirt, a slouch hat, a bluey, a clay .pipe, and a billy. Laurence Irving, no doubt, relied on amusing his audience with the absurdities of the old melodrama, and he did, too., But, alas! quite a number of people took the play seriously-,• ami applauded and hissed as occasion required. Farewell to Miss Rosemary Rees. Last week Gisborne gave a big farewell to Miss Rosemary Rees, a talented actress and playwright, whose work is likely to lie heard of. I had an opportunity of studying one of her latest efforts recently, and it will not be lack of merit if it fails to reach the footlights before many moons have passed. I can best quote the local “Times” in her favour: —

"Gisborne, however, has been more fortunate than most towns in New Zealand in possessing an actress of such undoubted merit as Miss Rosemary Rees to organise theatrical performances to supplement the visits of professional companies. The performances held under the stage-managership of this lady in the past gained for her a high place in the esteem of local audiences, and when the announcement came that she

had got together a capable’, baud of amateurs to assist her in giving, a farewell entei tainment prior to her departure for London, the news was hailed with mingled pleasure and regret. "His Majesty’s Theatre was filled with a large and highly-interested audience to witness her farewell performance, which opened with a one-act ebmejily by Miss Rees, entitled “Her Dearest Friend.” The copywright of this clever little cur. tain-raiser had been purchased from Miss Rees by Mr Percy Hutchinson, who. however, had granted the authoress permission to play it during her stay in New Zealand. The comedy- is cleverly strung together, and treats of a bitter, domineering woman, Ursula Hammond, who suddenly changes her views on all subjects with the idea of attracting a wealthy young man —the devoted admirer of her friend. Molly Anstruther. The comedy opened with a bright dialogue between Ursula Hammond (Miss Rosemary Rees) and Molly Anstruther (Miss Phyllis Lusk), but this had not proceeded far when Miss Lusk unexpectedly fell heavily in a dead faint upon the floor of the stage. With remarkable presence of mind. Miss Rees raised the younger actress, and so naturally went on with the play that ninny people were under the impression that the fainting

tit was a part of the scene. Though Miss Lusk very pluckily strove to continue her part it was not long before she again collapsed and Miss Rees h|id to signal for the curtain to’ lie lowered.

The actress-authoress then came before the curtain and explained to the audience that Miss Lusk had been suffering from a severe cold for some days, and had fainted.’ Dr. Reeve, Miss Rees explained, was bringing the patient round, and the latter insisted on going through with her part.

This announcement was received with applause, and after a wait of about twelve minutes the curtain was raised and the comedy resumed, loud applause greeting the plucky action of Miss Lusk in determinedly facing the audience once more.

The comedy then proceeded, and was brightly and capably acted. Mr Max Jackson gave an admirable presentation of the part of the eligible bachelor, while Miss Lusk made a pretty and confiding Molly. The work of Miss Roes in bringing the two young people together through jealousy was artistic in the extreme, and was keenly appreciated. Loud applause followed at the close of the comedy, and both ladies were made the recipients of beautiful floral tributes.

“Sydney Grundy’s' dramatic play, “In Honour Bound.” was then staged. Dr. W. Reeve made a first appearance in Gisborne in the part of Sir George Carlyon, K.C., M.P., a man who married more for political advancement than for love. His neglected wife has formed a romantic attachment for a younger man, who subsequently becomes engaged to Sir George and Lady Carlyon’s nieee. As guardian of the latter. Sir George insists on the young man breaking completely with the old love, and demands a letter from the lady freeing, him from his entanglement before he will sanction the engagement. The letter is forthcoming, and Sir .Geoj’ge, who has also been similarly indiscreet in his early life, ,pardpns his wife and the pair decide to. forgive and forget. The play is one which requires delicate treatment, but the performers last night were .more than equal to the occasion, and their work would have reflected credit on a professional company. Dr. Reeve gave a quiet and dignified presentment of the part of the eminent King’s counsel. Miaft Rees ,was at her best in the Rvene where her old lover scorns her before, her husband, the mingled emotions of shame, despair, and outraged love being intensely portrayed Miss Rita Barry made a sweet and charming

Rose Dalrymple, speaking her line* naturally and acting with charm and grace. The part of Philip Graptham, the nlan who made the mistake of getting on with the new’ love before he was off with th,, old, was well taken by Mr. W. A. Bowring. The concluding piece was Bryant’s comedy in one act, “The Peacemaker,” and was excellently presented. The plot deals in most amusing fashion with the efforts of Elizabeth Lavender to bring about a reconciliation between a young married eouple, ami their intense indignation at hei‘ interference. The well meaning but misguided efforts of the lady to le’ave the couple together at a little dinner party she lias arranged were amusing in th e extreme, and the scheme was so bungled through the mistakes of a brainless parlourmaid th’at the eouple became so indignant that th *y became reconciled and went off together to supper at the Carlton. In the part of Elizabeth Lavender, Miss Rosem'ary Rees was responsible for a deal of clever comedy, and her work with Mr. Max Jackson (Dr. Burton) furnished the audience -with keen enjoyment. As Parson, the dull-witted but wellmeaning parlourmaid, Miss Phyllis Lusk g’ave a clever character study and provided much merriment. Mrs. F. 11. VV. Traill acted gracefully as Joyce Harford, while Mr. H. de Latour made a manly and convincing Richard Harford. The plays were beautifully mounted and staged. Miss Rees is a most capable stage-manager, ami this was very noticeable in the faithfulness with which even the sm’allest detail was attended to in the setting of the different pieces. Miss Rosemary Rees left for Loudon on Saturday morning. Her visit to London is mainly in connection with the disposal of two plays which she has written. ' Miss Rees will also join a theatrical company in England. “ Jack and the Bean Stalk. ’ The J. C. Williamson Pantomime of “Jack and the Bean Stalk" will commence a New Zealand tour at Auckland on Monday. July 24th. Although Mr. J. C. Williamson once had the courage to break away from the old nursery rhymes for his big annual, he has of late years gone back to the old regime, and this time gives us the imperishable romance of Jack and the Bean Stalk. Although it is stated that the pantomime, of the doings of the impeccable “Jack” is embroidered with all kinds of splendid the librettist (J. J. Hawson) is said to have had sufficient respeet for the nursery tale to preserve something of the story. This leaves a good sufficiency of the old, old story to thoroughly interest the youngsters, ami a wealth ami display of beauty, brilliance, and female form to act as a hair restorer to the proverbial habitues of the front rows in the stalls. The real star turn of the show is the extraordinary gyrations of the Willy Panzer troupe of aerobats. The principal sketch these wonderful athletes do is entitled "The Limit,” and it is said to thoroughly justify its name. It is accredited with being the finest exposition of up-to-date acrobatism. Other of the principals who will make a first appearance here are Mi’. Jack Cannot, Miss Dorothy Firmin (principal girl at Drury’ Lane last. year). the Doherty Sisters

(designated as “The Ginger Girls”), Marie Eaton (the Fairy Queen), Mabelle Morgan (fresh from principal boy triumphs in America), William Hassan (the Cow), Rupert llarnell, Victor Loydall. Of the spectacular scenes, prominent are: "The Mysterious Aeroplane,” “The Capture of the Giant's Stronghold,” “The Building of the Parramatta,” “The Growth of the Bean Stalk” and “The Grand Match of Winds.” There are several ballets, the most beautiful of which are: “The Dance of the Bean Stalk” and “The Military Ballet.” According to Australian Press opinion, “Jack and the Bean Stalk”-is the most gorgeous and satisfying of any pantomime the Firm has offered for -years. The box plans for Auckland will lie opened for the first six nights at Wildman and Arey’s on Thursday week next. " The Pirates of Penzance.”

laical interest in. Auckland is being aroused by the revival of the Amateur Opera-tie Society. a hose opening production. "The Pirates of Penzance,” will be given at His Majesty’s Theatre on Monday next. The recent demise of W. S. Gilbert, the great satirist of the last century in Britain, renders the revival very <i|>portiinc. Over 10 years have passed since Auckland hi*t saw its amateurs dipporting tlmnisehiH with Gilbert and Sul*

li van, and, according to all accounts, they did it very well. The present organisation is setting its heart upon maintaining the traditions of the old So iety. All amateur societies, more or less, tend to foster budding talent, and the Auckland Operatic Society have been particularly noted for the successful launching of a large proportion of local talent during the past 25 years. Included in the cast of this combination are several aspirants who are entirely new io the footlights, and who promise well for success. The chorus, consisting of 70 voices, has been in active rehearsal for nearly three months, under the baton of Mr. Francis Cornwall, the Society’s conductor, while the stage business is under the guidance of Mr. Vai Atkinson. The scenery, from the brush of Mr. Baird (scenic artist), has been specially painted for this opera, while the costumes will be quite a feature of the production. Devotees of Gilbert and Sullivan therefore can rely upon our .amateurs to place before them a noteworthy performance. The full east, etc., appears in another column of this issue.

Stray Notes. One of the most exciting scenes in “The Arcadians,” which Clarke and Meynell have brought to New Zealand, is the racecourse scene that brings the second act to a thrilling conclusion; both the people in the auditorium as well as on the stage are carried away by the excitement of the sensational moments when Sirnplieitas Smith is riding the Duce to victory for Jack Medows. The winning of the Cup is depicted most realistically by the crowd on the stage, ■who appear to be watching every phase of the great race. Their glasses sweep round the circle, and at times point directly at the audience and the enthusiasm that follows the appearance of the winning horse on the stage is unbounded; this is the first time a. racecourse scene has been represented in a. musical play. The Quinlan Opera Company will be in Australia next year. The advance Press agont. for th" comnany is a lady, ATiss Agnes Murphy. The Mi s Julia Chroli, whose engagement for the company was announced, is a Miss Julia Davis, a Sydney lady who left Sydney five of six years ago to study in the Old Com try Herr Z nes row in W llington, is reputed to be n very fine violinist. He is a person i! friend of Hubay, the wellknown H.:u??rian violinist and composer, and recmvod his initial instruction from Hubay’s fethcr (a contemporary of Liszt Re.nenv’. ami Joachim). Hubay, sen., died emhtem months after Zones commenced study’ug under him at the Conservatoire in Budapest, after which he continued his studies under Charles Aggimzy. at one time a very beautiful player, and still, at 78 years, on the staff of the Conservatoire. Herr Zenos has in his possession a fine Hungarian Concerto for violin and piano, the violin part of which was written by Hubay nnd the piano part by Agghazy. Loudon -Standard’s” musical critic Fays of Melba that she cannot hope for ever ‘to avoid payment of the tax which time imposes upon all singers. Stoll things are all right so far. “Her higher ■notes may involve more effort in th"ir 'production than formerly. but the quality of her middle voice, its order and control, the unswerving, rectitude of her •intonation, and the knack—it almost amounts to genius—of hitting each note, as cricketers sav. plumn in the middle, are as reme’ t-ab’e' as ever.” Distant hills look green (savs the ‘•'Sunday Times”), and young Australians ■with good voices hug the delusion that .fortune w*ll smile on them if they can get to London. Mr. Hermann Kle»in, a •well-known musical critic, rwently told the i»l;’hi truth about th? unfortunate condition of professional simgers in the old country. “For some rears,” writes Mr. Klein, “the conditions affeet’ny the livelihood of the English pr «f.pssional singer htavp been growing steadily worse. Concurrent! v with a vast increase in the quantitv of i»»nJ:il performances of all kinds, the armv of English sing rs has swollen to pronortions fsr exceeding whit cm be considered on a’orr’ate provision fnr th? amount of nrnfitah’e work that there is to do. It 1r no exaggeration to assert that the si”gprs. with a f *w exceptions, are worse off to-day ’han the minor or the mechanic, who, so long as there work to be done, is tolerably well assured nf a living wage; or, if ha wishes to agitsto for higher imv. knows tbit, through co-operation with his onmridcs, ho can ‘strlk”’ without risking either absolute starvation or permanent

loss of employment. The singers are a helpless class, and the majority of them have to take what managers or agents offer them. Individually they are powerless, and they have no organisation which could be used to improve their position.

Miss Dorothy Dix, who has been playing leading roles with great success in London, has been engaged for Australia by Mr. J. C. Williamson. Miss Dix last year was appearing as leading lady witli Mr. Lewis Waller.

H. B. Irving’s advent in “Hamlet” reminds a writer in the “Bulletin” that Henry pere jettisoned quite a lot of tradition in his representation of the melancholy Dane. Thus he dressed the old chap in a red cloak. This shocked the Philtines, one of whom indignantly rushed the mummer with chapter and verse for “my inky cloak ” “Ah,” said Henry, affably; “you’ve evidently never heard of red ink.”

“The Speckled Band,” which will be the first piece to be presented in Sydney by the newly-organised J. C. Williamson Dramatic Co. after their return from the West in August, is one of those melodramatic scenes in the career of Sherloek Holmes by which Conan Doyle has made himself famous. The little role will be filled by the real snake which Mr. Rocke Phillips has had in training for its part in Sydney for some time past. Mr. William Desmond will be SherlockHolmes, a character in which, by the way, he made an undoubted success in the United States.

Miss Winifred O’Connor, leading lady of “The Arcadians,” which will be staged at His Majesty s Theatre shortly, has had considerable experience in musical comedy in England. She began as a member of one of George Dance’s companies on tour in “The Country Girl,” singinfg “Under the Deodars” as tile Princess. This engagement lasted three years; then she went to London for a ■week as Nora in "The Girl From Kay’s,” at the Comedy, where the cast included the late Willie Edouin as Hoggenheimer. Before coming to /vustralia, Miss O’Connor visited America for “The Belle of Brittany,” produced in New York under the Schubert management. The new prima donna, who is an Irishwoman of bright manner ami a keen sense of humour, claiming Westport, Mayo, as her birthplace, received her musical education at the Royal Academy, where, in the course of three years, she gained the bronze and silver medals for singing, and medals for harmony, sight-singing, and the piano. Tl\e New Zealand tour of the “Gay Gordons” Opera Company, headed by Miss Nellie Finis, Miss Florence Emeson, and Mr Frank Lincoln, commences at Wellington on 15th September. After “The Gay Gordons” will come “The Woman in tiie Case,” by arrangement with Mr George Willoughby, under Clarke and MeynelTs management. This attraction will be followed in turn by “The Chocolate Soldier.” and later by the “Bick Whittington” Pantomime Company, which Mr Chas. Wenman, the English producer, aranged for doping his recent visit to London.