Music and Drama.

New Zealand Graphic, Volume XLVI, Issue 9, 30 August 1911, Page 14

Music and Drama.

By

BAYREUTH.

BOOKINGS. suhlect to alteration AUCKLAND 11 IS MAJESTY’S. Angn-t 14 t o September 2 “The Arcadia us.” ember 4 "Our Miss Gibbs ” October 9 -"The Woman in the Case’* Compa tty. November 23 The Gay Gordons.” OPERA HOUSE Aug 23 to 31—Sousa’s Band. WELLINGTON -OPERA HOUSE August 2s. September 4 —Florence Baine Comedy Company. {September 11 ;>*—<: nrke and Meynell's "Gay Gordon’?” Company. October 11-25 J. C Williamson, "Our Miss Gibbs” Company. November 316 Clarke and Meynell. December 23, January 16 —J. C. Williamson. The Coming of Leonard Borwick. nE-iNARD BORWICK, one of the most successful of English pianist-., ha* been arousing a b»t of interest an I enthusiasm, both in Melbourne and Sydney, with his superb playing. He is a musician of exceptional calibre, and if his splendid powers ate not toned down to popular taste by any box office vandalism. New Zealanders can be assured of a rare treat when he comes across. His name has been well before the London public for Bbme years now, and the last concert he gave in the metropolis before leaving for this part of the world evoked a remarkable expression of praise from the majority of the critics. Leonard Fi- wick is now in his fortyt >ird year. He "as born in Walthamstow, near London, and early evince I that strange precocity which is almost wholly peculiar to musical geniuses. His first years, it is eaid, were studious and uneventful: but, as his talent developed Vnder the fostering are of his capable teacher*, he obtained recognition beyond that of the circle of hi* immediate friends. Am«»ng the first to take notice of the remarkable boy was Alfredo Piatti, the sympathetic and distinguished artist jv ho was know n as one of the most eminent ’cellists of his generation. Pratti played with young Berwick w hen the latter was eight years old. and for several years afterward* took an ardent interest, in.his career. But rhe person who tended Berwick in his musical .immaturity. and was later acknowledged ,to have been responsible for his aatistic growth, was the illustrious Madame chumann, widow of Robert xdiiinia.un, and a pianist of world wide importance Un-1 popularity. Madame Schumann. at the time was professor of the pianoforte • r the Hoch Conservatoire, the famous Ot at of musical culture at Frank fort-on-Ihe-Maine. Germany. In thia instrttition. Leonard Berwick passed six fruit.ful veai* under the guidance of that wonderful woman, and later emerged so brilliant an executant that he secure! lhe honour of making his debut under Unusual auspices. Tn Frankfort there vas a society calle*! the Museuma(•esellsciiaft. which decided that BorUick’s first appearance, before the public should be made with their Symphony Orchestra in Beethoven’s charming J*. Fat i oncerto. Ti e occasion. of course, mi* a complete an.cess, the public vying with th* ’•rofpssional critics in their admiration for ’he piani*t’s prodigal gifts Berwick wa* now in a position to draw the attention of all who were looking f»r a ne.\ spirit in music, for he eonit»uv 1 aith a rare technical equipment wondrous lehcacy. feeling, ihnuht. and pv**»n »ve all. his love for his art wx* n-.t the least of his recauiuuenJation* He ived for his musit with a half in lifference to the po-usibillties of pecuniarv -u eas. He ha- never been verv rich. He has never l*e,-n coromereislly speculative. He lias onl*- card for hi* art. which, in the ward* of Wfaroel SchwoK—“desires only the Unique” Something Like a Repatatloa. From hi* German Jelmt to the present lav. Leonard Borwick ha* gone '* acquiring fame in his OWO smude and noble fashion. He is already well known la Italy, Fraaee, Germany, Norway,

Sweden, and Denmark, and has earned the enthusiasm of his British contemporaries. Musical Loudon has especially treated him well ever since he made his first London appearance with the Philharmonic Society, and later excited much notice at a Richter concert by playing Brahms’ Opus 15 in D Minor —a work of such difficulty that it had only been rendered once previously in the great metropolis. Subsequently. it is interesting to note, the pianist was heard in the same concerto at Vienna—Brahms himself being present—and received a memorable tribute from the famed composer. So wrote Brahms to Berwick’s teacher. Madame Schumann: "I write* in a state of great delight to say that Berwick played admirably, with a fine freedom, warmth, energy, passion —everything that could lie wished for. in short. But I couldn’t help thinking how much the goodness and beauty of it all was due to his’ teacher! Honestly, it couldn’t have been better or finer, and you needn't hesitate to believe whatever your friends report on the matter." Beyond all newspaper criticisms that eulogy from one of the masters of music will sufficiently explain the quality of Leonard Berwick. He is a distinct musical personality whose early introduction to the New Zealand public must arouse keen interest and not a little applause. Two Fine Programmes. Through the kindness of a musical friend in -Svdnev I am etnbl -d to give

the programme of his two first concerts in the Harbour City, which are a good index as to the pianist’s capabilities:— FIRST RECITAL. 1. Fugue, in G minor: Choral-prelude, “’Sleepers. Awake’’; Bach (16851756). Gigue. in B-flat minor. C. H. Gravn (1701-1759 >. Gavotte, in A-flat minor. Op. 14. Bpambati f-b. 18431. C apricclo. in E major, BcarlaltiTausifj (1683-1757) 11841-1871). 2. Sonata, in C major. Dp. 53. Beethoven (1770-1827 i. 3. Barcarolle, in F-sharp major. Op. 60. Scherzo, No. 3. tn C-sharp minor. Op. 39, Chopin ( 181 U-1849) 4. Theme varie in A major, op. 16. No. 3, Padcretrski ■ l». 18601. Prelude in C sharp minor. Op. 3. No. 2. Rachmaninoff (b. 1873). Etude de Concert, in G-flat major. Op. 24, No. 1, 4/osdloiraLi (b. 1854 1. SECOND RECITAL. 1. Italian Concerto. Moderate, An-lant*. Presto, Bach i 1685-1750 >. Andante and Five Variations, H>~art (1756-17911. Composed in Vienna for a clockwork instrument or musiest box belonging to * ount Deytn. 2. Funeral March Sonata In B-flat minor. Op. 35. Chopin t 18161849). 3. Aufschwun (I'pwards and Onwards:, No. 2’ of the “’Fantaaiestiiclte.' Op. 12: Romance. No. 2. is Fsharp major. Op. 28: Bchuiruum I 1810-1856 >. Etude, in B-tlat minor. Op. T 64, No. 1; Lied olina Worte. in F sharp minor. Book 1 Ko. 5; Character istic piece, in A major. Op. 7. No. 5; JfgndrUsvhN (1809 1647 L

4. Toccata, in C-sharp Minor, (b. 1862). Menuet a I'antinque, Sqainbati fb. (1843). Soiree de Vienne (based on some of Schubert's Waltz melodies; Rhapsodic Hongrotse, No. 12 (dedicated to Joseph Joachim); Liszt (1811-1886). Melbourne's Repertory Theatre. For some seven to ten years a lot has been attempted and a good deal Jone both in publie and private in English countries to promote Repertory Theatres —more or less on the French model, but Governments have all turned their de if car to suggestions of subsidies. A wealthy woman patriot found means of starting a National Repertory Theatre in Dublin, where Irish plays alone are produced at the Abbey Theatre. After the failure of Vedrenne and Barker, in London, Manchester and the Second City, under rhe leadership of Miss Horniman. attaineil their end by means of committees of citizens. The example of older countries lias fired both Adelaide and Melbourne to do something along the same lines in the hope of lifting the drama out of the commercial and inartistic ruts into which it lias fallen. Adelaide's success, under Mr Treharne. is well known. Melbourne, under the guidance of Mr Gregan McMahon, has followed suit. Discussing the project, the ‘Southern Sphere” re marks:—’•C ircumstances in Great Britain and Australia differ widely; it would be impossible -here to maintain a permanent professional company—as in Glasgow—with occasional ‘stars' at high fees from London, and until about six months ago it seemed as if Melbourne’s Repertory Theatre must stay in the clouds. Then Mr Gregan MeMahon settled down in Alel'oourne to form, or re-establish a

School of Acting. He was known to l>e a hard worker, he was willing to take some risks in the cause -of dramatic art. plenty of materia! was available in young Australia with its quick mentality and power of apprehension —in th • Coleridgean sense—and a very promising beginning has already been made. "Air M-Mahon himself has been trained in an excellent school. A keen admirer or the late Robert Brough, who himself had undergone a long period of discipline iu the old ’stock' companies—he first trod the boards under the direction of that manager—who really wore himself out in the effort to achieve perfection. In the eleven years that have since elapsed, Mr MeMahon has wandered all over Australia and India, and his played not less than 300 parts, in the Brough, Brough-Fleming, IV. F. Hawtrey and J. < . Williamson companies, an experience considerably more enlightening than if he had been a London actor playing the same jxirt for 300 nights, and playing always on the same lines. "The initial season of Melbourne's Repertory Theatre consisted of four per formance*. the late St. John Hankin’s comedy, ‘The Two Mr. Wetherbi's,' effectively, contrasted wirii the rehearsal -erne from Brinsley Sheridan's «The Critic.’ and ’John Gabriel Borkman* — the second occasion only on which Melliourne has been afforded sight of an Ibsen play, the first having-l«een Janet Aehurch's production of ‘A Doll’s House.’ a good many years ago. The scope of Mr. McM.ihou's undertaking i* further indicated by the fact that the second season, about mid-September, will Include six nights and three plays: Bernard Shaw's ‘Candida.’ ‘Chains’ (Elizabeth Bakeri, and ‘Return of the Prodigal’ (Hankin) are those at present indicated. During the first season no part was doubled, an t in all 32 young people made their appearance. The audiences, which included much that stands for culture and artistic lean-

ings in Melbourne, were not slow to show their approbation of the extraordinary work that Mr. McMahon had already done with his material, and the excellent judgment he displayed in allotting parts.” Wanted—An Effort in New Zealand It can only be a question of time when we shall have some attempt along similar lines in New Zealand. Auckland. with the amount of dramatic talent now at its disposal, should lie among the first to give the lead. It is true all the elements are not compatible, but if a united effort was made under the leadership of some competent individual not identified with any particular interests. the scoffers might have reason io hold their idle tongues for once. I w.n recently a guest at a private performance in Auckland of ‘'Mrs. Ctorringe's Necklace” —a delightful eoniedy byHubert Henry Davies, which theatremanagers in Australia would probably say was not payable. It would be a breach of hospitality to mention names, but I am quite satisfied that if some collective effort was made to group the best of local talent on to one stage for the performance of a modern comedy typical of human nature, and not merely a collection of artificial stage props, Auckland could strike a new note in the drama of this country. If Auckland could do it, equally so should we expect better work from Wellington or Christchurch than has been in evidence in recent years. Maurice Maeterlinck's Plays. Maurice Maeterlinck's tragic and beautiful play " Pelleas and MelLsande" has been revived in lx>ndon by Mr- Patri k Campbell and Mr. Martin Harvey. An appreciative criticism of the jierfoni once given in the “’Daily News " is well

worth reading:—‘"As a pro ession of dream pictures, it was a beautiful tlußg The scenery, the costumes, face, and gesture took you now to a fairy land world of Psyche or Cinderella, now to the lark woods and magic towers of the M- rte D’Arthur, now to the pictures of the Italian primitives. Gdulaud might have marched out of Malory with the Kirg of AlleymaynO. Pelleas was sure!: - of ( -irpaceio’s knights. Melisan-I ■. Mr* Patrick Campbell's Melisanle. mi ,ied up many a world of fancy. Now, bile you watched her you thought f me strange tales of the dying • la.—i ra es. a page out of strangest of Apulems. inetone of Botticelli’s wistful v ’a, and. now, perhaps, of something < > I' more modern, one of the subjects - D to Browning’s haul. “’The performance wa- Jelightfu A dozen years after their first welcome u is not necessary to say im h o! -‘bPatrick C'ampbeH's Melisande or -W Harvey's Pelleas. Each is ;> i ■ l! beautiful acting finely imagined, ni n , dered with delicate skill H'e eth- •’■ passion of the scene at the tower :h dow, when Melisande, like the a the fairy tale, but with, far differ- - ’ lets down her hair to her love: -• the memory as one of the dehg.>t-“ .. . theatre without rival or likeues.-. • moment in the dark room when th.- n* holds a light to the lovers’ eye- vn« like a sudden glimpse into the far - ‘ tones of life. The death of M-' -■- 11 ' caught at the pulse a* one of the -’ r * tragic things in ait. It may not « that, but Mich acting nuule it for « while rank with the greatest. <>'•' king, too, was played with won lerf' ' power bv Mr. James Hearn, who, • • in ’if 1 wereGol—' -»• when he lifted the new born ' Inl.l . iU dead mother'* sale, <** J inapt ration.”

gave You Read Maeterlinck f Readers of these notes given from week to week (often, alas! under the stress of heavy occupation) who do not vet know their Maeterlinck are advised to look over the pages of “Pelleas and Meli-ande.” The language is extraordinarily simple and clear, ami its beauty and likewise it* inspiration lies in the fact that it is not only what it expresses, but conjures up to the soul within one. Of other works of Maeterlinck’s volumes have been and might still be written. There are people in our midst to whom all the wonder and revelation oi “The Blue Bird” is still a sealed book. Then there is “Joy selle”— one of the finest dramas charged with all that medieval mysticism Maeterlinck delights in—and “Aglavaine and Mv*ctte” —a strange ami spiritual inwight into the souls of women. Maeterlinck is the rare genius of the present centurv. No person, possessing that vision of mind, which penetrates far bevond the expressionless type, can have truly lived without reading Maeterlinck. Melba at Home. Melba has come home again, the herald of the Grand Opera Company, which Australia is shortly to see and hear, and New Zealand—alas! for poor Xew Zealand. Interviewed shortly after utr arrival, she said:—“l am delighted be b. k in dear old Melbourne. Though I .annot say I have had a pleasant trip —what with storms of ordinary violence, a m<'n=oon on top of them, and a spell •?i heat. I was glad to get to the end of it—l am more than rewarded by among so many old friends again. I am in splendid health, and am looking f . - ?.r l with a great deal of pleasure the hard work which the season of grand opera will entail. Mr. Williamson and nn-elf have been at very consider- .< > trouble to get together a company ti ivahy first-class artists. We have. I may -ay. scoured Europe in search of t e rig’.: kind of talent. Mr. John MeC ••rmark. the recognised finest lyric tri? r fit Covent Garden, is of Irish extrcvtion •. Mr. Edmund Burke (basso) h an Englishman: Madame Wayda ► .raffin’ soprano) is a Pole: Madame Axarine. a pupil of that great tenor d* Ke-zke. is a Russian: Madame I Lisuern- contralto) is a Frenchwoman: Mademoiselle. Marie Rozeuberg (con- - a (herman. as is also Herr Kaufmann .basso) : whilst Signors Zeni and Ci« -dini' } tenors) and Signor Vito Damac>. ■ basso) are Italians. The '■■mpariv i- nothing if not cosmopolitan. Madam* Axarine, by’ the way. is called " ► Ru-- -n Patti, and is sure of a great • ■' re artists will arrive by the Mooltan iiHxt week. It has always been '<!•? uf no fondest wishes to present grand cpia ia Australia as it is given at 1 \>.Et ‘ . i dem and on 2nd September. v - » n ’ - pen in Sydney, my ambition y 1 be :>alised. We shall open with ■ 1 Ty .*a * which will be followed by E. ist ’Romeo and Juliet? ‘Otello,’ ‘La 1 -‘'em Madam Butterfly.’ ’La Tosca.’ Lucia Lammer moor.’ ‘Samson and 1 1 L’oletro.' ‘Carmen* and ‘Lohenn - «-o>t of these productions is ' grea: • WP shall be unable to tour .- r *’f Australia. I very much v aid do so. but it is" out of ; ' ‘I 11 ’ '<!• Me shall show in Sydney *' l tw- nth®. and then come to Mel- ; a similar period. We shall , 3,; ' 111 any other cities, but we <!i'r :; 'nge with the shipping offices ? \ V , tate Governments for exeur'p’ H»at and train from all parts of “ pinionwealth. As T have often an b» f r.. J ] ove Australian audiences u'.’ u 1111 anv ot^er - an, l f shall make j C'. Ul *t as long as I can make it. in M-• to leave for Europe either J,,,'. ‘ “ r April of next year, and V* i ’ l,a^‘.x travel by way of Japan. w avp f fn . l,rsp - hv the interview T u rf ' ss hi Perth, that the King hue-./ ’ € ' n °ngh to take a special inrn , " v departure, and to make me ‘ J ' ‘ rf "fnrn to England as soon ti 1€ 1, - a t eRp can I say? Tell . .' at I good to be at fl- .iii. Orßanlslng a Choru.. ’° n l ' le c horus for the When ? aS ° n twen a l°ng task. Artnis •• r n^ t * er brom file “Melbourne JWntl.’nJi? i ,° n . R^uor Saeerdote, that »ith td fx'®’ 1 ha £ .onf.v eight weeks 't Laj , < ’ ru ’> but in that short time nbouf » nia< l < ' fairly efficient in tJ »e ret>ert n f n "Z*'* 3 "' are to form IflOO for *“ e season. About ttese UHr 11 '°X wpr ‘’ received, and of rejr' ted n an d "er* instantly •pelt Uh KaJI .V composed an d badly fetters were fata), for in the grand

opera chorus it its necessary to have a certain amount of intelligence and education. The 000 or so remaining applications were made up in Ko batches of about 100, and in lots of twenty the sing’re were given appointments with Mr. Henry Bracy, who listened patiently for several days, from about half past ten in the morning to half-past foui in the afternoon. From the 600 about 150 survived, and Mr. Bracy and Mr. Williamson heard these again, ami selected fifty as the chorus. All of these singer® have good voices, and are fair musicians, while some are well-known singers and teachers of the art, who have taken up the work for the splendid experience of standing night after night behind Madame Melba and other “stars’’ in grand opera. Many of these singers are losing money in the search for expedience. and none are desirous of going on the stage for a living. Signor Sa<erdote. who has thirty or forty operas “at his finger’s ends/’ and can always put in a solo to give continuity to what he is teaching the chorus, thinks a great deal of the Australian voice. When it is thoroughly efficient in the music, the chorus has to learn the “business,” which consists in “standing round the stage in one’s appointed place. and doing nothing gracefully and naturally, until the cue comes.” Austialia is to be both envied and admired. and New Zealand well, as I observed before—“ Alas! for poor New Zealand.’’ The Popularity of Organ Recitals in Auckland. A second series oi organ recitals were inaugurated at the Auckland Pitt-street Methodist Church by Mr. Harold Gregson, under engagement’ with the authorities of the church, on Monday evening. Mr. Gregson’s first recitals were so popular and lucrative in the return that it was not surprising to see him presiding again at the new organ, which is one of the best at present in use in the Northern City. Even so, it is not altogether suited to the purposes of recital, and no doubt, in common with other performers, we shall have a better opportunity of realising the capacity of the organist when the big Town Hall instrument is ready for use. The Pittstreet- instrument is not truly balanced from. the fact that the strength of the pedals have been lowered in deference to the opinions of some members of the • ngregalion. and it does not. therefore, give an organist of Mr. Gregson’s calibre all the opportunities he. no doubt, wWld desire. It was a very fine programme, including the Vorspiel from the third act of “Lohengrin” and Wolfram’s famous song from “Tannhauser” —”O of Eve.” Wagnerian excerpts are always welcome, and no series of organ recitals nowadays would seem complete without them. There are <ome organists in New Zealand who still cling to the conservative tradition, or prejudice, that Wagner is out of place on the organ. They are very much in the minority in other countries, where music has not remained in the deadly ruts into which it fell in England during the Victorian era. We are glad that Mr. Gregson has arrived to put to flight any “stalwarts” who might wish to put back the hands of the clock. The big Bach Toccata in F Major, with its very difficult pedal solos, was given first by the organist, with his characteristic wealth of phrasing and understanding of . the old master. The finale of Guilmant’s “First Sonata”—a very spirited and brilliant composition for the organ —made a magnificent finish to the recital. In between came many charming numbers, such as “The Curfew” ( Horsman). ami. Wely’s dainty little “Pastorale." The church was well filled for the recital, the excellence of which is sure to bring many others before the series are exhausted. “ The Belle of Brittany.” With the help of good staging and dressing, a quaint Ohl-World setting, and the wh<dv-hearted effort of the com- ] any, “ The Belle of Brittany,’’ produced for the first time in Auckland at His Majesty’s Theatre on Monday night, provides an acceptable evening’s « nterta’innient. Like the general run of musical comedies, the plot has practically “ nothing to do with the case”; there is material in it for a twenty minutes* fiketrh, and nothing more. The songs, the dances. the work of the comedians, which are introduced with a liberal band make for the success or failure of the performan e. With the material they have-the company does some :ill\ excellent work, for which they deserve every commendation. Mr. Tom Walls as tho

comic Marquis de St, Gautjer rallied Hie brunt of the fuu. and a/ain proved himself to be a comedian of exceptional merit. Some of his jokes could with advantage be toned down a little for a man of his ability has no need to descend to the use of too broad effects. He received a tremendous reception for his whimsical ►ong. “Sing to your dear one.” the insistent applause and calls for “I've Gotter Mot ter” completely drowning the succeeding ehorus. He was no less successful also in the quintet. “The Okl Chateau.’’ with Messrs. Winn ai d < ory Mi-*es Kavanagh ami Quinn.end ” In the Chest,” a humorous duet in which he was <»J»oeiated with Miss Kavanagh. Miss Alice Moffatt played Babette with great charm, and sang well in several tuneful numbers, notably “ Daffodil Time in Brittany.” “ The Message of the Bells” ami “The Dawn of Love.” Mr. Harold Thorley as Kaymon l de St. Gautier was a distinct success, hi-, -ongs “ I’m Not a Mai rying Man” ami “ The Kingdom of a Woman’s Heart " oming in for liberal applause. With Mi-- Alice Moffatt he stored another -u /es* in a quaintly pretty duet “ T ie stepping Stone-<’’ Mr. Charles to«>k the part of Baptiste BoubiHon, a Paris chef, ami showed his skill in a couple o. songs ami novel dance-. W d:i Toinette (Miss Gertrude (dllia.nihe figure.i in a couple of duets. ■ Giddy Goat-" and “A Little ( afe.” in whicii both did excellent work. Miss Gilliam, too. gave a piquant rendering of her two solos. “ Lady’-* Maid." and “The Best Brittany.” being recalled several times for each. Miss Florence Quinn did not have very extensive opportunities. but made Qie mo-t of her part, and one could not help regretting that a larger share of vocal work did not fall to her lot. Stray Notes. There are ways innumerable of working off a par to bring a «how under notice. Witness this just to hand, hot and reeking from Melbourne: “Spotted neckties are now ‘the thing* with members of I. C. Williamson staff. Mr Bracy set the fashion. He came in the other day with a black necktie spotted in brilliant red. ‘You ‘•ee,’ he -aid, proudlv,

I’m advvitising ’Th- Speckled Baud.’ At that tuo-uvni in vihup Mr Szeyne, and his neck tie was ‘biacK and grey stripes spotted all over. That wa- enough. Be fore a week was out there were enough spots round ta e nevus of the staff ’ j last the sun for the rc*t of its a ti.e life.” Ethel Irving’s Mvlliourne season has come to an end after a highly successful i mi. Shaking in regard to the recent theatrical amaXt.in: i tion, Mr H. J. Ward, managing director in <\ ln»y of J. C. \\ iili.tMi-on Ltd., said:—“The matter engaging our attention is the building of a large modern theatre in Sydney. Wa ha\e two sites under consideration, an 1 the plans are now bring prepared. The building shotiki l»e complete within two year®. The head office® of the management will continue in Sydney. We have now irear completion a building for offices in ( astlerragh-street. This building has been designed e>peciall\ for theatric.il requirements, eu h of the producing departments having accommodation there. I'here will be a rehearsal room, wi h <-ili<es for the stage managers, bailer mistresses, and others engaged in pr paring pieces for the ®tage.’’ “A Girl's Temptation,” “Under Two Flags.” “Diiving a Girl to Destructiofi,” and “The Link <«f Roaring Camp.” are rhe titles of George Marlow’s next budget of sensation, which is designed to ®tl ike this rountry in M ir. h. 1912. Auckland will be the first city to be thrilled. “The Speckled Band." Conan Doyle’s latest contribution to melodrama. whicJ saw the limelight in London some time ago. is at present in Adelaide. It gnp® to Melbourne on 2nd September, and subsequently will be produced in Sydney. William Desmoml take- “Sherln. k.’’ Mr. Percy F. Wade, who hails from Britain, has taken up residence In Auckland as a magician and society ehteretiner. He holds records of perforin ances given Loth in London and provincial music halls, and also a letter of recommendatfon, amongst others, from Mr. John P Redmond, M.P., the Irish Nationalist 1 eader. lie seeks engagements at conceits, “At Homes” and garden parties, as per announcement in this issue.