Music and Drama.

New Zealand Graphic, Volume XLVII, Issue 22, 29 May 1912, Page 14

Music and Drama.

By

BOOKINGS.

BAYREUTH.

(Dates sublcct to alteration A •— HIS MAJESTY’S THEATRE Jon.* 10 tn .June 22.— Port us and T:iH»ot*3 Minstrels. Jure 24 u» July G Pantomime. July 22 to August 3 The Blue Bird ” Sept ember 30 to October 12 Oscar Asehe* Lily Braytou. WELLINGTON OPERA HOUSE. July 17 to 30 J. C. Williamson, Ltd , Vantom hue Co. August 11 to 2T ‘ The Blue Bbd” Co. September 23 to October 2 Pliinaier Denniston Company October 19 to November 2 Oscar AseheLily Brayton Co November s—"B*.u Hur" Co. Revival of Othello.” HERBERT TREES .ddi’ion ot "Ot hello” »o hi-» Shakv-'peari.in / repertory, has drawn some mixed comment from the critics. Mr. E. A. Baugh in. for instance. -??ms to be of opinion that if the acting had been ns inspired as the decorations, the revival of "Othello” would have been memorable indeed. In the iour-e of his remark> b* -ays; - "Sir Herbert' Tree publi.’y stated th it he wished the tragedy to run rapidly t > its climax, but the effevt is not rapid, lor the tragedy no longer be nines cumu lathe, and. although shake-pjare was, of course, a poor dramatist for the modern stage with its love of elaborate unessential. he did know his business. For instance, sir Herbert Tree may think the trance or tit into which Otlrdlo falls is quite unnecessary and needlessly violent. Yet 1 think it is necessary as proving that Othello ua-. subject to those nerve storms, and that the catastrophe becomes luore natural in view of them. "Then, again, some of w- have thought that brief s.rne in which Othello strikes Desdemona is dramatically important a’ showing intb wha’ .« det eriorat ion - this noble mind had fallen. Nor is there any good reason why the proof for whi.di Othello ha- clamour'd .what is known as the Biaiua - cue Miould 1>? torn from its context and x*t at the beginning of a street scene. In th? play it is a climax. Cuts tliere must be in Shakespeare, while the play- are mounted -■» elaborately, and I s.iy nothing of the truncation of many sptr hes. but I cannot see th? reason for Sir Herbert Tree's innovations. If only he hiniselt ar 1 hi- company w on] I speak their lines with more directness and celerity, and refrain from inventing needles- ’busine-s.’ much time would l»e saved. Believe ir.e. Shakespeare <b»e* not icquire • much illustration.” Sarah Bernhardt as Queen Elizabeth.” Madame Sa rail Bernhardt has added one more to her many laurels. In AL Emile Moreau's new play. "La Reine Elisal>eth,” wki h w «s brought out at her theatre in Paris last month, and whhh is replete with -highly dramatic situation-, the author has availed himself of rather more than the proverbial poetic license in dealing with the subject; but he has a hieved th? ctT<* t that was certainly hi- main object. He has pictured Queen Elizabeth in her varying moods, in her tenderness, in her jealousy. in her despotic character, but also *s a Sovereign who had the interests of her country at heart, ami who even in her dying moment- thought of it- future. The whole play turn- on the romance between the Qu< *’i and E---x. and in its < our-e every passion is thrown into relief. culminating in th • fury and despair with whi h Elizabeth wa- rent in her last hours. The first act give- a scene at Plymouth, a® the Annada has advanced up the Channel. It is a moment of great anxiety. Tin- Queen has gone there with several courtier?-. and i- *agerly questioning them all: Wh.it chance has the Fleet of arresting the progress of the foe? What ha- been done for the land defence*? A- -he em« rges from her superb t«*nt and walks over the carpet which ha- iweit gallantly thrown at th? entrance she not i e- R\-ex. who at once makes an impression on her; and when ran only return halting answers to her urgent <pi»*-t ion* about He- Army, sbe dismisses him witfr contempt. Jam**. the King of Sot Lind. wbo»e vinit h<« been awaited with the utmost eagerone*, now appear* on the » and

he is in earnest conversation with the Queen when Drake arrives to give an account of the defeat of the dreaded Armada, and to receive his Sovereign’s grateful thanks as cheers resound on all sides. The next act takes us to Richmond, twelve years later. A gay crowd of courtiers is gathered on the terrace of the Palace, and presently Shakespeare is introduced. His simple dress is in -triking contrast to the rich attire of the company, on which a chill falls as he begins to discourse of crime, of the fight with temptation, and the tinal surrender. Suddenly, startled by Elizabeth’s emotion. and by the visible, restraint of her lords and ladies, he pauses, and a moment later the party is broken up. The Queen, left alone with Lady Howard, confides her troubles to her. She has heard sad stories of Essex and of his expedition in Ireland, but she long- more than ever to see him again. Essex and the Queen. Her wish is gratified, for E-sex his returned, and a- he approaches ami makes obeisance the Queen's heart goes out to him. After he has explained that th* re port of Tyrone's rebellion was greatly exaggerated, and that he had little Trouble in coming to terms, they sit -i 1? by side in tender converse. and Elizabeth, looking at the ring which she has given him. repeats her promise that even if he should be sentenced to death as a traitor his life would be spared on his sending it to her. Adairs of state now summon her into the Palace, and soon Essex and Lady Howard are seated on the selfsame bench. The Queen returns unexpectedly, and her eyes are opened to the secret of her affection. Bitten reproaches to the lady are followed by a dramatic scene with Essex, who lays all the blame on himself and will not have Ladv Howard suffer. In the meantime the courtiers hive returned, and Elizabeth denounces him as a traitor. Essex is being tried when the curtain rises on the nextact. The Queen's heart has warmed to him. and it is with visible disappointment that <he hears that he has been found guilty without one dissentient voice. Whit will happen now? Cecil and Howard and the Bishop are astonished at another change of attitude which they cannot understand, and their amazement attains its climax when the Queen frankly informs them that she invented the charge of treason, and tells them of the ring and of her promise to Essex. Biron ha- come to intercede, on behalf of hi- Sovereign. Henry IV., under whom Essex had formerly served. Anxious inquiries about the ring a re. made at every moment by Elizabeth, who is finally assured that he has obstinately refused to return it to her. and so the sentence is carried out. though even then the Queen would have relented, but for her pride and the story that Essex had tried to raise a revolt against her. The Death Scene. The last act is by far the most dramatic of all. It is that of the death scene. Elizabeth is not to be consoled. Her strength has abandoned her. and she has to be supported as she enters with her ladies the room she is never more to leave alive. She is haunted by the memory of the ring. Now sin* hear- that when Essex was I out of the hall in which he was tried the ring was not on his finger. What does this mean? The hare idea that that he may. -after all, have sent the ring to her. and that he may have died with the belief that she had broken her promi-e to him tortures her. Her wor-t fears are confirmed when Lady Howard, who his implored an interview, enters in deep mourning, her-elf supported by pitting friends, and tells the Queen that the ring was really sent. The ring had been confided to her by Essex, and as -he was swooning away she gave it t » hei liu-band, who, out of revenge for her fait hfulne-s with Essex, kept it and so consigned him to the block. ” Chantecler ” in London. In her despair Elizabeth wreaks all her fury on the mi-era Ide woman who had lieeii her <u < e-sful rival in the affections of le-ex, and overwhelms her with ref«r<Ki«*|MM as having- lieen the cau-e of the origin of the tragedy, an i as being responsible foi hi* death. , x i»e refuses to be

comforted. Weak and aged, the Queen has received her death-blow, and the end is very near. Borne by her ladies to the couch, lying on which she is to draw her last breath, ahe bemoans her fate, asking for a mirror. She gazes intently at it. “How' changed is she from the days when she was described as th-? fair vestal throned in the West!” she murmurs. Her last hour » approaching, but although Elizabeth laments as a woman she is still every inch a Queen. Rising to her feet, she addresses the kneeling group around her, and, calling for her will, she explains her wishes about the succession, and then, with one iliore thrilling expression of emotion, she gasps for breath, falls forward on the couch, and is dead. It may be said that in the part of Elizabeth Aladame Sarah Bernhardt prove* herself at least equal to her many previous triumphs. It is a role which has a peculiar fascination for her, and indeed it would seem to have been specially created for the great tragedienne, whose marvellous powers it brings out to the full. Deep affection, bitter jealousy, generosity, pride, ardent, patriotism, and the arbitrary spirit of the Tudors, all find the most complete scope in it. King and Music Hall. Sir William tarington has authorised the publication of the following announcement : — Their Majesties the King and Queen have graciously consented to le present at a special organised variety entertainment which will take place on the evening of Alonday. lune 10th next. It will be remembered that their Majc<ties had intended to honour a like performance at the Empire Palace, Edinburgh, in July hist. but were prevented from so doing by the unfortunate burning of that theatre. The {performance now announced will take place at the Palace Theatre. . Shaftesbury Avenue. As regards the programme, it is understood that every item will lie submitted to the King for approval, and certainly all the variety stars will appear in what will be the most brilliant and original performance ever arranged for the music hall stage. Hiawatha as a Ballet. # Air. '.Coleridge Taylor is hvrit-ing a ballet on the subject of.Hiaw’atha for the music-hall stage. Although dealing with the same subject as his cantata, Air. Taylor's ballet, ’’Hiawatha,” is in no way connected with it. The music will be quite new, and will be available later as an orchestral suite. As at pre-ent designed, the ballet will take about fifty minutes in performance, and will consist of five scenes, arranged as follows: —- Hiawatha's Wooing. Hiawatha's Wedding Feast. Death of Alinnehaha. Hiawatha’s Departure. The Reunion in the Land of Hie Hereafter. ‘‘ Eirst-nighters.” Theatrical "first-nighters gave further proof of their limitless enthusiasm and endurance yesterday by waiting most of the day outside His Alajesty’s Theatre in London for the first performance of "Othello.” The earliest arrivals—needless to say, women—pitched their campstools outside the gallery and pit entrances shortly after 9 a.m.’. and braved a cold wind up to 6.30 p.m. After ten o’clock there were additions every half hour or so, until mid-day, when ‘■late comers” trooped along with stools, book-, and sandwiches, rapidly increasing the queues, which by the time of opening were standing six and seven deep round the theatre. “A -curious feature of the first-night queue ds that everyone seems to know everyone else.” said the policeman on the corner. ‘‘We generally re?ognise jieojne who c<»m? lure for a first-night performance, ant there is always a sort of reunion of the members of the queue.” The Golden Legend." A musical event of more than u-aal significanee was the production last week in th* Town Hall of Sir Arthur Sullivan's famous cantata "The Golden Legend,” by the Auckland Choral Society. The audience was a large and brilliant one, and great interest centred in the [x-rformance. There were moments of absolute pleasure during the concert, the passages of tenderness and devotion wore charmingly expiessed, and the dramatic scenes

in most instances were graphicaHy and vigorously portrayed. That the audience was not disappointed was displayed by the. enthusiastic manner they applauded the soprano a ad tenor vocalists and the hearty applause the -choristers received at the close of their efforts. "The Golden Legend” was first produced at the Leeds Musical Festival, October 16. 1886. . >Siuce then the work has been icpeated several times in different places, and was given in Auckland most successfully ou. December 1. 1898, in connection with the Auckland Industrial and Alining Exhibition, the late Herr Carl Svlmiitt conducting. The prevailing tone of the composition is lyrical, and into it Sullivan has infused all the tharm of his keen feeling ami graceful utterance. It consists of a series of solos and converted pieces, in which the delicate sentiment, keen appreciation of shades of emotion, and elegance of expression are felicitously displayed. It is scored for a large orchestra, and that there are dangerous passages for the instrumentalists is well known to the musicians who have to master them. The music rise* to great dramatic ‘heights, the solo voices are admirably treated, the choruses are productive of the highest enjoyment, while the orchestral technique displays extraordinary ingenuity, and the climaxes r.uik with the finest in existence. There are -ix scenes, besides a prologue and epilogue. The young New Zealand soprano Miss Rosina Buckmann. \viio has considerably advanced her reputation as an operatic and concert singer by her successful work in grand opera with Madame Melba and J.( . Williamson's company, a.lsu with Mr. -John AlcCormack’s concert party the beginning of this year, gave the music ot Elsie in a highly successful manner. Her •clear, sympathetic tones filled the largo building, her phrasing was marked by singular purity and charm, and her enunciation was commendably distinct. The. audience honoured her with a wa;ni greeting, and be-towed upon her liberal applause. Air. Philip Newbury was in splen lid voice, and threw all possible fervour and expression into his singing. This arti.-t treated every bar w'ith infinite care. and. thanks to his emotional intensity, was able to do adequate justice, to the dramatic requirements of the role. The contralto solos, were capably delivered by Aladanie Dora Hunt. Her voice, though not of great strength, is a sympathetic one, and site uses it well. The baritone, Mr. ( harles Larson, an Australian singer, displayed an agreeable voice, but was not altogether sue-ces-ful in his music. He sang most of the time as though he was feeling his way. He made several slips, and his intonation was not always to be. depended on. He was fairly successful in the prologue music, but failed complete to convey the right atmosphere into his singing of the mocking characteristic song of Lucifer, "Here Am 1. * His best efforts were in "My Guests ✓Approach!” and "The Only Remedy Remains.” In the forester's solo, "Her Heart for a Alonient,” he sang as though the part was quite new to him, and he missed several bars of the music. There was a large attendance of the choir, and they acquitted themselves admirably. The opposites in ideal chor.it singing were exemplified in the exquisite calm of "O, Gladsome Light” and the majestic sonority of the epilogue. The performance of the latter was especially good, and the former was rendered in a devotional and impressive manner, the part-singing being specially commendable. The angel and male voice choruses were effectively sung. "It Shall Not Be” was dramatically rendered, while a capital performance was obtained of "The Night is Calm,” and a tender and graceful rendering was secured of "O, Pure in Heart. The orchestra, a capable body of players, led by AKss Whitelaw, gave a good account of themselves in th? picturesque and highly-coloured instrumentation, and as a rule played the accompaniments in a subdued StyleOwing to the grand organ being of different pitch, the organ parts were played on a small reed-organ by Mr. R. L. Hunt. Dr. \V. E. Thomas conducted with care and judgment, keeping his musicians always well in hand, while Air. Scott Colville ably acted a* secret a ry. "Mr. Plaster of Paris.” The performance at His Alajesty’s Theatre, Auckland, on Saturday, served a double purpose in introducing Messrs. Reginald Wykeham and Edward Nalrie’s newly-formed Musical Farce Comedy Co*

anfl also in giving the Australasian premiere of “Mr. Plaster of Paris.” The audience was a large one, and gave a most hearty reception to the new management and its first venture. The first act did not promise very brilliantly, but the second and third were a vast improvement. and there were roars of laughter at the comical predicaments juu! misunderstandings which the author has invented. The characters are not too exaggerated, there is not to be found - oh, grateful omission! —an elderly Lothario in search of salacious adventure, and the women are respectable, yet charming. No one stops to investigate the plot, but there is a well thought-out story, which weaves the three arts together very satisfactorily. Briefly, the piece concerns the matrimonial venture of Abinadat Binks. M.D. The lady who tires his elderly heart has a bad example of a husband living, though he is temporarily disposed of by means of the divorce* court. His reappearance, together with his numerous aliases and easy notions on the matter of finance, •produce a glorious mixture of trouble for the worthy Binks and the other members of his entourage. Otto Schweitzer, a serving man from Germany. Selina, “a relic from the prehistoric past.’ ami others, add their quota to the situation, and succeed in making the huge joke till its appointed three hours to the satisfaction of all concerned. Mr. Reginald Wykvham. ;’s Abinadat Binks. is a big success, and particularly in th? second ad. where he sees possible assassination in every action of his perplexed wife, kept the audience in roars of merriment. Another excellent performance is that of Mr. Edward Nable as Otto Schweitzer. Mr. Max Montesole played the part of Mr. Plaster with considerable success. Miss Pressy Preston, the loading lady, looked well, and gave a skilful interpretation of her role. Miss Maud Chetwynd again proved herself to Ip? a most capable comedienne, and was also associated in an attractive dance with Mr. Nable. Other members of the company deserving uf favourable mention are:—Messrs. Tristram Greene. Charles Throsby, Misses Stella Cazella, and Ida Ingersoll. There are several songs, and they are successfully rendered by Miss Preston. Miss Chetwynd, Mr. Greene, and Mr. Nable. The staging and setting are excellent, and at the end of the first night’s performance enough handsome bouquets were handed up to stock a large-sized flower shop. “Mr. Plaster of Paris’’ will be produced nightly until further notice. The Eyrie Theatre. Doesn’t it begin to look as if melodrama was losing its hold? Are we becoming realists, or idealists, or comedywts. or what change has come over th? spirit of our dream? There is no longer the constant succession of old-fashioned melodrama. But wait, I had forgotten. We are moving picturists. The moving picture programmes are crammed with artless melodramas, and at one shilling per head the former patrons of the popular drama are satisfied and happy. In this pictured drama of the films, th? gore is no longer a vivid crimson, nor do th 1 screams penetrate the tympanum, but the melodramatic thrill is nearly all there. All the celebrated melodramas will probably eventually figure in the films, for that great maw. the public’s demand for evening entertainment, must he appeased. While on the subject, I nay as well mention that some excellent specimens of the film drama are being shown this week at the Lyric Theatre. Auckland. In addition, the programme includes a number of fine scenic pictures, as well as a judicious selection of the latest and funniest comic subjects. Suitable music is discoursed by an efficient orchestra, and an enjoyable evening’s entertainment is assuif d to all visitors to the Lyric. Stray Notes. A London paper 'had th? following on March 29:—“Samuel Coleridge-Taylor, who has composed the incidental music for Sir Herbert Tree’s revival of ‘Othello,’ at His Majesty’s, has introduced Moorish local colour into his musical score. His musical friends say it is among his most important work on the stage. The young Anglo-African composer. after the run of ‘Othello” at His Majesty's, will arrange the principal themes of his incidental music as an orchestral suite for concert performances.’* When the last mail left England. Sir Frederic Cowen, Dr. Henry Coward, and Mr. Walter Hedgcock, had completed their plans for the Handel Festival, which will be held next month at the Crystal Faluce. Dr. Coward, who has charge of

the chorus, recently accompanied the Sheffield Choir to this part of the world. The Festival choir will number 3500 singers, selected from the leading London choral societies, supplemented by a Large contingent from the Yorkshire festival centres. Sheffield, Leeds, and Huddersfield. The orchestra has been chosen from the best of the London orchestral societies, reinforced by the members of other orchestras. The solo hand is to be the London Symphony Orchestra. Five hundred performers will take part under the expert leadership of Mr. W. H. Reed, and under the conductorship of Sir Frederic Cowen, who is in charge of this mighty musical host for the fourth time. Mr. Walter Hedgcock is to officiate for the seventh time as organist. The name of Sir Charles Santley is missing from the list of artists. Mad;.me Ada Crossley will also be conspicuous only by her ab-enve. Australia is represented by Miss Ksta D'Argo, who toured Australasia last year with Mr. Ben Davies. On dun? 25, “Israel in Egypt’’ will b? heard lor the first time in its complete state since 1903. The soloists are the Misses Perceval Allen and Esta D’Argo and Madame Clara Butt, with Messrs. Chas. Saunders, Herbert Brown, and Kennerley Rumford. Thursday, June 27. will bp Selection Day. The selections from “Samson” will in-

etude such familiar numbers as “Total Eclipse.” “Honor and Arms,” “Let the Bright Seraphim,’’ “Then Round About the Starry Throne,’ and “Fixed is His Everlasting Seat.” In the second part of the concert are the Concerto Grosso in G for strings, the Sailors’ Dance from “Rodrigo,” the chorus “Wretched Lovers,” and “Love in Her Eyes,” from “Acis,” and extracts from “Belshazzar,” “Ottone,” and “St. Cecilia.” The artists are to be Madame Doni Ida, Madame Clara Butt, and Messrs. Ben Davies and Robert Radford. On Saturday, 29th. the Festival is to be brought to an end by a performance of “Messiah,” with Miss Allen and Madame Clara Butt as two of the soloists. Mr. Hugh J. Ward, of the firm of J. C. Williamson, Limited, in a private letter details the enterprises ahead for the next year or so. Evidently the Melba Opera Company was a financial success, for Madame Melba has decided to bring out another opera company. She is to leave Australia, shortly to fulfil her European and American engagements, and she will assist in searching for the best artists for the new company. Mr. Quinlan and 150 theatrical people will arrive in Australia on dune 2Sth for brief seasons in Melbourne* and Sydney. Numerically this will be the greatest organisation that has ever come south of the linjf. Mr. Lewis Waller, bringing with him a complete London company (of which Miss Madge Titheradge will be the leading lady), will visit Australia next year, and Mr. Williamson hopes to arrange with Madame Sarah Bernhardt for another visit to Australia. He will also endeavour to secure a tour by the famous Italian actress, Madame Eleonora Duse, and opportunity will be taken to approach Sir IL Beerbohm Tree again on the subject of a trip to Australia. The J. C. Williamson firm has recently acquired, among other plays, “Milestones,” the artistic play written by Mr. Arnold Bennett in collaboration with the author of “Kismet.” Mr. Edward Knoblauch, and produced not long since in London. “Nightbirds,” the clever

adaptation by Miss Gladys Unger of "Die Fledermaus.” will reach Sydney in June. Mr. Fred. Niblo and Miss Josephine C'ohan (sister of Mr. George (.Johan, the well-known New Yofh author and manager) have been engaged for the Australian production of “Ger-Rich-Quick Wallingford” towards the end of the present year. The company will also play “The Fortune-Hunter’’ ami "Excuse Me,” plays that were very successful in America. A play based on the Australian Boy Scout movement will be presented in a few weeks’ lime by Mr. Anderson at The King’s Theatre. Melbourne. The play will be launched under the title of a bio-drama, and the novel features will include an aeroplane flight. Many old playgoers will regret to hear of the death in England of Mr. George 11. Snazelle. the clever entertainer. New Zealand saw him over twenty years ago |in his entertainment entitled “Music, Song, and Story,” in which he first introduced the humorous recital “How Bill Adams Won the Battle of Waterloo.’* which he made famous. Mr. Snazelle was extraordinarily gifted. He was an excellent comedian, a cultured elocutionist (who recited such poems as “Enoch Arden”), a capital raconteur, good baritone singer, and a sterling artist in light opera. He made a big success as the

chief comedian in “Paul Jones” and other operas in Melbourne, with Miss Nelli? Stewart and Miss Marian Burton as the lady “stars.”