Music and Drama.

New Zealand Graphic, Volume XLVII, Issue 25, 19 June 1912, Page 14

Music and Drama.

By

BAYREUTH.

BOOKINGS. <l»ates subject to alieraU-Mi > HIS MAJESTY'S THEATRE. Jun? 10 to June 22. Pert ns sod T«U*>< s Minstrels. June 24 lo Jhlv G ‘Beu Hur " July 22 to August 3 “The Blue Bird b»*f»leirilier 2.*: io October 12 »>sc.4r A’ •!»*, Lily Brayton. WELLINGTON OPERA HOUSE. Ju!; 17 t-» .’U J. C. Williamson, “Ben Aucusr 1~ o _*» "Sinh-id the S.«ib»r" Avg<i*t :»1 to September 12- The Blue Bird” Company Company September 23 to October 2 Plimmer Denniston Company October 19 to November 2 Oscar AscUeJLtly Brayton Co. The Real Foes of Serious Drama. YIT re l<> " Ol ' 'riou*. effective lit 11,1 1 .*o<-‘ally-imp«:r*ani drama, in A England. in Vi*t rak**ia, or for that matter any civilised country, are not the mam ger-. who are glad enough to pro-d-ice any kind of a play demanded; ant they are not the frivolous thousands Mho prefer mu-ival comedy or vaudeville. Such frivolous folk we have always with if*. always have Lad and will have. Indeed. the best of us are frivolous now and then, and the man who say- he doesn't like a good musical convdy. the writer regard* very much like the man who .-ays he doesn’t like onions—a> a liar. No. the-real foes. of a?»*riou*. effective drama, which shall rank a- literature on the one hand, and as a *ocial force on the other, are the thousands of good men and women — more women than men. unfortunately—whose attitude toward the .stage is represented by th? reiterated remark in the face of a serious drama. “There’s enough unhappiness in the world, xvithvut showing it on the stage.” Who are these pec,pie ? They are not the frivolous, the unintelligent. They are mo-t often most seriou*-mindeJ and even pur-uer- of culture, middle-aged and elderly men and women, passionate workers in the church, -rigorous adherents to th strictest standards of morality—of su. h are the foes of serious <trama. Men of solid standing in the c immunity, of mature judgment, of high civic ideal- of such aTe the foes of s- rioa- drama. Younger women, neither fiivolou- nor unintelligent, but just ordinary girl- _fiown up into the responsibilities t.»f motherhood, with comfortable home-* and a wholesome desire for the oeea-ional pdea-urc* ot the theatre — of *m are the foe* of a serious drama. ’ Tney ar - its foes because they are th? very people who should support it. Instead they. who*e attitude toward life h one <»f sjne recognition of its gravity, assume toward the stage an attitude of evasion, and demand of dramatic art. not. lyonesty and seriousness but a pretty story whi a .-hall ignore the lads of life and take account only of the fictions of romance; which shall, atany rate, if it take- account of the facts of life, select only the pleasant facts. The Censorship of Plays. Addressing the Manchester Playgoers’ f lub recently Mr. Jerome K. Jerome had aon»e interesting remarks to make on the subject of th? British ( ensor. ‘There was a time.” he -aid, “when you play goers were the (Vn-or. In Shakespeare’s time the drama’s laws the drama’s patrons gave. hi 1543 that right was taken from yon and vested in -the Lord < hamljerlain. Some of us. looking back upon the position of the British drama prior to that date. an.l contracting it with the rate of progress .-in*?, ar? de?irons you should Im* .reinstated. In every other cotinlrv esc, pt Rit*.*i.i, th? people are allowed to l»e th? judge* of their own drama. “Among the foreign author- 4 wbo.se |day« the ( en-vor ha« decided it it not for \our g»»o.| 'that you nliould *••? 1 max mention Alphoiou* llaudet, xidermann. Gerald Hauptman. Ibeen, Brieux. Maeterlinck. and Sophocles. Among modern English writer*—again I Jake only a eliaiHT .-election—»he ha* bra n*i* it, as purveyor* nf pernicious literature. such nii-fi as Hydney Grundy, Bernard >haw. luturenrp ILutsman. * <lranvilL* Barker, I-real Zang will. ami hMen Philtp<»H«. But I de«ir? to I** qmte fair

Some of plays couM liyive been performed, if only th.« authors had been witling to alter and repair them to suit the Censor’s views. "I have no desire to stop Mr. Eden Philtpotts from writing plays,’ says Mr. Brookfield— ; far from it; I only want to tell him how to make his characters talk, explain to him what they ought to do. 1 know he. doesn’t mean to be indecent. It is only that the poor fellow doesn’t know when lie is indecent. How can he —a mere author of twenty years’ experience in writing books and play-— know the effect of words and phrases ?' "Air Zangwill. when he wrote the word ’Baptist’ had no intention of being blasphemous. It didn't ocur to him that. I lie word ’Baptist’ could Is- regarded as blasphemous by any being outside the padded room of a lunatic asylum. Afr. Brookfield doesn’t blame him: is only sorry for him: will show him how to alter all these things. ’Let these dramatists—these Izvarenee lionsmams—these Bernard Shaws—these Zangwills—• these I’hillpoit.s come to us. and we—two gentlemen especially appointed for the purpose by the Lord Chamberlain-— ■will explain to them the seojie ana meaning of the English language.’ It is our innocence—our drivelling innocence—that- makes the Censor’s life a burden to him. We don't know we are indecent: we just blunder into it. The manager doesn’t, know it. The managers likewise are so innocent: they tell us this themselves. They don’t pretend to know what is indecent and what Too Many Prurient Plays. • f think it is a pity managers are not suftieiently men of the world to know a prurient play when they see one without the help of the Censor. I venture to submit to the Censor and his advisory committee that too many prurient plays are allowed on the English stage. I venture to suggest io the Censor that by awarding to such plays the invariable hallmark of his approval he enables viciousness 10 be exploited on the stage without fear of punishment. And I think, if the truth were to be told, we should find that a good dtsil of hi-- p«»piilarit> in certain quarters is due to that unpleasant fact. ‘ If the .Censonship were any real protection against indecency there might- be something to be said f»»r it. No one but a tool or a hypocrite, could pretend that it is. You may show every boy and girl in your audience how vke invariably leads to good fun and a happy ending. You may preach to them that the wages of sin are at the worst a headache the next morning, and somebody else’s hat. The one thing, the Censor says, you shall never do upon the English stage, is to treat the eighth Caimmandment as if Clod for one moment had ever meant it to be taken seriously. ' Let Me Be Punished ! ” ‘Tt isn’t the vermin lie shoots, it is the vermin he frightens away that rejoices the gamekeeper’s heart.’ For every censored play dangling outside the Lord Chamberlain’s office you warn from the stage a dozen might-lie dramatists. I have no quarrel with either Mr. Brookfield or Mr. Bendall. I should equally object- to the appointment by the Lord Chamberlain of the Archangel (labriel. I should deny the right of the Archangel Gabriel, as I deny the right of Mr. Brookfield or Mr. Bendall. to be the sole judge of my work—its fitness for presentation to tlie public. 1 quite know what is decent and what isn’t. I make no pretence to innocence. If I write what is indecent let me lie punished. I deserve to lie punished. But let me be tried by the law of the land. Let me be tried in open cou-t by a jury of my peers, not condemned unheard by a secret tribunal. Before I am branded as a writer of inileeent plays I want (h- opportunity of defending myself -of facing my accusers in open daylight, and before an independent judge. ‘ No other artist no other English citizen —is subjc-els-d to such insult. There is no excuse for it. To imply that .1, M. Barrie, Sir Arthur Pinero. Arnold Bennett—you can complete the list for your selves—to suggest that such men must lie followed ami watched, lest for the purpose of putting money info their pockets they should d-ssi the English stage with obscenity—it u an insult not only

to English literature, it is an insult to the whole nation. Besides, tie’ English public is not asking for dirty plays. Dirt doesn’t pay in England." *' Cavalleria Rnsticana ’’ in Wellington. Mascagni’s famous "Cavalleria Itustlcana” was most successfully sung by the Itoyal Choral Society in the Wellington Town Hall, on June 4. Commenting upon the production, the “Dominion" says: —-“It- is not the first occasion that the work lias been sung in Wellington by the Society, but even after the lapse of a decade it is quite safe to say that last evening's performance was well in advance of the first from the standpoint of the numerical strength and quality of chorus and orchestra and the artistry of the most prominent principals, and the society and its enthusiastic conductor. Air. Alaughan Barnett, deserves the wannest congratulation-. The soloists were: Miss Rosina Buckman (Santuzzai, Air. Philip Newbury iTuriddu). Mis’ Doris G. Dall (Lucia), Mr. Hamilton Hodges (Alfio), Miss Muriel Bennett ( Lola). The chorus did excellent work throughout, and was notably good in the beautiful chorales sung supposedly within and before the church ou Easter morn. The bell and organ effects were most effective. Praise is also due to the orchestra. which, under difficulties, came out with flying colours. They played the difficult accompanying music with accuracy and sympathy, and gave a delightful performance of the famous Intermezzo.’’ ■Why Prim a Donnas are Cranky. An American writer has set himself to explain ‘why prima donnas are cranky. - ’ The arrogance and childishness displayed by many of these great musicians—and the men are as often as not as had as the women—causes the ordinary individual to wonder why, and also.to feel no little contempt for people possessing such foolish whims and fancies. The writer referred to explains the ’•crankiness" of the prima donna as follows:—“Prima donnas, considered as a class, are generally regarded as the most unreasonable persons existing, bearing all the typical traits of a ‘spoiled ehild-’ l>eing over-

-eniffffre. capricious, and fretful. TXw well-known actress may over-value her--elt and the virtuoso is rarely lacking in conceit, but neUher of these to the same degree that insufferable <*«*ois!ii which render* it necessary for an impresario to be i» cross between a wiki animal tamer and a diplomat of the tirst water.

i, The chief physiological reason for this is that singing requires absolute control over a ven sensitive <»rgan—th? true vocal cords —which regulate th* shape of the inner portion of the throat through which lhe breath passes, and xvlikh shape determines th? not? that is being sung. The slightest tightening or stretching of the muscles in these vocal cord* affect* the timbre or musical value of the note. Thi* muscular tissue and mucous membrane ar? very sensitive J*» weather changes, ol which fact hoarsen?*-* is a very familiar example, and th‘ *uiger i* confronted xxith the difficulty of being expected to produce perfect re>ult* from an in*trunient which i* never two days the same. The prima donna can never tell how a hot and dry theatre, or a damp drive from her hotel may nave affected the throat. This vau*es a continuous but sub-conscious sen*e of uncertainty. a most nerve-racking condition. “Besides this definite condition caused by th? phy*iral nature of the work there are two states of mind which l»elong to the singing profession wltich make for irritability. The first of thes? is that the prima donna i* not a performer upon a mechanical instrument, but she perform* upon herself. Thi* compel* her to think of herself constantly. The tools of her profession ar? a part of her personality, and excessive self-absorption is unavoidable. To add to thi* difficulty th? sing?r has no creative work to do. nothing t > take her outside herself. Th? sculptor and poet create, the merchant and banker arrange »*♦*" combination* of merchandise and finance, the dressmaker ant milliner plan, form and co-ordinate colours. but the singer does nothing that corresponds to this.' The musician often becomes a composer and then the bigness oi his subject teaches him the littlen»?«a of his personality, but operatic singer* are principally sound-producing mechan-

rarely ever interpreters of mwcte and almost never interpreters of the ■words they sing.

"When to all this is added the glare of publicity, the artificial ‘touting’ -by clever press agents, -the laudation of thousands of admirers and the hollow hut effusive praise of the hangers-on of opera, who think that it-confers social flavour, the priina donna is tempted to arrogance ou all sides. It is no wonder that she Lails a. victim so often. Every possible condition is against her, not the least of them the false belief that this peevish unreasonableness is the sign of a great artiste. It is an utterly false position in itself and it is really injurious to the singer, for character is reflected in the voice to an astonishing degree, and this unsympathetic arrogance, begets a certain hardness of tone which is ruinous .to popular favour. The publie does not understand the subtle shades of tone, but it never fails to tell when a singer pleases or not. and a prirna donna who is habitually irritable, although circumstances may in part excuse her, ha« started on the downward path iu public esteem.” " Ben Hur. ’ (treat interest is being centred in the initial X’etr Zealand production by J. < Williamson’s dramatic company at His Majesty’s Theatre ou Tuesday, June 2.5, of the great religious romance “Ben Hur.” The play makes extremely heavy demands upon the resources of the scenic artist ami meciianieian. From the prelude, which brings home to the beholder the sacred phase of the drama by the sight of the star in the heavens, glowing in rays of golden effulgence before the rapturous gaze of the Magi, to the last

chapter on Mount Olivet, wliere the lepers just cleansed by Divine power join the triumphant song of the people, the action proceeds through a succession of dramatic episodes,-the character of which is enriched bv gorgeous colours, realistic tableaux, and sensational climax afb’v climax (including the chariot race), as well as by music eminently suited to express the complicated and picturesque teenies which have engrossed the author. The company selected for the interpretation of the principal characters in “Ben Hur” includes some of the best artists who have ever visited Australasia, including: Ben Hur. Mr. Erie Maxon; Messala. Mr. Leonard Willey; Simonides, Mr. Eardley Turner; Arrius, Mr. Winter Hall: Hderim, Mr. Arthur Styan; Drusus. Mr. F. Compton; Balthazar, Mr. Leslie Victor; Malluch, Mr. J. B. Atholwood: Hortator, Mr. T. Lloyd; Metalln« Mr. Bovd Irwin: Gaspar, Mr. G. Chalmers; Khaled. Mr. F. Camboume; Centurion, Mr. Carlton Stewart; Esther, Miss Dorothy Dix; Iras, Miss Gwen Burroughes; Mother of Hur. Miss Susie Vaughan; Tizrah, Mi-s Georgie O’Meara; Amrah, Miss Alma Vaughan.. . There will lie two chariots, each drawn by three hordes, in the arena raee. which is won by Ben Hur. Only a limited number of performances can be given, for which the plans will be opened on Thursday. The Lyric Theatre. Excellent picture programmes are b-nj screened each night at the LyrV Theatre in Symonds-street. This popular amusement place lias a reputation for the tugli standard of its programmes and in addition is comfortably and tastefully appointed. Among the pictures comprising . the new programme. "A Trip on Npw Zealand’s Rhine” will find favour with the public, especially with those to whom

the -beauties of the Wanganui are unknown. The romantieally-inelined will have their tastes met by a charminglystaged and acted film. “At the Point of the Sword.” Another line dramatie film whieh figures ou the programme is “The Ace of spades.” “The Carnival at Xiee” shows the life and frivolity of the Riviera at its height. One-of the everpopular Wild West <lra ums entitled "Cowboy Damon and Pythias” provides some exciting and thrilling fare. The Gaumont Graphic deals interestingly with current events. A number of wellseleeted comic films are ineluded in the varied entertainment. Excellent music is discoursed by the Lyric Symphony orchestra, an efficient little combination of instrumentalists who add greatly to the evening’s amusement. Mr. H. G. Dntton’s Recital The second of the series of organ recitals in connection with the appointment of city organist was given in the Town Hall last Saturday night. There was a large gathering of music lovers and the general publie. Mr. 11. G. Dutton, F.R.CO.. A.R.A.M., was the recitalist, and he provided a programme whieh consisted for the most part of musk- written for the organ, while the arrangements of well-known compositions for the instrument, whieh were included, were confined to those whieh were the least likely to rob the “king of instruments” of its characteristic dignity. In his selection of the pieces, the organist displayed good judgment and taste, presenting nothing whieh would degrade art. and took an opportunity of raising the standard of music and creating a spirit for the best and noblest in organ literature.

Mr. Dutton’s solid style playing immediately commands attention. That he is a master of the organ was exemplified by. the successful way he registered his instrument and controlled the manuals and pedals. He displayed the solo stops to excellent purpose, and exhibited the splendid pedal stops 7 in praiseworthy fashion. His combinations revealed- many charming effects and contrasts of tone colour. The audience was enthusiastic, and the talented executant was warmly applauded at the conclusion of his solos. The English Pierrots. A short season was opened at the Auckland Town Hall on Monday night by the English Tierrots, a troupe of eight ladies and gentlemen who did not take long to convince their audience that the entertainment was going to- be of more than ordinary merit. Each item was most warmly received, and the company’s season in Auckland will no doubt prove highly successful. In addition to a number of excellent solos, and. spine genuine eomics-ongs from the comedians, the company sang a number of duets, trios, quartets, and concerted numbers, both grave and gay, to all of which they received emphatic recalls. In Mr. Maynard Dakin and Mr. W. I*. Turner the company possess two clever comedians, who give good clear fun without ever verging upon the coarse or sugge-llvo. Mi-s El-a Langley is another comedienne of undoubted ability. Mi-s Nellie Holden (soprano), Mr. King-ley Chapman (tenor). Mr. Leslie Austin (baritone), Mr. Roy Cooke (bass), and Mr. I!. Thoma*. who combines the work of areompanist and entertainer, all contribute towards a bright and attractive entertainment with marked -uneeas. "The Pierrot-” will appear at the Town Hall ea.h night until further

notice, and, judging by the high standard of their opening perform<yit«, -hoiild Ire assured of liberal-support-during Win remainder of their season, from the large and growing section of the community who delight in these excellent entertainments. Kersand's American Minstrels. Billy Kersand’s American Minstrels, who still hold the boards at His Majesty's Theatre, Auckland, presented a change of programme on Monday night to a good audience. A number of ‘ftew -ong- were introduced, and the half-dozen " end men” were ready with now "business,” which was apparently in full accord with the popular taste. A large number of recalls were insisted upon. The company will appear at His Majesty’s each evening furtil the end of the week. Kismet.” It appears that there was some doubt whether the Asehe-Brayton Company would bring “Kismet” to New Zealand. At first this was not considered probable, in view of the enormous difficulties of tran-port of such a huge production, and the intricacies of staging and mounting. However, after going deeply into the matter, the J. C. Williamson management has decided to send- the complete production to the Dominion. The tour will open at Auckland .on September 23. “ Tiny Town.” ‘Tiny Town.” one < f the greatesf amusement attractions that has ever visited- Australia has been induced 11 make a tour of New Zealand. The menrliers of the town are all midgets, their heights ranging from 30iu to 40in„ and their ages from 20 to 5(1. "Tiny Toyvn” will open in the Garrison Hall, Wellington. on the 21st August for a seven nights’ season.

Stray Notes. According to the German papers Signor Busoni's opera, “Die Brautwahl,” had a mixed reception on its first performance at Hamburg on April 13. A large body of the pianist-composer’s disciples assembled for the occasion, but at the close of one act their applause was drowned by hisses, while a considerable proportion of the audience remained cold and unmoved. The text of the work is based on one of those Tales of Hoffmann which inspired Offenbach’s great success. It tells the story of the strife of three suitors, who. by magic art and other fantastic devices, seek to win the hand of their lady fair. The critics are inclined to blame the book for the hostile reception of the opera, and bestow high praise upon the music. Mies Winifred Carter, of Auckland, has been appointed harpist at the Theatre Royal, Sydney, where “Ben Hur” is now being staged. The “ Star’s” London correspondent writes under date April 12 : —“The many friends of Miss Adelaide Van Staveren, of Wellington, will be delighted to hear that within ten days of her arri/val in London she has been given a part at Covent Garden. It is not a large one since the opera lists wore made up before her arrival, but she has been engaged to sing twice —both times in “ Carmen,” in Italian, on April 20th and 24th. Miss Van Klaveren is now working very hard practising with Mr. Percy Kahn (M. Mischa Elman's accompanist) and Miss Weisberg, the well-known pianist, for four hours each day.” Miss Beaumont Collins, who is appearing at the Opera House in a tabloid tragedy entitled “Leaves of Memory,” is a lady of Irish parentage who at an early age joined a touring compnay in the land of her birth, Mr. Julius Knight being a member of the same combination. White appearing in Drury Lane drama Mr. David Baird (who appears with Miss Collins in her present tour) suggested the idea of sketches for the music hail stage, and it soon took practical shape. Mr. Baird and Miss. Collins claim to be the pioneers of this form of entertainment, which has become very popular in London and which has been adopted by such eminent artists as Sir Henry Boerbohm Tree, Sir George Alexander, Air. Bourch'ier, Miss Violet Vanbrugh, Mr. Cyril Maude, Mr. Lynn Harding, and last, but by no means least, Sarah Bernhardt. The properties essential to a really successful sketch, Miss Collins says, are that it should contain all the interest of a three or four act play compressed into twenty minutes and culminating in what would be the climax of such a play. This applies to farcical sketches as well as to dramatic ones. The pace must be kept up, the sketches being plaved very briskly. Attention to detail in production and setting are of supreme importance. Miss Nellie Stewart is out in a new role. She will not be able to play for some considerable time, having undertaken to provide the amusement for the Pavilion,” a new attraction in Sydney. Miss Stewart proceeds to Europe for that purpose immediately, and w.ll Visit Berlin, Paris, Vienna, Buda Pesth, aud London in search of artists, a company of pierrots, a company of dramatic artistes, a company of operatic artistes, and a company of living-picture artistes, all in the same programme. An effort will be made to secure one of the finest Hungarian gipsy bands which wear picturesque uniforms and play with fire and passion that make their music irresistible. “ I am going to Paris,” Miss Stewart said, “ to engage a chef tor the Pavilion. And 1 shall get two pastry cooks either in Switzerland or Austria; also a bread and roll baker, who will probably bo found in Vienna. Then 1 have to make arrangements for importing various articles necessary for flic production of perfect pastry and rolls. You know the difference between a bachelor's ‘diggings ’ and a lady's home, and 1 am just going to put the finishing touches on that Pavilion that will make it comfortable for the gentlemen. They shall sit in Comfortable armchairs, they may hive refreshments for the inner man. From a soda-fountain drink to a bottle of ‘the Hoy,’ 1 think they call it. They can see .pretty things on the stage, and listen to sparkling music, and enjoy their cigars or cigarct les. Oh, yes! they- may smoke. 1 have made positive arrangements for that. Where the men congregate to enjoy themselves, the ladies arc soon after them. I know them. Then the men are not all selfish. After the man has been to the Pavilion and has seen that everything is ‘very proper,’ next time he goes he will order a table for two."

BETWEEN THE ACTS.. She: "lt‘s rather a dry sort of a play." He: "Yve: that’s why the men are making f<«r the bar*.’"