Music and Drama.

New Zealand Graphic, Volume XLVIII, Issue 2, 10 July 1912, Page 14

Music and Drama.

By

BAYREUTH.

BOOKINGS. (Dates subject to alteration.> HIS MAJESTY’S THEATRE. July 22 to August 3—“ The Blue Bird.” September 23 to October 12--Oscar Aacbe, Lily Brayton. WELLINGTON OPERA HOUSEJuly 17 to 30 J. C. Williamson, ‘’Ben Hur” August 15 to 2U—“Shibad the Sailor” August 31 to September 12 —•The Blue Bird” Company September 23 to October 2 — ITimmer Denniston Company October 19 to November 2—Oscar AscheLily Brayton Co.

Sabotage in a Play. THERE was played a little while ago in Paris, at the Grand Guignol, that theatre devoted to the presentation of the terrible. a play called ’Sabotage" (says the ‘'Bookman”). The scene the room of a Paris skilled workman, an employee <4 the electric light company. In the foreground the workman and his wife. In the background the bed in which their child is sleeping. The child is ill, and the mother tells the father that the physician has said that the crisis will come in two or three days. After a time the husband leaves to go to a meeting erf his union. -He does not wish to go. but the call is imperative. He will not be absent long, and in the meanwhile their friend. Mme. So-and-So, will keep the wife company. The two p-omen talk, the visitor telling of the illuesses of her own children. The mother to look at the child and screams. The child is strangling. The friend goes for the doctor, who comes at once and looks at the patient. He turns to the inother. “ Please leave the room,” he £-ays; "you will only suffer, and you will disturb me. This simply means that the crisis has come earlier than was expected. It is much better so. It |s merely the matter of a slight operation. I give you my word of honour—inv professional word of honour —that all will be well. Go." Swinging the electric light over the child's bed. the physician takes out and sterilises his in etruments. The woman visitor standing ready to give him any needed help. He makes an incision with a knife, then another and another. Suddenly—com plete darkness. "My God! Woman! Why did you turn out the light?" “I didn’t turn out the light!" "Then turn it on!" " But 1 ean't turn it on!" The physician vainly tugs at- the switching, the mother rushes in. and finally a candle is found and lighted. Too late! The child is dead! Then there is a noise, growing louder and louder. The street below echoes with the tramp of a thousand feet, and there rise the strains ■of the *'Marseillaise.” The door of the room opens, and the husband stands on the Threshold. ‘■Victory!” he cries. “We’ve won! There's not an electric light burning in. Paris to-night!” “ Kismet." I have to acknowledge the receipt, from Messrs Methuen and Co.. Ltd.. 3S, Essex Street, London. of a neat- little volume of " Kismet.” the well-known play- by Edward Knoblauch. "Kismet” drew crowds to the Garrick Theatre in London for a year, and during the last few months has been played by Mr (•■scar Asehe to immense and enthusiastic audiences in Sydney ami ‘Melbourne. Aery soon the play will be presented in New Zealand, and the crowds of people «ho will go to see it will undoubtedly find the perusal of Messrs Methuen's publication an invaluable assistance in comprehending the full meaning of tdiis remarkable play. It is a play tliat strives to capture, not only the imagination and adventure, but also the colour of the East of the Arabian night. Hajj, the Veggar ami its hero, in a single day. Carrie* with a sangfroid that is magnificent, the whole world of the Orient—its 1-eauty, its brutality, its poetry and its comedy—upon his broad shoulder,. Even if one were not going to nee the plav, ♦he book would well repay the reader. Most people liav? the idea that the Olwrammergau Passion Play i« unique in the world. It is true that it is better

advertised than any of the others, but there are three villages iu the Tyrol—Erl, Thiersee. and Brbdegg—where the Passion Play is still produced, and where, as at Oberammergau, it has been given with more or less regularity for several hundred years past. This summer the play comes to Erl, a little village of (XIO inhabitants just inside the Austrian ‘boundary. At the presentation of the play in 1902 the former theatre turned out much too small, and the little village ha, built a fine new theatre costing, with the outfitting of the play, some ftsdOO. -a tremendous debt for so small and poor a community to assume. The theatre sits 1500 comfortably., is'well built, well outfitted, and as. contrary to the traditions of Oberammergau, the stage is also enclosed, both audience and actors are completely protected against the vagaries of the weather. The text, originally wijtten probably in the fifteenth century by a monk at Augsburg, as now used, was prepared by a pastor of the little village about the middle of last century. The music, composed manv years ago by a native of the village, is also very interesting in its simplicity. Sensational Opera in London. Ermanno Wolf-Ferrari's opera. "The Jewels of the Madonna,” was given for the first time in England at Covent Garden last month, and created a tremendous sensation, says a London critic. The opera is as sensuous, passionate, and

brutally realistic as anything the Sicilians ever gave us. How it is performed in lands without censors is more easily imagined than described. But- to think how it could be played were its intentions fully realised makes one’s hair stand on end; In fact, ‘I Giojelli della Madonna,” given as a drama, would be just the sort of thing that might make the fortune of any theatre if put. up. for a run. As an opera it witl undoubtedly be the financial success of the season at C'ovent Garden. . TVith a wisdom far in excess of that of most of his craft, the composer lias centred his energies on the story. He lias realised its powerful appeal, and everything lias been done to colour its situation and increase its popularity. Tragedy is made more lurid, passion more sensuous and brutal, the gaiety is more abandoned, and the religion more profound. Every Kind of Noise. No opera lias ever had such an opening scene. Every kind of street cry, noise* and yells, every possible -kind of person, buyers and sellers, that a Naples square nt festival time is capable of exhibiting seem to lie represented in this amazing operatic prelude. Pandemonium reigns supreme Above the welter of bound frpm t lie orchestra and chorus cornea a noise of Jiij trumpets, rattles, clappers, and pop guns,' to' say nothing of tin whistles and toy kettledrums.

You think the Babel is never going to stop.

Just as the strain upon one's auditory nerves is becoming unbearable the hubbub suddenly dies down and the people stand'still. The music lulls also, and then swells into broad dignified Gregorian-like strains, as boats bearing a number of little bov John-the-Baptists arrive at the quayside. Later the whole gorgeous festive procession of the Holy Virgin passes, and while it traverses the scene. Rafaele. the young head of the dreaded Camorra, offers to steal the jewels from the Madonna and give them to Maliella for a kies. Upon this promise the whole opera hangs. Maliella has rebelled against the restricted life she leads with her fostermother and the latter's pious son Gennaro. the blacksmith. Like Louise, she becomes almost demented in her longing for life and liberty. In tempestuous abandon she defies Gennaro, who loves her deeply, tears down her lovely hair, and indulges in a scandalous song and dance, calling on the assembled youths to kiss her.

Camorrist Leader. When. however, the handsome Rafaele, at the head of his Camorrists. arrives, and would put the girl's request into practice, he is disdainfully repulsed. Maliella snatches a long stiletto pin from her hair, and invites Rafaele to a duel for a kiss. He consents laughingly. The Camorrists make a ring, and after some fruitless encounters, the girl is caught.

Rafaele demands the forfeit, and is stabbed iu the arm for his pains, but he merely kisses the blood as a token of the amorous fire that burns in his veins, and, kneeling, restores Maliella her pin.

At that moment the great procession passes, and Rafaele makes his sacrilegious offef.

The. boast means nothing to him who made it. But to Gennaro, to whom it is repeated by the girl in scorn, as a contrast of the real love of her new lover and the pure devotion of the old —- it means everything. It means his undoing. Goaded to despair by Maliella’s contempt and defiance, the honest. Godfearing blacksmith take* some tools, creeps away from the house at the dead of night, and steals the priceless jewels from the Madonna.

The Sinner Becomes a Saint. In Gennaro’s absence Rafaele serenades Maliella. ' She descends lightly clad, and a passionate love scene takes place through the iron bars of a locked gate. After Rafaele’s departure Gennaro returns with the jewels, and the girl is for a moment horrified, but while the remorseful man is praying for Heaven’s mercy, Maliella arrays herself with the diadem and the jewels. Her splendour but adds to the intoxication of her recent encounter with her lover, and. murmuring Rafaele’s name, she yields as in a trance to Gennaro, who, looking up from.his prayers, sees his beloved more radiantly beautiful than ever.

As the saint becomes a sinner so the einner becomes a saint in the last act. Rafaele and all his lawless Camorrista, who only the moment before Lave lieen indulging in the wildest orgy of pleasure and sensuality iu their mountain

1 taunts, go down on theif kpeea. and cross themselves with feverish terror when the truth of the sacrilegious theft is known. They fall away from the guilty pair as from something too loathsome to touch. Maliella, after vainly protesting her ’innocence to Rafaele. rushes out to drown herself, while Gennaro stabs himaylf.before a picture of the Madonna, not, how. ever, before a beam of light irradiates the jewels in token of eternal forgiveness. - ..

Although the music is, like the drama, almost wholly sensuous and passionate throughout, it is rich in tuneful numbers, both of song and dance, and revels" in haunting rhythms and catchy phrases. It is splendidly scored, and abounds, in tell ing effects.

Miss Ethel Irving’s Impressions. Miss Ethel Irving ha- juet returned to London from Australia, and makes her leappea rance at the Hippodrome. Miss Irving finds the Australians a race .of passionate theatre-goers, says the "Daily Expies-, and she notes the amazing power of the Press in moulding their judgment. "The social side of Australia,” she says, "is very marked. The Aus tralians are a pleasure-loving race. Dinners, balls, dances from one end of the year to the other, and everybody goes to the theatre. Their likes and dislikes are marked. They take every sort of play offered—but it has to be the best of its kind or you hear from them. “The power of the Press is amazing Everybody—from the little boy in thstreet to the man at the top of the social scale—reads the papers, and their faith in the Press is complete. T read it in thpaper,’ you will hear them say. ’so itmust be true.’ IVe played 'Lady Frederick.’ 'Dame Nature,' ami ’The Witness for the Defence.’ These plays have little in common, but I am glad to say that, critical as the Australians are —and they take nothing on hearsay—we got home with all three. Their appreciation was extraordinary.” Peter’s Chance. There must be passionate scenes ot tfi?battle of life in any mission-house ef mean streets which is doing its work. Into “Peter’s Chance.” produced lastmonth in London, the authoress; Mrs Lyttelton, has put the thrill of the fight, and something of its surge and colour The fight, of course, is a tight for souls, and "Peter’s Chance” tells of a soul finding triumph in death. Perhaps such phrases suggest too much edification. That would not be altogether unfair. Ths morals are a little obvious, the lessons a little laboured. But none the less, "Peter’s Chance” is thoroughly alive, and, what is not always the same tiling, always vivid- It has atmosphere, it-lias a rarer quality, the suggestion of people known and felt, not merely observed. Perhaps its rarest quality is its sympathy, Nothing human is alien from th? spirit of the piece. There are no'villains with horns and cloven hoofs. No-one in it of the slightest importance is without a claim on our kindlier emotions. Th? whole of the action passes in the common room of a mission-house in Stepney—a bare place, with naked walls of hideous brick, one rough table, and only , on?

chair, which ‘pretends to comfort. .From it doors open into the chapel, and the organ music, the incense, and the light’ of the sanctuary come through the play like a refrain. The head of the mission is lather Bentley, most human and humane of priests, with a keen appreciation of the power of the pomp and. circumstance of ritual, an appreciation no- !•?’’ keen of the uses of simplicity. He can be all things to all men and women, if by any means he may save some.

The Gipsy's Thief. You meet . Father Bentley, at a tea party of folk gathered from the highways and byways. You hear that the little servant, Susie, was saved I ■«• suicide in the river, somebody else from drunkenness, somebody else from uiisanthropy. You see FatQier Ben receive a new curate breathing the full aroma of Oxford, and send the alarmed youth away to bath two dirty children as In’ first pastoral duty. Then the father is giving audience to Kitty Roman, a -dating rascal of a girl, something of a gipsy in blood as well as name, and HF queen of an unholy company of thievesShe wants his help for her man, I’eter, who has been in a burglary, ami whqw companion may. lie expected to peachPeter, she tells us, is a splendid fella*too good for prison, and something better than the common thief. Ko Fa(!>eJ Ren agrees to give the Jad aheßer an* hide him from the police, for lie •• a ®

gjed«nt><? moralist, and if lie can get hold of the lad he has' no objection in the world to cheating the law.

Feter came to the mission, and when we met him again after two months the mission -had begun to deal with him. That Chapel, the incense, the lights, the music, fascinated his soul. You are to believe, too, that he was a man whom good company led as easily as bad. Peter, feeling that he was a new man—• Father Ben allowed him to clean the chapel lamps, the accepted' symbol of spiritual approval—began to boast of his reformation. Father Ben was not so sure of it, not so sure that if Kitty Roman, the wicked gipsy, came and whistled for him the lad would not be off after her. Father Beu was going away for a night or two, and by way of making sure of Peter gave him a £2O note to keep. And Father Ben went, ami Kitty came. The Old Love. Kitty came with her vehement joy in life and jeered at the saintly Peter, mocked him. taunted him. At first he was firm in his virtue. Then she told him that his old pal, Joe Price, was out of prison, and if Peter had no use for her Joe had. Then she played on his pas-ions, and tempted and promised, and the end of it was that lie ran after her., and 'he had the £2O note in her dress. The poor little- servant girl, Susie, eame just, in time to see what had happened, Susie who knew Kitty by tragic experience. for it was Kitty who had taken her first sweetheart away from her and driven her to suicide. Xow Peter was gone too. So Father Ben came back to find that Peter and the £2O were gone. The curate suggested the police. The curate’s righteous confidence that Peter was thorough) v a bad lot was a titillating piece of ZatYric truth. But Fatiher Ben would not de-pair. He ordered the baek door to be left open. He sat up to wait for Peter's return. And Peter came. But he came flashing an electric torch, he eame with a suspicions bag. First he put an envelope on the Christmas tree, ami then with a sac-k on his arm he stole up to tine chapel. Father Ben intervened. The lad broke down, and gasped out a queer story. He had gone after Kitty and the old life, and the old friends hail captured him. He had. come to bring baek the note, but he had come to rob the altar, too, and Kitty and Joe Price were waiting outside for h'.in to bring them his booty. A queer' story—but not, if you think of it, as improbable as it sounds in curt narrative. Peter sobbed out repentance, an t Father Ben took him into the chapel to pray. Then Kitty -and Joe broke into tin- dark room, wondering whether ha had played them false, and Kitty meant to have the altar plate for her pa.ins. I p the stairs they went, ami Peter met ihem, and there was a struggle, and Peter was, stabbed. They dashed away, and l’4f?-r died in Father Ben's arms. Miss Hcrniuian and a Stage-struck Clergyman. Miss Horniman, of the Slanchester Repertory Theatre, amused the ladies at the Women’s Institute in London recently and incidentally gave some useful advice to youthful or aspiring dramatists, as well as to some of her fellovvn ~ wagers. "Many plays are put on expensively,” she said, "sb as to bide the absence of a, ting. One never really notices scenery after the first five minutes unless the play is boring.” If there were to be a great ideal theatre built there should lie written above the door in a dead language, which would, of course, be translated on the programmes: “In this theatre the dramatist is top dog.” 'Miss Horniman had many funny stories to tell of dramatists from the producer’s point of view. Every two months, she said, there came to her a heavy parcel from a clergyman, and every two months it went back. One Fiat had nine acts, twenty-three speakmg charaeters, a crowd of citizens, and t«o armies. M bat gives me the most intense delight,” 'he added, “is when a London manager takes a play and the critics *“‘J the same of it as I said when I refused it.” "rite about the people'you know,” she told any aspirant in her audience. If you have' never lived in a slum, don't J*ri’e about the slum, and if you don’t belong to society—where they keep a •bau-eervant—don't write about it.’

Celtic Society’* Concert. On July 17 the Celtic Society’s grand concert is to take place in the Auckland Town Hall. A meet attractive and plea-' santly-varied programme has been prepared; and the'event should prove a big draw. Mrs. A. Gower-Burns, of Christchurch, has been specially engaged for the concert. Others contributing to the programme will be Miss M. Knight, Miss L. England, Mr. H. Gregson, Herr R. Pechotsch, Mr. F. Duncan, Mr. O. E. Farrow, Mr. Leo Whittaker, A.T.C., L.L.A.8., and Air. H. Whitty. Exhibitions of Irish and Scotch dancing will also be given. The performance commences at 7.45, and seats may be booked at Wildman and Arey’s.

An Easy Way to Help. The committee who are. arranking the big popular concert for the Society for the Protection of Women and Children and the Prevention of Cruelty to Animals are working very hard selling tickets, and it is sincerely hoped that the general public will respond liberally, and turn up ami fill the Town Hall on July 15th. Herr Wielaert has arranged a most attractive programme, so surely it is not too ninth to expect a ready response, for, after all, this is a very easy way of helping a very good cause—to hear a really first-class programme, which includes grand organ solos, for one shilling. " The Dandies.” In the concert chambers of the Auckland Town Hall on Wednesday the 17th 'Mr. Edward Branscombe will introduce his English Costume Comedy Company, "The Dandies,” which is at present concluding a record season of eight consecutive weeks in Wellington. The representative, Air. Scott Colville, informs me that during the season the company played to "capacity” business, and with the exception of one night, intending patrons were turned away nightly. The company which opens here on the 17th was selected from Air. Branscombe’s Australian circuit which embraces all the chief centres, and the .popiilarity of "The Dandies” is admitted and demonstrated wherever they are established. Their secret of success lies in the fact that they .present varied programmes sparkling with clean wit and humour interspersed with vocal music, clever sketches and dances which appeal to ail classes, arid many of their regular patrons are those who had never before patronised a theatrical attraction. “ The whole atmosphere of “The Dandies” entertainment is filled with artistry from the performers’ efforts to the costumes and beautiful stage- setting with its original light and colour scheme. The company includes the following artists: line Misses Hilda Lane .(soprano), Evelyn Ward (contralto)? Irene Vere (soubrette and dancer). Messrs Oliver Peacock (baritone), Gavin Wood (bass), George Morgan (light comedian and dancer), Claude Daiiipicr (eharac-tyr comedian), Leonard Griffiths (accompanist). The box plan of reserve seats opens at Wildman and Arey’s on Thursday morning. Rickards Tivoli Company. The announcement of the intended reestablishment in New Zealand of the Hurry Rickards’ vaudeville enterprises will unquestionably please the great majority of theatre patrons, and devotees of this particular form of entertainment especially. Auckland amusement seekers are to enjoy the privilege of first seeing the company, which is coming direct from the Tivoli Theatre, Sydney, to inaugurate u New Zealand season at His Majesty's Theatre on the night of Monday, July 15. The name of Harry Rickards has stood out for the highest pitch of excellence in the best and truest vaudeville line for elose upon 40 years, and all the latest criticisms of the management’s Sydney, Melbourne and Adelaide shows attest that the same exists to-day. It is at once a numerically strong.'well diversified and thoroughly artistic combination of vaudeville artists which is to open here. At the head of it will be Rinaldo, the wandering musician, which brief d'aybill description of the artist is said to be wholly insufficient to indicate the nature of the artist’s talent. An American violin-player, he presents a series of turns really wonderful in their conception and the originality of the very idea of combining humour with art in violinplaying being emphasised when it is explained that Rinaldo is not a trick violinist. Mr Will. 11. Fox, monologue artist and pianist, is an entertainer, the feature of whose specialty also is originality. He was the originator of his class of act as

a vaudeville turn as long ago as 188 S. Air Fox is equally at home playing the instrument with" his nose or the'heel of bis shoe, or blindfolded, with a thick cloth over the keys of the piano. The star soubrette of the company is Miss Albnie Aline, a strikingly pretty and dainty artiste, who presents piquant song turns, which she intersperses with novel dance steps, quaint and very amusing patter. The comedy sketch double, Gus. W. Blake and Aland Granby, feature the newest original, short and diverting comedy acts, the dialogues of which are unusually witty. Air Ronald George is a talented performer who displays versatile ability from the sublime in opera to the ridiculous in comic melodies, on numerous instruments. Walker and Sturm, who have quite recently returned from a most successful tour of America, present a

racquet-juggling and eccentric comedy act of a class excelling all others in this line. The most distinct note of novelty is struck by the Tossing Testros, a lady an 1 gentleman.' Juggling with anything and everything unusual, they refrain from working with any of the hackneyed adjuncts of the variety stage juggler, lhe Bright Sisters, a clever singing and dancing double; Air Marshall Crosby, a bar.tone possessed of a range enabling him to win recognition everywhere as a singer of good songs in good style; and Melrose and Menzies, an eccentric patter eomed'an duo. go to make up the company. Representing the Rickards management will be Mr Af. Marcus. Some New Music. The Vincent Music Company, 60, Berners Street AV., London,.forward a parcel of music containing important pieces by Air. !•'. W. Holloway, organist, and choirmaster of All Saints’ Church, West Dulwich. Air. Holloway is a versatile composer. who has written several anthems, and church services all of a devotional and attractive character. Worthy of special mention are his fine “Communion Service in E flat,” "Magnificat and Nunc Dimittis” in E -flat, and the anthem "Rest in the Lord.” To his many important orgaiKcoiitributioits must now be added five recently-written solos, all of which are well Worth the earnest consideration of local organists. The first is a c Cantilene op. 33,” a pleasing work opening With- a plaintive theme in E miner followed bv a bright 'and joyous second movement in A major. It makes no special demand on the executant, and organists will find it a suitable selection for an opening prelude. Greater skill is required for the - performance of the "Concerto Toecata op. 33 No. 2?’ which is a mu-icianly composition, and a solo well adapted to admirably- display the possibilities of a grand organ. Th? "Postlude in D minor” contains much which may be commended. The opening Allegro lends itself mosthappily to organ treatment, the middle movement with the suggested registration should prove most effective, while the music of the last page is worked up to a fine climax. "Prelude Symphonique op. 44" may be recommended for its straightforward character ami melodiousness,

■while the Sonata ia G minor, consisting of throe movements, is distinguished by high musicianship, ami the technical necessities are well within the powers of the organist of average attainments. The same composer's pianoforte solos are excellent pieces of their kind, and will be gladly welcomed by teachers and students. Worthy of special mention are “Bouree, op. 19 No. 3,” good for part playing; ‘‘ The Mill Song,” excellent solo for arpeggio study and feeling for rhythm; “ Minuet, op. 19 No. 5,” effectively written and iirakes good demands on fingers. ‘‘Three Little Album Leaves,’* op. 31, are most daintily conceived. “An Idyll, op. 15, No. 1,” is a very attractive ir tuber, set tu a delightful theme in D flat major, ■*with an irresistible accompaniment. Other decidedly interesting solos are:—• “Valsette, op. 19 No. 1,” “Gavotte in D,” and “ Danse Gracieuse, op 19 No. 4.” Organists, choirmasters, and pianoforte players should make early acquaintance with this composer’s compositici*s, as they will find much t-o please and interest them. Madame Antonia Martinengo. Madame Antonin Martinengo, formerly of the Brescians, needs little introduction to New Zealanders, who still have pleasant recollections of that popular company. She has recently returned from London, and has taken over the chambers recently occupied by Mr Spencer Lorraine in Pierce Buildings, Symonds Street, Auckland, where she will t’ake pupils for singing and voice production. The Orchestral Society. The Auckland Orchestral Society will give their second concert of the pre-ent season on July 11< at the Town Hall. The soloists are to be Mr Olliver E. Farrow (baritone) and Mr G. E. Poore (flautist). The orchestral selections will include the overture from *’ Mignon,” Beethoven’s Symphony No. 5,” SaintSaens “ Danse Macabre,” Massenet's *’L-es Erinnyes,” and the march from ’’Leonora” (Haff). Mr. W. T. Sharp’s Recital. Interest continues in a marked degree in ihe recitals now being held weekly by candidates for the position of city organist. Last Saturday night the fifth of the series was given before a large audience, many of those present having followed up the proceedings from the initial performance. Mr. W. T. Sharp was the. organist on this occasion, and he handled the fine instrument he presided at in a masterly manner. He prefeented a programme consisting mostly of organ compositions, while the arrangements for the king of instruments were chosen with good taste. He displayed good organ technique and mastery of control, while the effects secured were consistent with regard to the music, and his stop changes failed neither in precision nor the object intended. On the pedals much skill was exhibited, and the movement from manual to manual was achieved with lightness an I dexterity. The recitalist was listened to with interest, and during the performance was Honoured with several hearty encores. Mr. Alexander Watson. To interest an audience by a singlehanded presentation of ••Macbeth” without book or notes, and without the assistance of scenic effects, looks 4o be an almost impossible task, but it is safe to say that all those vffao composed Mr. A4exa*nder Watson’s first audience at ||» Majesty’s Theatre were, at least, interested. Mr. Watson’s per form amt is rjrw that will Im* remembered. His memory h faultless, his voice dew irnd vibrant, and his perfect enunciation and clean-virt sylki'Mes are a treat to listen to. The tall, slim man in •conventional evening dress soon creates an atmosphere and on the bare and empty stage the characters of the great tragedy live vrvedly before his airdhwe. His vocal inflections are wonderfully good, and the characters are differentiated with remarkable cleverness. The portrayal of •‘The Weird Sisters” is perhaps his finest piece of work, and in the words of the ••Bulletxi” critic, ‘".he three witches are brought ao clone that a hurried society reporter woiUI hazily report them as Sununjpvt those present’.” The varying moods, the rtijr/ed strength, and <he flaunted terror of M:i* Heth are p irtr.iycd with niagnifiocnt redwm. Li.lv Macbeth, however, pre-etus more iLIIii-isHies, eml one L inclined to pi'ture her somewhat differently than does Mr. Watson, ■with a greater <011.41 of the virago- in s.er nature. But in the latter acenes, particularly the guilty woman's sleeping e.ilil.sfliy, Mr. Watson’s work -was ♦plMxlidly WfoMtre. The remaining

c&anadtcra all showed Mr. 'Waldon’s powers as an elocutionist and Iris wonderful command of voice. At the close of the performance he was recalled several times to bow his acknowledgments to the audience. To-night (Wednesday, July 10) Mr. Watson wilt recite “Twelfth Lyric Theatre. The programme of pictures for .tne current week at the Lyric Theatre, Dymonds Street, is one of the best that the finn has Submitted. It contains the essential element for enjoyment and instruction, and the large crowds who have attended, anticipating good fare, have not been disappointed. The orchestral selections and the comfortable appointments add to the pleasure of the visit. The local views, entitled “Auckland Pay by Day,” constitute a popular feature ot the programme, and of much interest to patrons. Dramatic studies are attractive films, creating unrestrained excitement, while the comic, scenic and general make tip an admirable selection. King George Theatre. By carefully studying the public requirements, the management of the King George Theatre sn Durham Street is able to produce a programme of unfailing interest. Tins week is no exception to the rule. The continuous show is open alt the afternoon and evening. The star item is a draana founded on the Reign ot Terror of the. time of the French Revolution, and it is magnificently screened. There is much else to amuse and interest. Ladies* Hats Banned. Berlin’s energetic Police President (Herr von Jagow) had to defend before the. Supreme Administrative Court his decree forbidding ladies to wear hats in the theatre, even in the boxes. Amusing evidence in the Corney Grain style was given by police inspectors, who described how at various theatres they had to dodge from side to side of ladies’ hats to get a peep at the stage. One inspector detailed to watch the proceedings at a variety theatre suspected of risky productions complained that just when it was most necessary for him to watch the stage proceedings a lady with a hat 39in. in diameter sat exactly in front of him. Counsel for the Managers’ Association argued that big hats were no worse than herons’ -plumes, against which there was no decree. Herr von Jagow’s advocate argued that if a panic occurred these immense hats must result in an appalling disaster. The Court reserved its decision. Films That Talk. The first public demonstration in London of M. Gaumont’s combined cinematoscope and gramophone was given at an interesting special matinee. There was a typical Gallic cock, strutting and preening itself upon a balustrade. Colour photography had retained the sheen of its hackles. We were murmuring our applause- at the amazing realism of the picture, says a Ixmdon writer, when Chanticleer bossed his head with inimitable arrogance, opened his beak, and crowed right lustily, once, twice, and three times.

Thereafter four typical Frenchmen quarrelled in a railway train. One beat upon his knee in his excitement, and the thwack resounded through the theatre. A shopman arranged crockery upon his stall, and you heard it clink. Such sounds did far more to impress the audience with the importance and novelty of the new invention than did the spoken words of the people whose images flickererl on the screen, for it must lie admitted that the reproduction of -human speech on the gramophone is in the present stage of experiment a little d isappoin ti ng. A film that did equal credit to the enterprise of the photographer and the skill of the inventor depicted a lion tamer surrounded by a dozen angry lions. As they sprang and glided about the cage you listened to the cracking of whips and a perpetual accompaniment of resonant growls that was quite alarming. Mias Katherine Grey.

Katherine Grey, the eminent emotional actress, who created Buch a wonderful impression throughout Australasia in “The Truth,” “The Third Degree,” and other plays, is now appearing in vaudeville in San Francisco. This is Miss Grey’s first season in vaudeville and she is scoring heavily in the one-act

play, “Above the Law." Miss Grey is a Kan Francisco girl who has achieved fame as a dramatic star through sheer ability. She has been successfully associated with the late Richard Mansfield and other great lights of the stage.