Music and Drama.

New Zealand Graphic, Volume XLIX, Issue 4, 22 January 1913, Page 14

Music and Drama.

By

BAYREUTH.

BOOKINGS(Dates subject to alteration.) lI.M. THEATRE, AUCKLAND. January 21 to 25—“ The Great McKearn. February 1 to s -Marie Baines. February 14—Rickards' Vaudeville Co. February 17 to 22—Rickard Vaudeville Co. February 24 to March B—J.8 —J. Williamson. Ltd March in to 22 Allan Doone. March 24 to April 12—J. C. Williamson. May !> t<» 21 — Rransroiube Co. May 22 to .lune 7 —J. X’. Williamson. Ltd. June !» to June 25—Geo. Marlow. Ltd. June 2<» to July 5 —J. <*. Williamson. Ltd. July 7 to tn-Allan Doone. August 4 to Id—J. Williamson, Ltd. August 2S to September 27 Bransvoinbe Co. »■ » October 1 to 11 J. (’. Williamson, Ltd. TOWN HALL (Main Hall). Concert Hall. January 28 and 29 —T. H. De Spong, Elocutionary Recital. • AUCKLAND PICTURE SHOWS. Globe Theatre. Queen Street—Continuous. The Lyric Theatre, Symonds Street— Nightly. Royal Albert Ilali. Albert Street — Nightly. WELLINGTON OPERA HOUSE. January 18-21 -Carrie Moore Comedy Co. Janu.ary 25 -February 8- J. ('. Williams'oa, t’oud* Opera Co. February 27-March (»—Rickards’ Vaudevill? February 28-March 10—J. C. Williamson. The Drama of the Superman. (By IL \. BAUGHAN. in the "Daily News.”) Z| RAMA js not. and should not bCj p, a an objective picture of life. No 1 great dramatist can help ptitX ting him.-elt Into his plays. Shakespeare? Well. I know he is held to be the typical objective dramatist; the man of detached mind. who viewed lite as a pageant; but if you. examine his play> as a whole. Von will find that ir 'i-'S.’v ail you have variations on the •.•Janie v!» ii\uter. ’Macbeth, Othello, Leontcs. Marc Antony in ‘’-Julius C aesar ' Hamlet. Richard II L. and King H.ear are psychological relations. The {•outlet*. strike the >ame note. It is the eternal struggle between intellect and Xlte instincts of man as animal. Reli have al way* tried to make peace era sei ess* war fa re ; some the UMet .capitulation of -elf: others -by the promise of rewards w hiclr *hall ta'ke a Way the- -tinif of present suffering. Sitake-peu re. being an artist, had an abnorm-ill\ sensitive niilid. and he ex preyed the pity of the struggle as well iti. pomp and circumstance, but he expressed it dramatically. After all. why should a man wi.*lf to v rite of life unlvs- the contemplation of itmoves his whole being? And wll.at kind of man can he .He who. at any tip»r in the history of mankind, could a Apept the face value of man's rough and ready wsteii <s of morality None of the great -pirits has accepted them. The little .men. the thoughtless optimist*. alone glorify the world as it is. On the other hand, he is i»ui a shallow idealist who sees naught but ill in life He judges existence by some pretty, little mental oleograph, ami squeals l>ecause life i* not tike it. When you think of what man is, and the ceaseless struggle he has had to wage, you cannot l»e a •p •.'-.imist. and. if you be an artist you cannot lie • realistic desrrilwr f what is worst in Fife. Nothing But Little Sha«ri. # Those who have er it w i*rj Mr. Bernard Shaw for having given tis nothing but little >liaw< a* the chief i:t his plays have confused an artist’s projwr expression of himself with an alismute' (evliniail fault We nrjy not like Bernard Show’s point of view: we mawthink !l tpo rompart of negation*: too un hitman on. it* emotional side. amd, above all. '|>O destructive; Irttt it is- bis point of view, and, a* a,i artist, hr ha-* ever.) right to <*xpre«*»» it in terms of drama. Unfortunately, he mtuo.’elf rofiM‘ious til his ewpreaaipn.oind that self ronMhu«r«e*’ or egotism mars liwjiLik •« dram*. You feel that most <»f the thought- lie tie-ires to gnr to the <l be better vxprooed iu an. or • Ireturr. or even in AT novel. He i.e cho*»*n dram t an hat medium in re. ent ▼AbVi. but he refn«vn to pl.uv the gan»e according to the rules. *

Drama has certain rules. I do not mean the stupid rules of the well-made play. You can call a play a “discussion” or a ‘•demonstration”; or a Clinique, if you will hut you cannot get away from the fact that you have assembled a iiuniher of people" in a theatre to tell them something in the terms of life itself, and tljat something must have point arid climax, or the tale is not worth telling. Moreover, since human beings are your mouthpieces, your characters must 'be like human beings. [ do not know of any other rules, except those of mere craftsmanship.

The Faults of Shaw. ■Mr. Bernard 'Shaw, as a matter of fact, is- an excellent craftsman, a trifle mimetic in his devices, perhaps, but still an excellent craftsman. He has a sure eye for stage characterisation, and that is proved by the ' success players cart make with his characters. But with all these virtues his plays have cardinal faults, and these faults are so glaring that they overshadow the virtues. To begin with, he is so intent on expressing himself that he will violate all spiritual probabilities, and will mar character.- which, iu the first instance, were well conceived. And he is so intent on proving his argument that he. conditions the mental life of his characters to that end. His .characters become either fools or Sliaws. If he desires to present men and women of conventional ideas he makes them not only conventional, but absolutely stupid. He thus misses the tragedy of existence, for brains, and, to make a necessary distinction. intellect, are by no means the sole possession of the unconventional. The world would easily be put right-if that were so. There is no clash and no opposition in Mr. Shaws plays. Ute supermen and superwomen have everything their own way. They walk round the 'poor conventional fools and plant blow after How without ever having to parry a serious return. The stage resounds witli their punches, and incident-allv-the noise makes us realise that the fvntres of the attacked, for all their outward semblance to life, are but stuffed. Not Playing the Game of Mr Shaw gains liis point, but it do.s not bear thinking about after yon have left the theatre. Men and women are not like Mr Shaw’s creations. I hey tna.v be worse, and certainly are not alwato so amusing, but they are also much better, It is not playing tl>e game of drama to invent characters with the mttw.ii' ambiance of life and to withhold ho n tlietn all mental and spiritual re'litc. merely for the sake of making a |.oint. Moreover, the superiority of th* up~rnien is fictitious when examined close’v. and seems to consist mainly of their having been born without normal human feelings, or feelings of any sort. As a dramatist Mr Shaw has systematically chosen the point of leant resistance.* It is much easier to invent lay fimirea who will not stand in the way of your thesis than to let a set of human beings work out your ideas. In the same way Mi’ -Shaw lias matk* quite a rnaun?rir>m pt what may be called the Palace of Truth inethod of dialogue. Instead of allowing an ’’audience to gue.-w the thoughts and natures of the dramat’Hj»er*vOiiae as if it were witnessing a scene in real life, our dramatist kindly permits his characters to turn thenwelves inside out so. that we ahall be under no mi *apprehension. The device is amusing a* burlesque, but it does not bear perpeL*. al repetition. *’O\er-nik-d" is a glaring example of thin particular me .‘ban’s n. It is pitiful to see a iiian of Mr Sh iw’s genius gradually looming the slave of his own conventions. Why dons he not write a drama in whh h hio ego would be merely suggested and not made the principal dramati»s |»er«i»ii.i ’ The* Mouk and the Woman." U'hc air'at the Adelphi ’Theatre in Sydney, wii« charged with ele-tri ity for a ’few'* Uecohdx. oiir evening last we*k, when one of the largest’ audienceH yet «een were present to wi,tnn*s the drama, “The Monk and -tha Woman.".. Thia is the play which A’rchli is hop Kelly recently fciittied his eireiiliH against, and it wn beciftUMe of tltio proh iblv“‘fl»M a certain incident occurred; fortunately, without

HeriouH results, but it might have de velbped into something more stirring than actually happened. It was during the laist scene of the third act, where the monk is being married that the incident happened. The king in the drama. Mr Gerald Kay Sonper, a.s the ceremony i»s being concluded, rushes up the aisle of the church, and :t>kis,’ “Who is this man? It is not de Mohtrale?” Mr George Cro*s (the principal monk Piiul), was about to turn round and reply when a man sitting about the centre of the stalls got up and shouted: “Stop! Stop! I protest against this play. It ifl against the principles of my church." It wa.s here that nomethiug serious might Lave happened; but Mr Cross, with a promptitude th it des» rve.s all praiise. fstepped forward to the footlights from the altar, and addressing the audience, ><aid he appealed to th?ni to say whether there wais anything in the play that would offend the susceptiti ities of any member of the audience, or any section of the community.. He did not think so. “I iusk you, an an intellectual body of people," added Mr Cross ‘“whether there is, and if the play diould proceed, and 00 judge for yourselves.’’ There wa<s immediately an univeisa.l cry to put the disturber but, and a chorius of approval for Mr Cro<<s’ prompt remarks, ami for the play. Amid a perfect babble of “Kick him out!" “ Shove him out of the way!" the theatre attendants quickly isurrounded the man; but he went out qui?tly. The disturber as he was going out waid he had a right to object, for the Archbishop had to\l him it wa«s not the right thing. The audience immediately settled down again; but the incident apparently warmed them all th* more for the drama, for at the conclusion there wae another unique demount ration.

Reminiscences of “ Faust.” The recent revival of “ Faust" in Sydney lias induced a writer in the “ICvening News ’ to Income reminiscent.. **We have seen and heard many great performers as Marguerite,” he says, “but the record for the Commonwealth, jf not for the world, is easily held by “Our Nellie,’ as Mi>.s Nellie Stewart is affectionately. called. There are those who only know that clever 4ady as an accomplished comedy actress and player of romantic and Shakespearean roles, hht it is not so very many years ago that she was the undisputed queen of comic opera, and •created’ in Australia several of the most popular Gilbert and Sullivan Soprano parts. It was thought to in* a most hazardous experiment to pet Miss Stewart forward in grand opera, but her singing ami acting of Marguerite in Gounod's masterpiece ’caught on’ *0 tremendously that rhe opera was presented for six weeks to overftoving houses in the Princess’ Theatre, Melbourne. A terrific strain, indeed, six performances a week for six weeks bn end; and. it should be noted, the prima donna sang the whole of the music allote.l to the part. Always a thorough artist, in a long list of memorabb* things. ‘Sweet Nell’ has done nothing of which she may fairly feel proud i than’this.” A Tragic Performance. Again, the string of memories re alls the tragic conclusion o f the premiere of Nellie Stewart’s performance in “ Faust.” C harle* Leumane was the tenor, and a then well-known basso with the nariideltheatre of Frcderici was cast for Mephisto. The latter vVas in indifferent health, hut studied hard to ensure success, amt his was one of the riotable triumphs of that first night. He sang as he had never sung before. Alas! It was Hie poor fellow’s swan-song. Struggling desperately against the weakness that was gradually overcoming him. he got through to the moment when the fiend, claiming the fulfilment of Ins contract, seizes Faust and disap|M*ars with him into the infernal regions. As the ‘“trap” bearing the two artists descended beneath the level of the stage, wicked looking flames circling about their heads, Fredvriri collapsed against Leumane. The tenor supported the nnform of his confrere, while the auditorium resounded with thunders of applause from people who never suspected the real tragedy that w-as being enacted. The unfortunate basso wax hastily removed to his dre-uing r torn, »n | medical help summoned, but th**t4* w>is no. hope. In the ghastly habi’itn of the Evil One, Frederiei hid reeved and obeyed the li.st rail. An Amusing Incident. A lees grueeome i«i of an

even more d’lstinguirthed baaao, who has also shuffled off this mortal coil. A very celebrated lady w<» s giving excerpts from grand opera, and he was the Mephisto for the opening performance. There was a huge and ultra fashionable audience to «i>ee and hear one who had previously only appeared in Australia on the concert platform. Behind the curtain all wao excitement and alarm, for 7 o'clock, 7.30, and 7.45 had been reached and passed, but no Mephistopheles had presented himself. The manager had telephoned himself into a condition of speechlero fury: the conductor wao in despair; and the prima donna —well, the prima donna revealed a knowledge of the possibilities of a leaist half-a-dozen languages. At five minutes before 8, a red-faced, hearty fatuously ijiniling individual lurched through the stage entrance. He wan immediately seized by half-a-dozen pairs of stalwart arnhs, and practically carried at a run to the stage, where stood in c black rage the leading Lady. She turned pale under her make-up and in a few frantic hounds was at the offender. She caught him by the shoulder.* and shook him till his head? already top-heavy threatened to roll off. She boxed his ean> soundly. She hissed inquiries, reproaches, and other things tbb numerous to mention, until even the ‘“lines’’ men turned blush fully away. Her victim made no protest, uttered no sound, he merely grinned stupidly. Blushing his neck and crop. L.E.U., the excited lady brought the dreamy basso up hard against a stand-pipe at the rear of the stage, and held him determinedly under it while the full force of the wafer was turned on hie heated headpiec e. The effect was magical. Air. Bas o, at first hugely amused, passed quickly into a state of annoyance, and began to struggle. He choked and spluttered words that no gentlemanly devil should use, but the cure wat? going, on, and in three minU'tes, as angry as a wtt hen, he was rushed off to .his room. There, in no gentle fashion, three strong men forced him out of hie lounge suit and into tao red trappings of tb.e fiend, painted hiu rebellious fare, gave him one gulping draught of >oda-water, an.l hurri <1 him to the wings. The curtain went up; tno ladv, showing no tracco of her strenuous experiences, went on, and, at the cup, which he took like a bird, Aleptiisto rolled his veuce ‘magnificently into th© muidc. That night he sing and acted in a styi>* that earned for him the ilnotinled praise’ of t’ie critics—but it was a close thing. How Is It ? Young men will' be \*o.,ng men, and while the world wags the y >enger iscn n a of noble families will find that the on’y girl in the world for them is behind t'm footlights. The c.ibl > recently notified the marriage of a “Gaiety girl. Mi <4 Olive May. to Lord Victor Faget, brother of the Alarquir of Angioma, and heir presumptive to the earldom. Not long ago the cables announced that Air George Edwardes, who commandis at the Gaiety, had been forced to put an auti-nwi*riage-clause in his contracts, having been so often "slipped ”.p.” when a piece. wa«» running smoothly, by an unexpected marriage which nec.i-sitated the intro-, duction of.an understudy at the eleventh, hour. But no doubt love will laugh at con tractci, even e., burglars are s.vd to laugh at locksmiths, an I a future. Alaiquis would probabiy l>e ready enough to pay the penalty even were it t.yi.e as> heavy. Actresses and aristocrats have now made so many matches that, th® world ceiiseo to marvel. Belle Bi!ton lieeamp Countess ( lancarty, Rosie Boote the Marchioness of Headford. Connie Gilchriot is Counters Orkney, Denis i Orme tb.* Barones<s ('huruton, Eva Carrington', l.ady De Clifford. And there are’many more whose names mighteasily he brought to mind. But how is it that, though the beauty actor is the n;o<t’ adorned of men - that, though his photo graph may hang in many a dainty boudoir, and bin .allograph occupy a place in a neat album, he □ ever hats the luck to marry a iady of title? Really, he doesn’t seem to be getting quite .1 fair 41e.1l I By the way, iu diiscii.'Hing matrimony, it is stated, on good authority,’ that diming the tour of t‘he (teicar Arche-Lily Brayton Company •in New Zealand, quite a crop’of engage* incuts occurred. A Offer to Clara Batt. «Madante C lar.i Butt, ami Mr K<*nnerley Rumford, an* to make their American debut in Boston on January 5, and oii January 7'tlmvwilJ appear at Die (\irnc g.ie Hall, New York, wiWi Uie . Volpp* Symphony Orchestra under Arnold

After-touring America anil Canado. giving 50 concerts, they will sail (in April) for Australia. In an interview before she left London, Madame Butt said:—"l haye received some tremendous offer? to appear in vaudeville. Ohly a whort time ago the Palace Theatre made me an offer of £2,000 per week for an eight weeks’ engagement, but 1 did not accept it. I do not for one moment think it would be derogatory to :ny art to appear in a music hall, but 1 might possibly offend certain people, and that i* the last thing I should like to do. It was hard to refuse such a eiiim. but I would rather accept a little less in a few years’ time than appear now in a music hall at the zenith of my career.”

How “ Hiawatha ” Was Composed. A pathetic discovery followed the recent Coleridge-Taylor memorial concert in London for the benefit of the e mpcser's widow and children. ColeridgeTaylor's mother, who made almost heroic sacrifices in order to give her gifted son a chance in his profession, was not present at that splendid tribute to his genius. She.was "too poor to purchase a ticket for admission.”

For many years the composer paid weekly visits to his mother at her little home in Croydon, the town in which he also lived, and made her a weekly allowance of money, but at his death, of course, this help had to cease. A representative of “Tile Daily News and Leader” who visited her found her tinwilling to dwell on her straitened circumstances, but she talked eagerly about her eon's early days. Her greatest happiness is the thought that he lived to make his mark and to write music that will live after him.

“As a child,” she recalled,.“he was very fond of ‘playing at churches,’ as lie described it. His bedroom was the church, his father and grandfather his congregation, his nightgown his surplice, and here he -would sing hymns to his heart's content.”

A boy friend who had sung in Peterborough Cathedral taught him a great deal of Church music, and. later, young Coleridge-Taylor joined the St. George's Presbyterian Church at Croydon as a chorister. There he met Colonel Walters, who helped the mother to place her boy at the Royal College of Music. As to tfie composition, that made him famous, his mother recalled how one day he showed her Longfellow’s poem, remarking that he intended to try and put it to music. From time to time he would call 'her away from her duties in the kitchen, and there, with her hands covered wit'h dough and her apron all floury, she would listen to the melodies that were destined to be heard throughout the world.

Now that the facts are known, it does not seem likely that the great musicloving publie will permit Coleridge-Tay-lor’s mother to continue to feel the hard pinch of want. The Globe Theatre.

A feature of the continuous picture entertainment at the Globe Theatre this week is a magnificent representation of Sardou's splendid play “La Tosea.” The piece is produced with wonderful fidelity and remarkable attention to d<*tail. The remainder of the programme is most varied and up-to-date in every respect.

The Lyric Theatre. The new programme at the Lyric Theatre in Symonds Street contains a large number of very fine pictures, the whole combination providing an entertainment of genuine merit and exceptional interest. After having witnessed a programme, one does not wonder at the large audiences which patronise this popular place of amusement each evening. Theatrical Attractions. Interesting chatter regarding stage matters was obtained by a “Star’ representative on Saturday afternoon from Mr. Geo. Tallis, managing director of the J. C. iWilliainoon firm. Mr. Tallis has just completed a tour of the world, in com-’ pany with Mr. J. C. Williamson, and arrived in Auckland last week by the R.M.S. Zealandia from Vancouver. According to the well-known entrepreneur, Australia and New Zealand gre in for the very best that America. England and the ('onlinent have to offer in the way of theatrical attractions. “Mileatones,” now bMttg produced for the first time in Aiutralia. was, Mr. Tallis considers, the finest drama seen during their tour abroad. In fact, he and Mr. Williamson regarded it as the best production of * decade. Another fine drama

secured in New York wee that eutitlj-d "Within the Law.” This was proving almost a.s big a. success as "Milestones.” It was a .strong comedy drama, and had scored the success of the year in Broadway.. There is at the present time. Mr. Tallis declares, a great dearth of gold material in the way of either dram i or comedy, and “Milestones” and “Within the Law” were the only two selections of the kind they were able to make while abroad. Musically, however, th, " illiamson firm is going to provide a feast of good things during the ensuing year. “The Dancing Girl,” Mr. Tail s sa ys, promises to be just as big a success as “The Quaker Girl,” and "The Sunshine Girl” was another fine attraction that the firm would have to offer. "Gipsy Love” was a musical coinedv the firm had secured, and its worth might be gauged from the fact that it was still } tinning at Dalys, ami had been running for 12 months. In addition to the’e, they had arranged for “The Girl in the Taxi" and Courtneidge's latest since s. “So that during this year we will present the five biggest musical succes e.s at present running in London,” said Mr. Tallis.

Some Familiar Names.

While in America Mr. Tallis ran across many mummers* well known to Auckland playgoers. Miss Tittel Brune is at present in New A ork. She recently appeared there, but, unfortunately, the material of her play was not up to standard, and she suffered a big loss. Miss Katherine Grey, who made many friends here in "The Lion and the Mouse’’and other pieces, had an equally unfortunate experience., opening on her return to America with a failure. Andrew Mack, dear to all lovers of Irish plays, has been touring the States, and is very anxious to eome back to Australasia. Charles Waldron is rehearsing in New York for a new production, and Mr. Rapley Holmes, whose "Big Bill” in the "Squaw Man ’ was something to be remembered, is another American player who badly wants to renew acquaintance with this part of the world. Miss Ivy Scott, who for a long time was a member of J. C. M illiamson Comic Opera companies, is achieving big successes in the States, and was playing Natalie in "The Merry Widow” in Chicago while Mr. Tallis was there. Probably, next to “Within the Law,” in point of success amongst the dramas in New York, is “The Whip.” ■Mr. Tallis says that American managers were unwilling to take it up until they saw what a success it had been in Australia and New Zealand. Then 'they got the same company to put it on in NewA ork, and it is regarded as the finest Drury Lane play ever attempted in America. Ambrose Manning. Miss Kerry, Miss Marie Illington, and Mr. Blackall, who played leading parts here in “The Whip,” are scoring Just as great successes in America. “All these people are wonderful walking advertisements for New Zealand,” said Mr. Tallis. “We do not realise in New Zealand and Australia how fine are the conditions under which we live. The expense of living in the States is tremendous, and is double, or even treble, what it is here. Mr. Williamson and I both had a thoroughly enjoyable tour. Mr. Williamson is returning via Suez. I came this way. 1 guess we are both glad to get back.” Stray Notes.

When the last mail left Australia the management of the Rickards circuit in Australia were considering whether or not to. add Miss Minnie Kaufmann to the company to tour New Zealand, beginning at Auckland on February 17. Programmes in .all the Australian theatres on the circuits are being remodelled, owing to the closing down of me Adelaide Tivoli Theatre for rebuilding, and it is possible that Miss Kaufmann may eome to New Zealand along with 'the other big attractions. She is one of the world's greatest trick cjelists, and in addition to her skill on one wheel or two, she is said to be one of the prettiest and most graceful cyclists who ever came to Australia. There is said to be a ‘‘real live baronet” in the caete of the “Get-Rich-Quick Wallingford” < ompany. now in Australia. He is reported to be Sir Alex.’ Mackenzie Mackenzie, the sixth of his line. The baronet's part in the play is quite a small one; he is one of the crowd that cheer* and wave* it* hands.

The remnant of the Maori troupe which remained in England after the cloee of tlie “White City” exhibition last year ha* been appearing at the small Queen’s Hall, writes tfie “Star* Ixmdoiv corrimpondent.. The Pre** notices of their performance* have been

very good indeed, but it is to be feared that the Brit’eh' public lias not taken very kindly to the ' entertainment in' •spite of the good-natured efforts of the newspapers to "boom" it. The-“ Times,” for instance, devoted nearly a quarter of a column to the Maori programme, ■and wao very appreciative, advising "anyone like.s to . hear.simple, artluss music performed by people of goodhumoured temperament, who are what Scots call gley gleg in the uptak,’ to hear the Maoris’ varied entertainment of dance*, games and songs, and recitations in excellent English.” The “Morning Pest” and many other leading London journals had also a good word for the performance as a whole, but the public has not risen to the bait, and it is to be feared that the troupe will not become exactly “the rage” in the metropolis. •

Sahaiet has been starred in the pie tures as "the great Australian dancer” (says the “Theatre"), and again there cr< ps up the question of her identity. It was once stated that Saharet told a London newspaper man that she was Lorn in Richmond, Melbourne. Beyond this, nothing appears to be known locally regarding the dancer, who has been a big star on the Continent and ii London for years. Someone once hazarded the guess that she was “Ginger” Ainsworth, the wife of Woods, the “somewhat different comedian,” both of whom appeared at Rickarus’ Opera House, Melbourne, years ago; but the identity of the lady is still shrouded in doubt. The question still stands — Who is Saharet?

Of the little play written by Miss Constance Clyde, of Dunedin, and performed at a matinee organised by the Actresses’ Franchise League in London on December 6, the dramatic critic of the "Daily Telegraph” writes:—“Mr. Wilkinson’s Widow,” a new play by Miss Constance Clyde, is written: with the idea of exposing the unfairness of marriage as a partnership under 'the present laws. Mrs Wilkinson slaves for her husband and home for- a quarter of a century. “Y'ou go through it because he saved you from being a spinster” is her idea: “marriage is not happiness, except that holy happiness which don’t count.” But when she is left a widow, and finds that her defunct spouse by his will has left her almost penniless, despite the fact that her own industry had created practically ail he possessed, the unfairness of the partnership becomes apparent to her, and a sorrowing widow is changed into an injured and indignant woman.

The first artists to introduce to this side of the 'world the ragtime singing comedy nonsense, which is now all the rage in London and America, are Eail Taylor and Dick Arnold. They are included in the strong combination which Mr. Hugh B. Mclntosh is sending through the Dominion next month. Both men have been star artist of the famous Orpheum Circuit in the United States. They graduated into vaudeville from the cafes, which provide the vaudeville stage in America with so many of its most successful performers. Their turn is a revelation ,n quaint music and skilful comedy.

Madame Sarah Bernhardt wa.s about io set out from Paris to begin her American Lour when the last mail left Lon-

• ! ji. I he. tour.was to begin ai Chicago, and tjie ivtr'dr expen-tr, Are estimated •»t nn I. w a uni than .t'2.400. of which Xl.b<M>. including her pen- >n-U .Hilary of fl.-t(K). go to the farnoi'H French aetresc-. riie'surplihs is aeeouirted for by the sum paid for the remaining ts-ix turn**, recpii-

etie to complete the bill, the maintenance of a private Pullman car. and the transportation from Europe to the United tStates of Madame Bernhardt s staff of twenty people. The tour is to last twenty weeks. Amongst the stories told of the late Sir Edward Moss, the well-known director of music-halls, who died at the end of November, is one which shows his resource as an entertainer. In his early days at Edinburgh he managed a fastingman show, ‘-but the enterprise was a failure." he said. ‘•Then it occurred to me that a good many people would be willing to see a man who had not eaten for 30 days break his fast, so I took iVVaverley Hall, and announced that the fasting man would eat his first meal *n publie" there. There was something sufficiently novel in seeing a man eat in these conditions. The people came by thousands, and transformed a failure into a

Mr Allen Doone will shortly make a second tour of New Zealand. The Sydney "Sun" says: "The Irish singing comedian lhas evidently hit tire popular taste ■with his pretty little Irish plays. No actor of modern times—not even excepting the great Dion. Boueicault —did more io obliterate the infamous stage Irishman than has Allen Doone." “The Sunshine Girl" is ready for production at Her Majesty’s, in Sydney, and the only thing that is delaying the Australian production of the musical comedy is "Elorodora." The attendances are so l>ig for this that it would be bad business oi? the part of the Williamson management to withdraw the piece. However, another week should see "The Sunshine Girl" staged. This Gaiety entertainment is in two acts, the first of which is laid at Port Sunlight, where there are large soap works. In theoe Blanche Browno will figure as a workgirl., and Frank Greene as Vernon Blundell, son of the proprietor of the works, appears on the scene. He is heir to £40,000 a year on certain conditions as to marriage. Mr Leslie Holland will this time appear as e lord, and Miss Grace Palotta as Lady -Ttosabelle, his future wife. Miss Billie Harlow is Lady Bosabelle's cook, and Mr Jack Cannot, the latter’s missing husband. The commodore of the soap barges is to be Mr Claude Bantock. fl’here are numerous bright numbers, duets, and quartets. One of the best is a duet "The Nuts." by Mr Cannot and Miss Jessie Lonnen. "Get a Move On," a brisk number with big chorus backing, (will also fall lo Miss Lonnen. An interpolated specialty will be the Gaby glide, evidently a movement designed to immortalise Gabv Deslvs.

In the early part of her stage career in London. Miss Iris Hoey might have Said, like the pretty milkmaid, "My face is my fortune." Yet no photographer could have persuaded Miss Hoey io sit or stand before the camera after her recent experience while playing golf. During a Sunday morning game near London Miss May Ethelridge, "sliced” her ball, and Miss Hoey, who was standing near, Was struck between the eyes with such force that she was stunned. A sub-e--quent examination showed that the bone of the nose was broken. The popular musical comedy artist had to drop out of the cast of "Princess Capfiee" at the Shaftesbury Theatre, London. Her place Was taken by Mies Marie Blanche-

The repertoire of the D. B. O’Connor Opera Company, who opened their Dominion tour at Greymouth, consist’ of “Our Miss Gibbs." "The Merry Widow,” “A Waltz Dream." and the “Catch of the Season.” The principals are Mias Eva

Moore. Miss Cliff Palmer, and Miss Ida Leggatt. Messrs J. Ralston. D. B. O’Connor, and George Edwards.