Music and Drama.

New Zealand Graphic, Volume XLIX, Issue 7, 12 February 1913, Page 13

Music and Drama.

Br

BAYREUTH.

BOOKINGS. (Dates subject to alteration.) n.M. THEATRE, AUCKLAND, February 14—Rickards’ Vaudeville Co. February 17 to 22—Rickard Vaudeville Co. February 24 to March B—J. C. Williamson, Ltd. March 10 to 22—Allan Doone. March 24 to April 12—J. C. Williamson, LtdMay 9 to 21—Branscombe Co. Slay 22 to June 7—J. C. Williamson, Ltd. June 9 to June 25—Geo. Marlow, Ltd. June 20 to July 5—J. C. Williamson, Ltd. July 7 to 19—Allan Ddone. August 4 to 1<J —J. C. Williamson, Ltd. August 28 to September 27 —Branscombe Co. October 1 to 11 —J. C. IVilliamson, Ltd. AUCKLAND PICTURE SHOWS. Globe Theatre, Queen Street —Continuous. The Lyric Theatre, Symonds Street — Nightly. Royal Albert Hall. Albert Street—Nightly. WELLINGTON OPERA HOUSE. February 27-Mareh 6—Rickards’ Vaudeville Co. February 28-March 10—J. C. Williamson. Producing a Play. What it Really Means. I QUESTION whether the general run of playgoers, no matter how loyal they may be to the theatre, or how many times they may go to the play in the course of a year, quite grasp the real meaning of the simple line of the programme, which runs, “The piece produced by Mr. .” And yet what a

great factor in their enjoyment, how all-important, how vital, is the producer of the play! We of the theatre know it, hut do the people in front of the curtain? Or, knowing it, do they appreciate the fact at its full value? Tli inking it to be as well that they should be enlightened in some measure, 1 have penned this article. The producer then, ladies and (gentlemen, is “Everybody” in a theatre—the- stage portion of it. His word is, or should be, law. Actors, stage-staff, scene-paint-ers, orchestra, etc., etc., are all at his command when a play is in rehearsal; all through the run, for that matter; and to him be the honours when the piece is lauded as a success. He it is, to put it briefly, who takes the written word and evolves from it, after weeks of labour, the acted play—the performance as you witness it.

No Easy Task. The difficulties in the path of the producer in Australasia are very great. He has, in the first place, to deal, in the majority of cases, with the manuscript of a piece solus. That is to say, the play is written in, and comes from a far country (England, or America, as a rule), and therefore the author is never available, with his invaluable assistance, for no matter how clear and explicit a written stage-direction, a word from the play-creator’s own mouth is ten times more illuminating. The producer has to work out the values, and every technical detail in regard to the piece he is to stage, with his own brain, unaided. No easy task, I ean assure you. How much more difficult, though, when the author of the play is not living;' when the classical or semi-classical drama has to be taken in hand! Expert advice ie in the latter case, most desirable, nay, essential, and it is just here that the difficulties of production increase enormously-. For instance, it is fairly easy to obtain proper technical details, and to enlist the services of competent authorities, with regard to a modern military or naval play. The pattern of the buttons on a tunic; the tunic itself; the make and shape of a big gun, or a sword; the drilling of a squad of soldiers; or the. behaviour of a ship's company—all these things may bo realistically and correctly reproduced behind the footlights with comparative ease, for there is Do lick of knowledge and help obtainable from trustworthy sources near at hand. But’ the classic play is altogether another matter. Unless he be an absolute allround genius, a rara avis, the producer must seek' the assistance of the best literary and artistic authorities learned in the period in which the action of the piece is supposed to be east, and they must possess a knowledge of architecture, costume, music, and the language of the times. With the help of these

expert advisers, the experienced stagedirector should give a production that would satisfy the most fastidious playgoer. No Detail Too Minute.

But here the question obtrudes—ia such a course always possible in .Australasia, and if not, why? In London, the heads of the theatrical profession —all actor-managers—are in every race their own producers. They devote an immense amount of Lime and trouble to the correct staging of their flays. From the first rehearsal to the last they are aided by expert opinion. Hence the perfection, or nearness to perfection, of the ensemble. Take, for instance, Sir Herbert Tree, a master-producer, whose work of late yearn has lain almost entirely with plays classic, or semi-classic, in form. Sir Herbert sees to it that nothing is scamped; no detail is too, minute for his acute investigation and analysis. To that end he surrounds himself with the highest of authorities. If one were permitted to be present at a Tree rehearsal of a Shakespearean play (it has been my "privilege to appear in a number under this particular manager’s direction), one would find that, first of all. Sir Sydney Lee, or seme equally renowned Shakespeare scholar, would lie in evidence to detect and correct any anachronism in speech or deportment, or any unjustifiable alterations in the text.

Next, one would notice the presence of a famous Royal Academician, steeped in knowledge of the time of the action of the drama. He w’ould be at hand to whisper guidance into the producer’s ear regarding scenic effects, the proper lighting of stage pictures, the designing of the costumes, the necessary “properties,” and so bn. Then one would note that the music, that most important adjunct to the drama, would be specially written by one of the foremost composers chosen by the manager for the particular subject, one whose colour (to take the modern word) would most nearly combine with the atmosphere of the piece- An instance of Sir Herbert's thoroughness in this direction may be remembered out here. The incidental music to “The Eternal City” was written, commissioned by the London manager, by Mascagni. With all these experts to guide him, and with his own unique grasp of every detail of stage technique, it would be strange indeed if London’s leading yctor-manager did not cause even blaso (playgoers to marvel at each new Tree production'. .

That here, in Australia and New Zealand, audiences have been provided with many notable stage productions is a fact that cannot be disputed. Each season undoubtedly sees some advance in the staging in local theatres. But it also finds playgoers more critical, more anxious for the higher standard and the newer modes they have been apprised of through the Press and by the lips of travelled theatre-loving friends. For, as “Man never is, but always to be, blest,” so the earnest playgoer is ever wishing for something even better than the best that is put before him. He has heard reports of Granville Parker, Max Reinhardt, and Gordon Craig—to name a few of the most famous play producers of the present time —and he vaguely wonders why he is debarred from a taste of their quality. Little to Complain of.

In short, the Australasian theatregoer —so, at least, it seems to me —becomes more exigent with every new production. How is he to be satisfied? Are there, for instance, the necessary specialists to give advice in every department of, say, the classic drama in this country?

Failing such assistance from educated experts, the producer out hero has to rely on the available literature of the period he is working in, the traditional “business" of various scenes handed down from former producers, and the general stage directions marked in the prompt copy of the play. Aided by hia own inventiveneas— for no producer nowadays can afford to be hide-bound with "tradition"—he, as a general rule, acquits himself splendidly of his task.

So I venture to think- His own inventiveness, of course, counts for a very great deal. For, although it may be true that “in a multitude of counsellors there is wisdom,” in matters connected with stage performances the bed producer is the one who, assimilating all the advice tendered him, uses his own discretion afterwards. For, after all, many things that are absolutely technically correct, may be quite noneffective, and therefore valueless from the theatrical point of view. So, the proper stage effect being the thing to be aimed at, if the production prove acceptable to the great majority of the audience, the producer ie justified by results.

I think that, taking everything in consideration, Australasian playgoers have little to complain of—not that my good friends in front are given to complaining. Anyhow, if I, within the limits of this short article, have been able to bring them to a nearer realisation of the art of the unseen producer of their stage entertainments, [ shall not have written in vain.—Eardley Turner.

Dramatic Hints. A playwright sat hidden in a box, watching the first performance of his comedy. It was fairly amusing, but the audience </id not seem to be amused. An indolent ripple of laughter greeted the bolder jests; delicate witticisms were received in silence. At last, when the third act was drawing to a close, the hero, rushing out of the heroine's house, bowled over the funny old gentleman who had said most of the clever things in the play. On this occasion he said nothing, he merely fell down; but the audience awakened suddenly to the consciousness that he was a humorous character. His nimble wit had elicited no response; but, as his nimble heels flew over his head, the house laughed loud and long. “Ah,” sighed the playwright, “personal contact! That's what does it. If I could knock down somebody in every scene, I should, achieve success.” A Good, Plain Joke.

Last winter the Irish actors were presenting a play which, to their partial

fancy, sparkled with wit and humour. It dealt with the religious prejudices o< Catholics and Protestants in Belfast, and an audience of New Yorkers listened in a state of coma. In the third act an angry son, .provoked beyond the limits of endurance, said to his father, “Whpt you are is a damn fool!” wereupon ths slumbering house woke up anil roared with joy. Irish quips and cranks were all very well in a way for those who strained their minds to grasp them; but to call a man (especially one’s own father) a damn fool was a good, plain, American joke, which anybody could understand and relish.

Something Simple and Robust. These are instructive incidents, and the young dramatist would do well to carefully consider them. If he want< his audience to laugh, he must give something to laugh at; something simple and robust. He might study the artless methods of Wagner in the “Meistersinger.” To pull a chair from under a man who hopes to sit down on it is true humour; it has been so regarded since chairs were made—and before. When the first merry cave man bethought himself to kick away a stone upon which a fellow cave man was about to squat, what Homeric laughter must have hailed the joke. “We laugh at that in others which would be a serious matter to ourselves,” says the wise Hazlitt, who knew whereof he spoke. Somebody should suffer for the fun. Now why, when it is so easy to t-. amusing, should the comedian strive so hard? Why, when an audience likes its wit in words of one syllable, should 119 seek to be subtle and ironic? Let his watchword be simplicity and his lodestar be the obvious. Let his jests be of the order which nnhumorous men understand and repeat. Above all, let him observe the kind of things at which a house laughs, and then repeat it over and over again. “Age cannot wither nor custom stale” its infinite monotony. —Agnes Repplier, in “Life.” At At Twenty-six Pantomimes in London During the Xmas season in London this year, no fewer than 20 pantomimes were running, in addition to several special

plays: The following is the list for one night:— PANTOMIMES. JJrnry Lane.—‘The Sleeping Beauty.” Lyceum.—‘‘The Forty Thieves.” New Prince’s.—‘ (.‘iinlerell i.” Kennington.—“Aladdin.” C oronet.—“Cinderella.” ■ King’s, Hammersmith.—“Dick Wh • tington.” Crystal Palace.—“ Jack and the Beanstalk.” Broadway, New Cross.—“ Aladdin." Marlborough.—“ Aladdin.” — Wimbledon.—“ Cinderella.” Fulham.—“The House that Jack Built.” Shakespeare.—“ Robinson Crusoe.” Brixton.—“Aladdin. Borough, Stratford.—“ Mother (loose.' Dalston.—“Sinbad the Sailor.” Middlesex.—■•Cinderella.” Lyric, Hammersmith, —“Robinson Crusoe.” Balhain Hippodrome.—“ Dick Whittington.” Chelsea Palace.—“Sinbad.” Elephant.—“ Jack and the Beanstalk.*

Stratford Empire.—“ Cinderella." Tottenham Palace.—“ Cinderella.” Fast Ham Palace.—" Babes in the Wood.” Walthamstow Palace.—“ Mother (loose.” Euston.—“Cinderella." Britannia.—“ Beauty and the Beast.' SPE< I Al. PLAYS. Ijuke of fork's.—“ Peter Pan.” Vaudeville.—“ Shock headed Peter.’ Carrick.—"Where the Rainbow Ends," Aldwyeh.—“Golden Land of Fairy Tales.” *'.ourt.—.“Cinderella" (children's ballet). d* Ninkin;; New Magic. “Ain I trying to create new illusions?" said Arnold de Biere, the magician, who will appear with Rickards' Tivoli Company at Auckland on February 17, in reply to an interviewer's query. “Becidedly I im. A stage illusionist cannot afford r<'st content with ttie ferfts -lie 'atreudy jS'rfiirhis. They, or Aolnidliing' very '(‘lose Ijr rasa.mbttig them, bccom: too familiar,

all over the world in the hands of ether showmen. It is almost impossible for jnc, or any other magician, to come to any .city without finding that the novelty has been worn off sonic illusions by showmen who got to the city before us. So I am constantly trying to find something fresh.

“As a matter of fact, I am producing is Australasia, for the first time some feats and tricks that I.have not yet performed anywhere in the world. I had them completed, and the kit of equipment for them prepared, a little while before I left Europe; but I did not think it good enough to produce them over there. You see, my visit to this part of the world will extend over the best part of a year. If 1 had presented these new illusions in Europe shortly before 1 left, then by the time I returned, other magicians would have copied my effects, and I would hav<) gone home to find them stale to the aueffenees I will have to face. But I intend to give ‘hem a start off here before I leave ’’

Pirates Always at Work. Then Mr. de Biere began to talk about the pirates of magic. “A rival may not be able to learn or to steal your whole method,” he said. “But he can always steal your effect, and that has happened to every magician on the stage. 0f course, an inferior' showman will never succeed so well with the same trick as a superior one; and you understand what 1 mean when I tell you that an awful lot of the magician's work i< dime with the tongue. But any moderate magician who sees your turn can get away with your main idea. “Ihe Patents Office? H's no use. One can patent the mechanism, but not the general effect. Besides, rivals can go and inspect your patents, and almost at onca devise something to produce similar results. My experience of getting patent ijghts for mechanism is’that'it ‘puts you away' more quickly than anything else.' ; “Yea, when one. of us lijpgjyytDs bit ahead of.tlyy qtljHT fellow,.the .pther fallow plays the pirate. If he is a l>et?er uiau than you 'are, he improves your il-

lusions. maybe. If he is-a worse man, he botches it. But some things are what you call ‘over the odds,’ even for pirates. Several times I have had my dressingroom broken open. I regard that as dis tinctly unprofessional. What do you think ?” Then Mr. De Biere hurried to the stage to play with an egg, and have his thumbs tied.

Shakespeare and the Psalms. A correspondent of the New York “Evening Post” has discovered that Shakespeare wrote the Psalms. We have long been of that opinion, but we lacked the proofs that are now forthcoming. Shakespeare’s name appears in many spellings, either three, four, or five vowels being admissible. Everyone knows that hi such cases the golden mean should bo taken. In this case it is obviously four. Moreover, the number of consonants is six. The mystic number, -then, is 4(1. Turn now to the King James Bible, and to the Forty-sixth Psalm. Count from the beginning and you will fiild the fortysixth word to be shake; count from the end and you will find the forty-sixth word to be spear.—(J. E. 1).

She Lyric Theatre. An interesting announcement is made by the management of the Lyric Theatre this week in the fact that they are screenjjig one of the greatest dramatic pictures of modern times, in “The Mills of the Gods,” adapted from the powerful novel 5, y P. Dillenbaek. Another fine feature of an excellent programme is “ The Badminton Hunt,” a splendid representation of an English fox-hunt, with horses and hounds in full cry. The remainder of the programme contains much bright and interesting material.

The Webbe School of Music.

In addition to the usual piano classes for ensemble playing at tilts well-known school, Mr 'Webbe will this year conduct a special pedagogic claiss for teachers, in which he will, at the weekly lectures, deal with nearly every practical phase of the art of pianoforte playing and teaching. This is probably the only cla.Ni of its kind conducted in the Dominion,

It may be of interest to mention that a unique record was achieved by competitors ’from the Webbe School of Mum in last year’s inuisieal competitions at Auckland by twelve pupiln of Mr Webbe and M:>ss Spooner. Nine gained prizes, of which five were first prizes, including those for the four chief pianoforte contents. Two competitors at the Wellington Competitions gained between them two firsts and three seconds in the advanced sections, and a special prize for the most talented pianist at these copipetitions was also annexed- Of three pianos presented at Auckland competitions. two have been won by competitors from this school. Miss Dija Fletcher.

Mies Dija Fletcher has resumed teaching at her studio, 04, Queen-street. Mies Fletcher had the advantage of studying as a teacher of singing, under Sir Charles Santley, one of the greatest authorities on singing and voice production of the age. At Christmas Mies (Fletcher received a note from her old master conveying his good wishes for the New Year, and later on, in conversation with Madame Kirkby Lonn, who had seen Sir Charles shortly before leaving England, she learned that he was still in the best of health. Miss Amy Stevenson. Mi>-u Amy Stevenson, medallist of the Royal Academy, London, has returned to New Zealand, and is prepared to give tuition in the violin and piano at her studio, 14, Gladstone Building', opposite the Ferry Buildings, Auckland. .Whilst in- London, Miss Stevenson studied the violin for about a year under Mr Alfred Gibson, who was one of the famous Joachim Quartet, and also she took the ■opportunity of studying the famous Ostrovsky method under the originator himself. Mrs. Sutherland. Mrs. Sutherland', of the “Hoch” ConeervatoTium, Germany, has resumed teaching at her studio, No. 5, Mutual Life Buildings, Queen-street, where she will receive pupils for singing, voice production, and pianoforte. Mr S. Adams. Mi - S. Adams has resumed teaching this week ,at his studio, in Symonds Street, near St. Paul’s Church. My Adams is prepared to receive pupils lor the violin, piano, and 'cello. Herr A. L. Kreutzer. Intending students of the violin may consult Herr A. L. Kreutzer at his studio, in Upper Queen Street, where he has recommenced teaching for the current year. Pianoforte and Singing. Mr. Walter Impett has resumed practice as teacher of piano and singing at his studio, 109, Ponsonby ' Road. Interviews may be held by intending pupils on Mondays, Wednesdays and Sa»irdnys, from 3 to 5 p.m. Mi Colin Muston. Mr Colin Muston, Licentiate of the Royal Academy of Music, London, has resumed teaching, and may be seen at his studio, in Symonds Street.

Stray Notes. Auckland boys who are now men may recall the genial Bob Love, first as a vocalist and later as husband of the lady owner of Ilarmston’s famous circus and menagerie. Mrs. Love died in Calcutta on December 18th, the day the circus was to have opened there. She had been 35 years in the show business. Mr Harry Lauder, the stories of whose carefulncfio in money matters are being repeated in American newspapers. presented his wife at a Christmas dinner, given by Mr William Morris, with an absolute promise to retire from the stage as soon ao he has saved £120,000. The comedian CKtimates that he will have this sum safely in the bank at the clo-e of his farewell tour of the world, which will start in New York in 1914. Outside a picture palaeo in Rri'esele, Belgium, a man was walking up and down the street in a state of great excitement. Tile manager of the show approached the stranger and made inquiries as 'to what had upset him. “ What has upset me!” exclaimed the man, suddenly producing a revolver. "My wife i.i in that building with her lover, and I am going to kill them both when they come out I” Anxioua io avert the tragedy

whi'eh 'he maw was inevitable if (something wm not done to'prevent its perpetration, the manager slipped into the theatre, stopped the performance, aipj rm lated to the spectators the interr jew that he had just had .with the desperate husband outside. “And now, ladies and gentlemen,” the manager went on to say, “ any of you who prefer to do so can leave by it'he emergency exit over there, which opens out on to a aid© street.” The lights were lowered, and the performance was resumed, but before the last film was screened it was noticed that 13 couples had taken their departure.

What does it cost to drees for the variety stage? It depends on what you are. If a knock-about comedian, any old thing will do. If a star lady entertainer, then the capital sunk in dress, for the stage alone, will be as much as would purchase a considerable business in full going order. Miss Nella Webb provides an example. Her stage wardrobe, without jewellery or private wardrobe, is insured for £3,000 to cover its value. Miss Webb’s outfit begins with the 10 Paquin gowns. They are of varying value, from 120 guineas down to 85 guineas. In them there is an outlay of something over £l,OOO. Then there are lace coats, muffs, and hats. Furs are a separate item. Coming to Australia towards summer, the artist has left her furs behind. Afternoon gowns for matinees, must be provided, as well as evening gowns. They are simple, inexpensive little costumes, about £4O to £45 each. One little superstition involves Mies Webb in extra outlay. She will not open anywhere except in a gold frock. She thinks it gives her a lucky start off. The gold frock causes the stage costuming just to tip over the £3,000 scale with the insurance company.

, Mr. J. C. Williamson in an interview at Melbourne said:—“lt should be of interest to Australian audiences to know that Mr. Lewis Waller and Miss Madge Titheradge will visit Australia in July. I had the opportunity of seeing Miss Titheradge in ‘A Butterfly on the Wheel.’ She is developing into one of the finest emotional actresses in England. The Waller season will include ‘King Henry V.' and ‘Monsieur Beaucaire,’ in which Mr. Waller was the original' Beaucaire, and ‘A Butterfly on the Wheel.’ Then, too, Mr. Tallis and I have secured the rights of the London, success, ‘The Sunshine Girl,’ which has just opened in Sydney; ‘The Girl in the Taxi,’ a successful successor of ‘The Quaker Girl,’ and-‘Princess Caprice and Gipsy Love.’ The last should enjoy the success of ’The Merry Widow.’ The London production was delayed by the necessity for making a special selection of a company capable of taking the parts. Further, we have purchased the rights of ‘Within the Law,’ the American success, and Mr. G. M. Cohan’s musical play, ‘Forty-five Minutes from Broadway.’ ”

A French version of “Kismet” was performed very recently at the Theatre Sarah Bernhardt, for the first time in France. The audience was a very brilliant one, and the lavish manner in which the play was staged won unstinted admiration. But, notwithstanding the gorgeous staging, it is doubted whether “Kismet” will repeat its triumph in London, for it is stated in » cabled report that, despite the splendid acting of M. Guitry as Hadji, the beggar, the audience found the play somewhat monotonous and childish towards the end. “ Dagonet,” in the “Referee,” quotes the following amusing letter he has received from an aspirant to the stage: — “ Sir, —I have been in domestic service for some years, and am anxious to get out of it. Could you give me a letter to Sir George Alexander, as I should like to go on the stage? Having always been with first-class families, I should be more at home in society plays than melodrama. The Sunday off will be a great boon to me, as my young man is in a business where he doesn’t get his evenings. If you think the theatres are going to be open on Sundays, don’t trouble, as that would alter my plans.” The members of the “Get Rich Quick Wallingford” Company rose to the occasion when called upon to assist to collect money for the Dunedin and Christchurch Life Saving Associations. Mr. Fred Niblo, Mr Coreon Clarke, Mr Robert Greig, and other leading members of the eonqiany engaged a lorry, and with the assistants of the '“Wallingfbrd” band, they paraded tho streets and delivered a delightful entertainment, while tho lady members of the organisation proceeded to mix with the assembled popu-

lace with collecting boxes. Over £3OO was collected in Christchurch and the Dunedin result was also satisfactory. The earthquake scene in "The Monk and the Woman,” is one of the most realistic that has been staged. One thing that assists in the nightly demonstrations is the remarkably quick change from the interior of the King's cnateau, where the final scene with the king and the conspirators takes place, to the eruption of the mountain and the falling and blazing chateau. By means of some of the latest mechanical appliances the whole of the scenery is swept away with the working of a lever on one side of the stage, and the army of stage carpenters and property men are at their posts ready for a signal to set the mountain in flames. Instead, as in most dramas, coming in the middle of the production, this earthquake scene takes place at the end, and so sends the audience away with the vivid impression of a most realistic scene. A great deal has been written of the operas of Richard Strauss, more particularly of that much-censured work “Salome,” and of hie latest opera, "Ariadne auf Naxos,” as well as “Electra,” which has been described as neurotic, and the comedy of “Rosenkavalier.” There were various opinions concerning “Ariadne,” in which an amplification of the banquet scene in Moliere’s comedy "Le Bourgeois Gentilhomme” was introduced with remarkable musical effect, Now the question, "Is Richard Strauss retrograding infl iis art?” is answered by James Huneker in the "New York Times” in a "curt negative.” The writer regards the style of Strauss as peculiarly his own. As

for “Ariadne,” lie aays: “Here with only thirty-six in the orchestra, a grand pianoforte and a harmonium included, he produces- the meet ear-ravishing tones, thus giving a negative to those who assert that without a gigxntie orchestral apparatus he is ineffectual.” According to. Mr Huneker. Strauss is the foremost of living compilers. “One broadside,” he declares, “docs not destroy such a record as Richard’s. Like that sublime bourgeois Rubens, like that other sublime bourgeois Victor Hugo, he has essayed every department of h:s art. So expressive is he that he can set a nrinee pie to music. ( Why not, after that omelet in ‘Ariadne?’) So powerful is

bia imagination that he can paint the hatred of hia epical ‘Electra’ or the halfmad dreamo of ‘Uon Quixote.’ He is easily the foremost of living composers, and after he is dead, the whirlgig of fortune, 'which has so favoured him, may pronounce him dead for ever.”