Music & Drama.

New Zealand Illustrated Sporting & Dramatic Review, Volume II, Issue 54, 6 August 1891, Page 2

Music & Drama.

Spectatum admissi risum teneatis amici ?

Seven plays produced in as many nights by Messrs Dobson and Kennedy must indicate unceasing labour, conscientious study, and extraordinary energy. From Friday to Friday inclusive we had staged, “ The Shaughraun, “ Little Lord Fauntleroy,” “ Colleen Bawn,„ “ Lost in London,” “ Pygmalion and Galatea,” “ Neck or Nothing,” “ The Benicia Boy,” and “ O’Callaghan on His Last Legs.” All have been capitally mounted and admirably played. If the amateur will put oil his considering cap, he will realise that the actor’s occupation is not by any means a sinecure. However versatile an artist may be, it is no easy task to assume seven different roles in a week —and it is impossible that every character should be congenial and suited to the performer’s special line. That the Dobson-Kennedy combination should have so brilliantly passed through an ordeal so trying proves beyond a doubt that we have in our midst a company of really good .'all-round actors under splendid discipline and management. The houses have not been c nearly equal to the quality of the entertainment U offered, but have invariably atoned for their '■ deficiencies in that respect by a warmth and enthusiasm which made every piece an artistic success, and must have gratified and encouraged the performers. Aucklanders are often slow in discovering that real merit is on the boards unless some star of the first magnitude often most indifferently supported — draws a large attendance by the mere magic of a name. But I have frequently noticed that the last nights of a good company, endowed with real stay : ng powers, are much better patronised by the public, who begin to realise that they have been missing a good thing. Watts-Phillips’ touching and powerful drama, “ Lost in London,” gave Mr. Collet Dobson his first opportunity to show us his real ' strength. His Job Armroyd was full of • and pathos. The simple, manly, honest, and unselfish Lancashire pitman was portrayed with a fidelity and force which com?manded all the sympathies of an enthusiastic audience. As Nelly Armroyd, Miss Idrene Thornton was almost equally successful, although the character is not altogether a ./ pleasant one Her emotional pleadings, and the striving of a weak nature against sore temptation, as well as the pathetic death scene, were finely conceived and rendered with high finish and delicacy of touch. Miss Lily Hill made a capital Tiddy Dragglethorp—-the warm-hearted, plain-spoken, and self-reliant Lancashire lass, whose bark is much worse than her bite. Her north-country burr was perfectly assumed, but here and there in a passionate speech she inadvertently dropped it for the moment. All the humorous points were crisply brought out, and the love-making scenes with Blinker (Mr. R. D. Cambell, who himself with glory in his part) caused “inextinguishable laughter. As Gilbert Featherdifficult and uninviting 'ciharacter to play, but he again proved himselfSfcJie conscientious and capable actor he is, and acquitted himself admirably. The other characters were efficiently performed, and “ Lost in London ’\vQ a decided artistic success. Great 'crecAit to the scenic artist and mechanist, Mfessrs. Ingleson and R. D, Cambell, for the capital'- sceneryjand stage effects in this play, and indeed in e 'ery one of the pieces produced. The scenbvin the coal mine was especially effective X That screaming farce, “ The BenicikJloy,” afforded Mr. J. J. Kennedy another < opportunity of displaying his wonderful command oif facial play and humorous gestures. As Bob Rattles (the Chicken) he is immense, and one hardly knows when to stop laughing. He is so seriously in earnest, and yet so irresistibly comic. Benjamin Bobbin (Mr. Ingleson), Squire Greenfield (Mr. W. E. Jermyn), Joe (Mr. R. D. Cambell), Mrs. Puncheon (Mrs. Jermyn), and Dorothy (Miss May Vernon) acted with dash and go, and made the fun fast and furious. In my opinion the loftiest attempt of the season —Pygmalion and Galatea” —has also

been the most brilliant and artistic success. To begin with, the studio in Athens was magnificently mounted, Messrs Steel and Watkins kindly lending their splendid casts from antique marbles. Miss Idrene Thornton s conception and rendering of Galatea, the animated statue, stamp her as an actress gifted with the very highest faculties of her art. Some critics, while noticing her performance kindly and favourably, think that she revealed too great a readiness in mundane affairs for a woman born only yesterday. I do not agree with them, and will give my reasons. To begin with I may say that I saw Pygmalion and Galatea produced at the Haymarket Theatre by the Kendalls and Buckstone many years ago, and in the main lines Miss Thornton’s conception of the part is quite consistent with that of Madge Robertson and other fine actresses. The gods certainly perform a miracle in changing marble into flesh and blood, but ,Gilbert in his lines gives abundant evidence to show that the gods went further, and endowed the living statue with all the naive and rush instincts of a lovely woman. Take for example the looking glass business. Galatea expresses a wish to see herself. It is gratified, and she behaves immediately like a thorough woman. Gilbert’s intention is undoubtedly this. All the instincts of a true woman are latent in Galatea, only touch the right key, and presto ! the instinct is aroused. Throughout, Miss Thornton realised that reading of the part. Mr. Collet Dobson made up splendidly as Pygmalion, and acted naturally and impressively. Ido not quite see how Pygmalion can be convicted of caddishness. He does his best to be faithful to his wife under most trying temptations —and it must not be forgotten that when blind he is deceived by Galatea assuming the voice and character of Cynisca. If his actions make him a cad, where is the man who could go through such an ordeal and remain a gentleman ? Miss Lily Hill as Cynisca looked very charming, and made the most of a part which it is not easy to make an attractive one. Mr. J. J. Kennedy as Chrysos, the opulent and ignorant art patron, amused everybody with his antics, and in many places reminded me of the comic characters in the Latin plays of Terence and Plautus, which are annually performed at Westminster School. Leucippe (Mr. Frank Norton) looked and acted the fierce Greek warrior to perfection. The minor parts were fairly well sustained, and the only thing wanted was a crowded house. In the play, however, as in all the others, the applause all through was hearty and the principals were recalled frequently. In noticing “ O’Callaghan on His Last Legs,” I am compelled to be brief. It is perhaps sufficient to say that Mr. Kennedy has appeared in the title role more than a thousand times, and no audience has yet shown symptoms of weariness. “Neck or Nothing,” a military melodrama, was played on Saturday and Monday evenings, and was well received. “ Little Lord Fontleroy’hwas repeated as successfully as ever on Tuesday evening, Miss Ruby Kennedy confirming the good impression she had already made. I should like the management, if possible, to repeat “ Pgymalion and Galatea ” before the season closes, and believe that a good house would reward the venture. Tonight (Thursday) “ Current Cash ” is underlined. The City Hall was again well patronised on Saturday night, when Miss Amy Vaughan and her company repeated “ Good Luck ” and the excellent programme of varieties and novelties which we are accustomed to expect. Orpheus.

Tom Sullivan has challenged Stanbury for £2OO and the championship of the world, and wants the match to take about November ’*•' - season in Melbourne is said to have f° r tweiity-seveixperformances the thousand pAjids. £Bl5 was is Tit? hunMiss Tom

BALANCE SHEET FOR YEAR ENDING JUNE 30, 1891. £ s. d. £ s. d. To Creditors • • 21 6 5 „ Creditors Secured 11,575 10 0 ,, Distressed Jockey Fund ... 429 16 6 ,, Capital ... .. 15,036 10 0 Profit Winter Meeting, 1890 2 19 0 15,039 9 0 Less written off for depreciation 291 10 10 ,, Suspense Account ... ~8 16 „ Profit and Loss ... 727 11 3 £27,502 11 2 £ s. d. By Debtors 601 9 0 „ Unpaid Subscriptions ... 222 11 0 ,, Racecourse ... 17,000 0 0 ,, New Grand Stand ... 8,000 0 0 „ Derby Stand ... 900 0 0 „ Furniture 250 0 0 „ Working Plant 300 0 0 Fencing 20 10 6 ,, Mares’ Produce Stakes 6 11 6 '' Balance in Cash and in Bank ... ... 201 9 2 £27,502 11 2 Profit and Loss Account for Year Ending June 30, 1891. £ a. d. £ s. d To Wages, Salaries, etc. 769 15 6 „ Office Rent ... 52 0 0 ,, Interest ... ... ... ••• 841 14 3 „ Tan Gallop ... 42 4 0 „ Insursince ... 42 9 6 „ Charges, viz.,— Rates and Property Tax ... 51 5 3 Caretaker’s Cottage 26 0 0 Telephone 12 0 0 Sundry Charges ... 226 9 9 — 315 15 o „ Balance 727 11 3 £2,791 9 6 £ s. 1 d. By Members’ Subscriptions ... 720 0 0 ,, Assumed Names . ... 16 16 0 ,, Training Fees and Grazing ... 163 1 8 „ Spring Sleeting... . ... 321 12 2 „ Summer Meeting • ... 1,200 15 8 ,, Winter Meeting . ... 50 19 5 „ Autumn Meeting . ... 83 5 1 „ Spring Meeting, 1892 ... 51 0 0 ,, Summer Meeting, 1892-3 . ... 144 11 0 „ Autumn Meeting, 1892 ... 39 8 6 ' ■ £2,791 9 6 Capital Account. £ s. d. To amount written off for depreciation . 291 10 10 „ Balance . ... 15,475 9 5 £15,767 0 3 £ s. d. By Balance 30th June, 1890 ... 15,039 9 0 „ Profit for year ending 30th June, 1891 . 727 11 3 £15,767 0 3 1 ♦ “Freelance,” in the Melbourne Sportsman, selected Cuttlefish and Crusoe to win the Grand National Hurdle Race ; the latter was successful.