The STAGE

New Zealand Illustrated Sporting & Dramatic Review, Volume VII, Issue 333, 10 December 1896, Page 10

The STAGE

[By

Orpheus.]

Alfred Woods’ Dramatic Company.—On Saturday night “Hands Across the. Sea” was replaced by Frank Harvey’s drama, “ The Wages of Sin.” It was refreshing to see a crowded house thoroughly enjoying a splendid .perform - ance of a really strong piece. An ingenious plot, clever construction, sustained interest, strong situations, good writing full. of sparkling epigrams, and telling aphorisms combined, make the play one of the very best of its class. It is immeasurably superior to its predecessor, and affords full scope for the talent of Mr Alfred Woods and his accomplished supporters. “ Ruth Hope” in the hands of Miss Idrene Thornton is played with power, passion, pathos, and delicacy, and is free from affectation and mock sentiment. Her interpretation of a by-no-means easy role stamps her as an actress of a very >, high rank. Miss Ethel Grey (Barbara Dale) at once wins sympathy in a part demanding similar qualities to those just cited. Grief, hopeless love, and passionate despair are depicted with the power and sensibility of a truly artistic temperament. On occasions her enunciation becomes indistinct through the fervour of passion, but so fine is her acting that the full meaning is always clear to her audience. In strong contrast to the emotional effects come a couple of extremely comic and splendidly-acted characters in the shape of Jemima Bioggs (ex- greengrocer) and her daughter Juliana. Miss Marion Medway, as the voluble, vulgar, yet tender-hearted Jemima, is simply immense, and convulses the house, while Miss Maud Gwynne, as the stage-struck Juliana, who develops into a successful Juliet, merits equal praise. Miss Hilda Temple makes much of “ Rose Deane,” a light-hearted damsel who is nevertheless true grit. The way she teases her lover and bestows “ the kiss religious ” upon the parson is irresistibly funny. As George Brand, the wronged and suffering, yet noble clergyman, Mr Alfred Woods shows us what he can do in the way of finished and natural acting, full of power and refined points. He carries his audience with him throughout, and it would be difficult to find the slightest fault in an impersonation which manifests careful study and keen perception. Mr Alfred Boothman’s fine voice and presence score undeniably in the rather disagreeable role of Stephen Marlow, the villain whose brutalities are skilfully blended with touches of humanity. The part is placed very well indeed. His low-comedy pal. Ned Drummond, is made quite a feature of by Mr E. B. Russell, who causes roars of laughter by a sketch somewhat of the “ Champagne Charlie ” order. As Josiah Deane, the rich mill-owner, Mr J. P. West has rather a colourless part, but like the sterling actor he is, makes the most of it, and never misses a point. Mr Collet-Dobson looks handsome, and makes an ideal soldier of Harry Wentworth, acting with dignity, and being every inch an officer and a gentleman. The minor parts are well filled, and the piece admirably staged and mounted. Altogether, “Wages of Sin ” deserves high praise, and now that we are free from election turmoil and excitement I feel sure that the crowded house on Saturday night will but form a precedent for the remainder of the season. I must not forget to bestow warm praise upon the band, which, under the direction of that accomplished musician, Mr Charles Waud, plays tasteful selections most admirably. “ The Wages of Sin” drew crowded houses on Monday and Tuesday evenings, and could have seen several nights longer. On Wednesday evening, as this journal is going to press, Gerald Holcroft’s drama, “ The Broad Arrow,” was to be produced. This piece, a spectacular and sensational play, is highly praised by the Sydney Press. Tt is a first appearance in New Zealand. One incident in “Wages of Sin” might be modified. In the fourth act Ruth Hope ie supposed

to drag, by main force, the shrieking and struggling Barbara Dale all the way to Bath Street Minories, where Stephen Marlor is in hiding. Such a feat would tax the powers of a couple of athletic constables ; a better device would be to work upon Barbara’s feelings until she should voluntarily but reluctantly disclose Stephen’s lair as an expiation for her sin. She could then lead Ruth to the place. The blemish, of course, must be attributed to the construction, not the rendering, of the play. The author makes some capital hits on the subject of Church and Stage —“ If the Church and Stage went hand in hand, it would strengthen the one and purify the other and, again, “ If the theatre is fit for the congregation it is fit for the parson, and if it is not fit for the parson it is not fit for the congregation.” A telling remark, too, is that of Juliana to George Brand —“ If there were more clergymen like you there would be fewer sinners.”

Auckland Ladies’ Liederkranz. — This society gave its second concert on Monday evening. ' Notwithstanding a much-puffed entertainment elsewhere, the circle of the City Hall was well filled and a tastefully-selected programme nicely rendered. About eighty ladies, very prettily dressed, were divided into first and second sopranos and contraltos. Of necessity the quality of male voices is much missed from a chorus con--sisting only of ladies voices. Still, suitable morceaux make a good effect. Hatton’s “ Summer Eve” was sung with good tune, tone, and precision. Smart’s “ Our Home Shall Be,” with a solo nicely rendered by Miss Rita Tole, is a very taking composition, which would be even more effective at a slightly faster tempo. Schubert’s serenade —not the popular one—is a dainty morce.au. Mrs W. Eady took the contralto solo very well indeed, but was occasionally imperfect in intonation. The chorus sang admirably. Other part songs were “ Fairy Voices” (by Dawes) and “ May Queen” (by Franz Abt). The latter proved a perfect gem and won an encore. Rendegger’s “ Chorus of Handmaidens” was given by special request and was as effective as ever. Miss Lily Thompson acted as pianist for the accompanied pieces, and acquitted herself well. Other items given by friends added greatly to the success of a good concert. M. Casier, with Verdi’s “ Jerusalem” and “ The Marseillaise,” had, of course, to give encores. Mr Tracey Hall gave “ Thy Sentinel” and “ The Yeoman’s Wedding,” being encored for both, and in one case substituting “ Bright Eyes.” Miss May White scored a genuine success with “ I Trust You Still,” a lovely song by d’Auvergne Bernard, and had to repeat it. Herr Zimmermann was in great form, playing (including encores) Wieniawski’s “ Legende,” Musin’s “ Mazurka,” a grand Bolero (by Niedzielski),and Leonard’s variations on Haydn’s “ Hymn to the Emperor.” A special word of praise is due to Mr Aldis for his violin obligato to Mrs Carter’s song, Piccolomini’s “ Whisper and I Shall Hear.” Mr Towsey conducted and played the accompaniments with his wonted efficiency.