THE STAGE

New Zealand Illustrated Sporting & Dramatic Review, Volume IX, Issue 442, 12 January 1899, Page 9

THE STAGE

LBy

Orpheus.

“ Ornheus ” will be glad to hear from those managers of theatrical companies touring New Zealand who desire know the o the comnanies Any information as to dates, etc., will be acKnow Weed" in these columns, as well as any other items °f REVIEW, Vulcan Lane, Auckland.

Opera House : Pollard’s Opera Company. «« pijn Djin,” revived and polished up to the nines, ran its four allotted nights triumphantly, the magnificent mise en scene, sparkling music and dialogue drawing packed houses at every performance, including the children s matinee on Saturday. So popular and familiar to the public are the many beauties of this fine production that details are scarcely necessary. But new local hits, jokes, songs, and effects introduced passim brought the performance quite up to date. In place of “General Bim Bom in his Bombay Bungalow,” a capital song-of-songs medley by the principals, to the tune of “Grandfathers Clock,” made a big hit. Extra verses and funny quips added to “ So and So and Such and Such (the screaming topical duet), and to other favorite numbers, scored freely. Tom Wallaby’s definition of a mountain as ‘ a field with its back up, and Okiama’s method of “ saving souls by walking on your heels,” etc., etc., being good examples of the new fun. The burlesque blowing up of the Enterprise proved a brilliant hit. The Misses Maud and May Beatty, Marion Mitchell, Emily Metcalfe, Eily O’Sullivan, Maud Hewson, Agnes Smith, Nellie Wilson, Claudia Palmer, Edith Ziegler, Marie Metcalfe, etc., etc., shone brightly as ever in their parte, as also did Messrs Percy, Quealy, Eitts, George Young, E. Nable, C. Albert, and Albert Stephens among the gentlemen. The Umbrella, Rose, Snow, and Golden Ballets were gorgeous and beautiful as of yore, and the eruption scene went every time without a hitch. Mr Fitts fine sining of “ The King of Crime,” “ Loved Lenore,” etc, etc., won the usual encores, and Miss Maud Beatty, with “Bally Round the Flag” and “ The Star Spangled Banner,” won similar compliments, the tableaux being better than ever. Miss Emily Metcalfe’s “What Might Have Been also deserves special mention. Mr W. S. Percy and Mr Harry Quealy, as Tom Wallaby and Okiama, covered themselves with glory in acting, singing, and dancing. Altogether “Djin Djin has been brought to a pitch of perfection rarely, if ever, reached by any company South of the Line. “ Orpheus” is now inspired to seize his lyre and sing

A BIT OF HORSE PLAY. the two djin djins. That Diin Djin—good nag—slipped out of his bag, Would smother his fields we all reckoned; But Djin Djin, the “ cert,” got hustled and hurt, And the flier could only get second. Alas! All our dollars the enemy collars, Yet never were Pollard’s hopes brighter; Bum-bailiffs may levy and hearts become heavy, While purses and pockets grow lighter. But, hip hip hooray, there’s “ Djin Djin,” the play, To come with a ripping good i un. And quickly replenish the pouches that famish — By djingo, “ Djin Djin” cops the bun! For bright electricity, fun and felicity, Brilliancy, vigor, and dash; Fast with propriety, charming variety, Winning much kudos and cash. With Multiform action, magnetic attraction, Silk coat and legs dressed in their best, ’Twill gain its centenary—Music and scenery, Ballets that distance the rest, , Jk wirttv pace making, past records still breaking, A stayer that need not be nursed. Two brilliant Djin Djins—the play always wins; May the prad yet score many a first. Some folks keep forgetting, when plunging and betting, A race is not lost till it’s won; And cuckoos are crying, with malice undying, “ The Opera horses are done I” Peace, pessimist croakers; shut up, silly jokers; Tom Pollard is far from Dead-beat I May both his Djin Djins redouble their wins, Da capo —al seyno—repeat I 1 ’.

Fuller’s Palace of Wonders.—On Saturday afternoon and evening the Agricultural Hall was again thronged with an interested and merry crowd, devouring with avidity the big sixpennyworth. The Vaudeville Company introduced a new programme, the principal items being “Barney’s Courtship,” a laughable and clever sketch, by Miss Hettie Warden and Mr Johnnie Collins ; Mr Fred. Bluett’s songs, “ The Penny Whistler,” “ Don’t Satisfy Me,” and “ O, Jerusalem” ; Mr John Fuller’s “ There’ll Come a Time,” vociferously encored; Mr Howard Chambers’ “ Off to Philadelphia,” encore; Miss Hetty Warden’s deliciously-danced hornpipe, encore ; Signor Devilio’s clever conjuring act; Professor Powell’s splendid Punch and Judy Show ; and last, but by no means least, Mr Will Watkins’ irresistible character songs, “ Led Like a Lamb to the Slaughter-house,” “ Oompah,” and “ Off, Very Much Off.” The concluding farce, “ The Doctor’s Shop,” capitally played by Messrs Watkins, Collins, and Bluett, was a regular scfreamer. The Waxworks and numerous other attractions were thoroughly enjoyed by the delighted crowd. Mr Fuller is having appropriate back-grounds painted, which will greatly enhance the effect of the wax figures.

“The French Maid.”—This delicate, refined, and sparkling little musical comedy differs widely from its popular predecessor, “ The Gay Parisienne,” in many respect s. It is distinctly comedy, not farce—the humor is subtle, and the librettist (Mr Basil Hood) infuses here and there touches quite of the Gilbertian character. The music, by Mr Walter Slaughter, while not aiming at profundity, is of a higher character, and the writing in some of the chorus work, ensembles, duets, aid solos, is very charming. Very pretty sets by

the Messrs Gordon, and strikingly lovely costumes, render the mise en scene extremely attrac tive. The plot, although sketchy, is sufficient for the purpose, and turns upon matrimonial misunderstandings, the jealousies of lovers, mistaken identities, etc., etc. One character —Charles Brown, the English waiter, admirably played by Mr Harry. Q.uealey—stands out so prominently that the title of the piece might well have been “ Charley Brown.” The melange of dry humor, stupidity, timidity, and cunning, makes up one of the best bits of character portrayal imaginable. Charley throughout is irresistibly droll. As Suzette (the French maid) Miss Gertie Campion is delightfully piquante and seductive, her singing, dancing, espieglerie, and by play charming her audience as Julie Bon-Bon’s did. while her transports are artistically moderated so as to make the two roles distinctly individual ones. Miss Maud Beatty, as L ady Hawser, looks too handsome for the part, but makes her pointe skilfully. Miss May Beatty’s Dorothy Travers is in striking contrast with her Slavey Ruth in “ The Parisienne.” Here she is a most enticing vision of comeliness, and is as clever in the new role as in the earlier one. She should carefully watch and restrain a tendency to overdo the tremolo in her singing. Madame Camembert’s small part is made much of by the sprightly and charming Miss Emily Metcalfe. Mr W. S. Percy again shows his versatility as Admiral Hawser, introducing a new vien of humor suitable to the role. The peppery old general, Sir Drummond Fife, is capitally played by Mr George Young. Mr Ernest Fitts makes what he can out of the walking gentleman’s part of Harry Fife, and sings splendidly. Mr Alf. Stevens, as the jolly Jack-tar (John Brown) is free and easy and happily cast. Mr E. Nable, as the irascible and jealous bully (Gendarme Paul Lecuire), deserves a special pat on the back. Messrs C. Vaughan and H. Gleeson, promoted to better parts as the Maharajah and M. Camembert (another jealous character), rise to the opportunities and display real promise; and Master C. Albert is all there as Alphonse, the French waiter who makes a pile in £5-note bribes. To pick out a few spec al numbers, the songs “Do Not Jump at Conclusions,” “ He Took Me Out to Take Me In,” “ Loved Must Thou Be,” “ When Quite a Little Chap,” “ Sons of the Sea,” “ Victory” (composed by Horace Stebbing), “ I Happened to be There,” “ Only a Penny,” “ The Twin Duet,” “ No or Yes,” and “ I’ll Lead You Such a Dance,” are all vociferously encored. The pas seul (danced by Mise M. Karkeek), the Tarentella (by Misses N. Wilson, Z. and W. Karkeek, N. Foord, L. Ericson, and L. Harmston), and Mr Harry Quealy’s eccentric and grotesque dances are all immense. The attempt to follow the maze of cross purposes and ludicrous situations is an impossible task. It must suffice to say that laughter loud and incessant is the rule throughout the two acts. Encores are plentiful as blackberries. The writing bristles with points. For example, “Everything comes to him who waits” “ I took what was right, and I took what was left,” “ I go upon my knees to her, and I take her on mine,” “ And then when I went off to sea, I went to see-him off,” “Men can deny anything except themselves,” etc., etc , etc. Mr Harrison and his capable orchestra play the bright and tuneful music in brilliant style, and the chorus of sailors, grisettes, waiters, gendarmes, etc., acquit themselves admirably in singing, as well as in the precision of movements and effective groupings, for which they have won the highest reputation South of the Line. “ Orpheus” pronounces “The French Maid” delightful, but indescribable, and advises everybody to see and analyse it inproprioe persona.