The STAGE

New Zealand Illustrated Sporting & Dramatic Review, Volume IX, Issue 461, 25 May 1899, Page 9

The STAGE

[By

Orpheus.]

“ Orpheus ” will be glad to hear from those managers of theatrical companies touring New Zealand who aesire that the public shall know the movements of the com(Panies. Any information as to dates, etc., will be acknowledged in these columns, as well as any other items of interest to the theatrical world. All letters should be addressed —•* Orpheus,” SPORTING AND DRAMATIC REVIEW, Vulcan Lane, Auckland.

Messrs Bagster and Sons, Paternoster Row, London, have published a “ Gem Edition of Handel’s Messiah,” weighing 4oz, with full score, words and musio upon 181 pages (each measuring Bin x 3|in)—price 6d !!! It is probably intended for the use of such men as the lynx-eyed detective who dwells in police fiction, nevertheless the printing is clear and delicate, and it is wonderful that a complete “ Messiah” can be bought at the price.

The long and successful run of “Lady Ursula at the Duke of York’s Theatre, London, still continues, but in order to give Miss Evelyn Millard a brief spell—she has played the arduous title role during 200 consecutive nights, bar Sundays — the management decided to close the house from March 30th to April 3rd (Easter Monday), when the wm was to be resumed. Mr Charles Frohman is to be commended for consideration, which is not often extended to hard-working actors.

. Death of Mrs Keeley.—This famous and much loved old actress passed away at her London residence in March last in her ninety-third year. Her, memory will be affectionately cherished as one of the brightest ornaments of the English ttage, owing to her gifts of pathos and drollery, for she could as readily win the tears of her audience as she could evoke shouts of laughter, and in private life her kindness of heart and geniality made her the idol of a large circle. Mrs Keeley’s maiden name was Goward, and she was a native of Ipswich. Her early career was that of a vocalist? and her debut was made at the Lyceum Theatre in 1825 in the operetta “Bosina.” In 1826 she appeared in Weber’s opera, “Oberon,” receiving warm compliments from the famous composer for her singing of “ The Mermaid’s Song.” Having a wondrous gift for comic acting Mrs Keeley frequently appeared in humorous plays, and was engaged at Co vent Garden m 1832. In 1835 she was engaged at the Adelphi, gaining much popularity in “Jack Sheppard.” Her Smike in “ Nicholas Nickleby” was another tremendous hit. In 1842 she played Shakspearian parts at Drury Lane, under Macreadj’s management, her Audrey in “As You Like It” being a splendid performance. In 1844, with her husband a!so a distinguished actor —she managed the Ljceum with brilliant success. Dickens’ plays, “ The Cricket on the Hearth” and “ Ihe Battle of Life,” proving memorable performances In the latter play her Clemency Newsome was pronounced one of her finest achievements. What may be called her last appearance was at the benefit of Mrs Alfred Mellon <Miaa Woolgar), at Drury Lane, in May, 1878. Air and Mrs Keeley appeared together so often and for so long a period that it became customary to speak of t >e genial and affectionate couple as “ The Keeleys ” Mr Keeley died in 1869 at the age of 75.

A New Opeba.—“ Messaline” (by Isidore de Lara) was successfully produced at the Casino Theatre, Monte Carlo, on the 23rd March last. M. de 1 .ara will be remembered as tne. composer of “ The Garden of Sleep” and other beautiful songs, but this is his first essay at a sustained work, the result of which is highly praised by critics. The authors of the libretto (M. M. Armand Sylvestre and Eugene Morand) have drawn their plot from Roman history, t e licentious amours of the wife of the Emperor Claudius providing pungent material for dramatic treatment. The book is well constructed and powerfully written. The musio is intense, and full of melody and imagination. In manner M. de Lara is neither Teuton nor Gaul, Italian nor Sclav. He makes fine use of the leit motif, while he appreciates the full dramatic value of scenes specially adapted for vocal display. His orchestration commends itself to the audience without atiy effort on their part to, identify themselves with the subtler phases of musical expression. The Empress (a naughty wanton) carries on with street minstrels, gladiators, etc., etc. Hares, the singer who composes lampoons at her expense, is won over by an interview in which her fascinations triumph. When tired of Hares, the fickle wanton assails his brother Helion, a gladiator. Hares intruding is seized by the Empress’ guards and flung into the Tiber. He is rescued and swears to kill her on the morrow. The third act is one of terrible tragedy. Helion is with the Empress in her box at the Colosseum; Hares is waiting outside to slay her; news is brought to the Empress of this ; she tells Helion that a murderer lurks outside, and orders Hares to enter ; Helion at once slays him, and, as he dies, recognises his brother; Helion, horror-stricken, flings himself to the lions in the arena, and a terrible dramatic touch is the Empress’ discovery that her robe is held in the tenacious grasp of death by the murdered Hares; she shudders and exclaims, “ The hands of death are upon me. ... I am terrifi> d!” An excellent cast included Madame Heglon, who displayed marvellous power as Messaline, singing and acting with great dramatic effect ana charm. M. Bouvet made a finuhed performance of Hares. Tamagno’s magnificent tenor voice told splendidly in the Gladiator’s role. M. Jules Vinche possesses a sonorous bass voice, and Mdlle. Leclereq’s sweet soprano made a

charming impression. M. Jehin conducted a fine orchestra, which contained a new instrument in the shape of a double-bass clarionet, admirably played by M. Saint-Marie. Will not some woodwind enthusiast import one into Auckland ?

Mr John Prouse, accompanied by his daughter (Miss Florence Prouse), will shortly leave Wellington for Auckland to meet Madame Trebelli, who is about to tour New Zealand with a concert company. Mr Prouse’s splendid singing is always a tower of strength to any company, and Miso Prouse, at the Auckland Exhibition, proved herself an unrivalled accompanist.

With reference to Mr Ernest Toy’s violin, I notice a statement in a contemporary that the instrument is one of Lupo’s (an Italian maker of the last century). This, I think, must be a mistake. Ido not remember any Italian maker of the name of Lupo. Probably the instrument is by Lupot, an eminent French maker who flourished early in the present century and whose instruments were given as prizes by the Paris Conservatoire. Lupot’s instruments are at the present time very valuable indeed.