THE STAGE

New Zealand Illustrated Sporting & Dramatic Review, Volume XII, Issue 723, 14 January 1904, Page 18

THE STAGE

(By

“Comus.”)

OPERA HOUSE. THE FITZMAURICE GILL COMPANY. Sane, wholesome melodrama, picturmounted ar?d admirably acted, is the generaf verdict on “A Sister’s Sacrifice.” Miss Gill has, indeed, been more than fortunate in the selection of her plays for the present tour ; she has been singularly /happy in her choice. She opened with one of the strongest attractions witnessed here for years—“Th? Bank of England,” and the play under notice is a considerable advance even upon that. The story is a probable and rational one, but the drama is not wanting in any of those special ’features that enchain the attention of the audience and communicate that pleasant “thrill” without ;which the theatre is to many people a delusion and a .snare. Miss Gill has now associated with her' a band of actors and actresses who are not only competent but obviously hard-working, the result being thjatall the productions! go with the steadiness and dash of British infantry under fire. The Auckland season has been a most successful one, and theatregoers will learn with genuine regret that it terminates on Friday night. Miss Gill may always be sure Of a warm welcome in this City. The last two nights oi the season— Thursday and Friday, will be signalised by a grand production of the great Dion Boucicault’s famous sporting drama, “The Flying Scud.” Incidental to the “Derby” scene will be the employment of ten racehorses, including the well-known thoroughbred “Dayntree” (Castor—Vivandiere), full-brother to “Canteen.” SANFORD’S AMERICAN PLAYERS. Walter Sanford’s American Company of Players arrived in Auckland on the steamer Ventura, January 2, and will begin their season in Auckland at Abbott’s ' Opera House, for a period of six weeks, commencing Saturday Evening, January 16. This Company comes direct from America, after a short stop at Honolulu. Mr Walter Sanford, the proprietor and star of the organisation, although a young man, is one of the best known actor-managers in the United States. He comes of a theatrical family, his father being now,the oldest living theatrical manager in the States, having attained the ripe old age of 85 years. Walter Sanford began his theatrical career as a star, at the age of 17. His success was immediate, and after touring America for 3 years, he became the lessee of the famous Niblo Garden Theatre, New York City. A year later, he added three more theatres to his management : the Star Theatre in New

York City, and the Empire and the Star Theatre, Brooklyn. In 189.6, lje established at Niblo’s Garden Theatre ,one of the strongest melodramatic organisations ever formed in America. He put on many notable new productions, while at the same time reviving the successful English melodramas of “Youth,” “A Run . of Luck,” “Michael Strogoff,” “Harbour Lights,” etc., presenting bach of these on a mammoth scale. Mr Sanford controls the American right's to “My Jack,” “Sporting Life,” and .other successful English plays. His present repertoire includes a number of successful American melodramas and comedies, never before seen in this country. He brings a company of representative American artists, and complete elaborate scenery for each play presented, painted by the leading scenic artist of New York City, Mr John Young. Mr Sanford'is a character actor of great versatility, and will portray a round of widely different roles. The opening play will be “The Power of Gold.” In this play, Mr Sanford will appear as the Malay doctor, Hadgi Zambra. This is one of his best characterisations. While the play is purely an American success, the scenes are laid in London, and some beautiful scenes are shown of several well-known localities. The characters employed to unfold the plot are those varied types of human nature so deftly drawn by Dickens, Thackeray and Collins. The audacious thief and escaped jailbird, “Mark Harley,” is the very prototype of the brutal “Bill Sykes.” The ingenuous, mirth-loving butcher boy, “ Sammy Smudge,” is foster-brother to the impecunious “Dick Swiveller.” •‘Lady Brandon,” the satin-robed devotee of fashion, is quite a match for the wily ‘'Becky Sharpe,” of Thackeray’s masterpiece. “Paul Judson” and “Meg, ” his loving wife, are but the reflex «f David and Agnes Copperfield, while the villainy of the Malay, “Hadgi Zambra,” is akin to the hypocritical .treachery of the humble “Uriah Heep.” The scenic embellishments are : An exterior of St. Hulda’s Foundling Asylum on a snowy night. The Houndsditch Mad House on the Sunken Marshes.. Tlfe Deserted Toll House near Victoria Lock The garret of a London Tenement House, and the exact reproduction of an apartment in a mansion of England. The p.ay has many strong dramatic parts, allowing full scope for the several members of the Company, among whom are Mr Albert C. Henderson, .Griffith Wray, Tommy Shearer, Bart. W. Wallace, Felix Kenny, Laura Wall, Maude Barber and Adelaide Smith. ' ' . , The tour is under the personal direction of the well-known manager, Mr M. B. Curtis. 1

HIS MAJESTY’S THEATRE. ' THE WILLOUGHBY-GEACH COY.

The Company are closing : the season (which ends to-morrow night) with some revivals of their first successes here twelve months ago. On Tuesday night. “The Wrong Mr-Wright” was substituted for “A Stranger iw -a Strange Land,” and comparisons, I am bound to say, favour “Wright,” which went with marvellous spirit from beginning to end. There were several changes in the cast. Mr Willoughby, of course, played his old part of Singleton Sites, and Miss Roxv Barton repeated her charming version of the American girl detective,, and both acted with a freshness that bespoke complete enjoyment of the parts. Miss Watts-Phillips and. Mr Geo. Leopold were also once more in the congenial roles of the Clinkstones, while Mr Lester was the genial military Captain over again, a nd Mr Canham a racy dude lady-killer. Mr Hanray took the character of Freddy Bonds formerly represented by Mr Denton, a nd Miss Phiflips made a quite charm ng Ethel Bonds. Miss Maltby was a fetching maid and danced with much grace. The comedy was preceded by the amusing little comedietta, “The Grey Parrot,” which was productive of much fun. To-night and to-morrow night, “What Happened to Jones,” will be revived, the curtain raiser being a little play entitled '“Harmony,” staged here for the first time. Mr Willoughby takes the part of a blind organist, rand Miss Hardinge-Maltby that of his daughter. “THE HOUSE THAT JACK BUILT.” “A Pantomime is coming.”' This should be a pleasing announcement to the young and old of Auckland, as there are very few who do not appreciate this particular form of amusement. Mr P. R. Dix is the good Fairy who is responsible for the forthcoming presentation of the grand comic pantomime, “The House That Jack Built,” and in all respects this production will be up to the best traditions of this time-honoured attraction. Everything mpney or labour could procure has been obtained to add to the gorgeous nature .of the production, and we are promised a vision of joy and beauty when the .curtain rises on Saturday evening, January 23, at His Majesty’s Theatre. Mr Harry P. Muller, touring manager, and Mr Geo. Dean,

stage manager for Mr Dix, are now in town busily engaged in making preparations for this great production. " ' — .•!- I«i „ THE CITY HALL. FULLER’S ENTERTAINERS. Mr John’ Fuller, who has been maintaining the good character of vaudeville for many months to good business, has decided to take a. vacation, and the City Hall entertainments will cease from this week, to be resumed with the same energy and even greater attractiveness about Easter. A good prognmme this week has been received with favour by large audiences, and the farewell bill for Saturday night contains some special itjems, including Mr Ful er’s own favourite tenor solo, “Oh, Summer Night.” A real bumper house would fittingly express local gratitude to the genial John.

My Napier correspondent writes Theatrical matters have been going strong, for the Savieri Dramatic Company, under the direction of Mr George Cathro, have held possession -of the Theatre Royal during the week, “A Brother’s Crime,” “For the Term of His Natural Life,” “The Colleen Bawn,” “The Guvnor,” and the ever-green tearproducer, “East Lynne,” being the productions staged. Fairly good houses have been attracted. Hastings had been previously visited by this combination, and the Newmarket ,of Hawke’s Bay patronised the show in no niggard fashion. Mr Cathro has been fortunate in securing show and race dates, further ahead, on the West -Coast of this Island. Mr H. Nightingale is acting as touring manager of the Company.

Mrs Langtry, this season, looks even more youthful than she did last year (writes an A.merican critic). Rarely, too, has she worn more becoming gowns than she does in “Mrs Deering’s Divorce.” The delighted “Ohs” and “Ahs” from the feminine portion of the audience that greet every change of costume are good proof of the novelty and effectiveness of the. creations made especially for the play. As for her acting, Mrs Langtry is still self-conscious and amateurish at times. However, Mr Fendall’s acting is light and not taxing’, and' as the actress is therefore called upon only to look pretty, smile, and speak witty and well-pointed lines, she succeeds. in pleasing her audience.

THE KNIGHT- JEFFRIES COMPANY.

There was a great and fashionable audience at Her Majesty’s, Sydney, on Boxing night to welcome the Knight?— Jeffries Company in “Monsieur Beaucaire.” His Excellency and Lady Rawson were in the managerial hox, a nd the house presented all the accustomed features of a big Williamson “first night.’’ Evidently a great number of people usually away for holidays had stayed back to be present. This is Mr Beerbohm Tree’s company, that leading London manager having entered into partnershi ■ with Mr Williamson to send it out-, and he sent Mr Clyde Meynell out with it to supervise the productions. Here, as in Melbourne, the opening piece was the four-act dramatisation by Booth Tarkington and E- ( G. Sutherland of the former’s delightful comedy of Bath, which has won such remarkable success in London, New York, and lesser dramatic centres. As practically everyone has read the racy little story of what happened io the masquerading French Prince under the rule of Beau Nash, it is unnecessary to give the plot where space is so limited, but readers of the 'book will understand when we say that both as to action and dialogue it is as closely followed as stage exigencies will allow except in two important par ticulars. 1 he Lady Mary Carlyle of the play does not irrevocably spurn the “Duke de Chatcurien” (late Beaucaire) on hearing that he came over as a barber in the 1* reach Ambassador’s suite. She declares her love for him while still ignorant that he is a prince, and he, instead of departing to dutifully wed his cousin, the refusal to do which had roused the ire of his othe. cousin, the King, and led to his. secret flight from France, ttells all concerned that he will make the Beauty off Bath his princess. The most exciting scene m the book, the assault on Beaucaire by tihe : friends and bullies of the Duke of Winterset, on the highway, with its fine rush of tense description—American writers of the Davis-Tarkington school excel in description of rapid action—• naturally loses much on the stage. It in made to take place in Squire Brantison’s garden'and on foot, and though cleverly managed so. as to cover the inevitable melodramatic effect, and heartily applauded, it falls considerably short of the book scene. Also the duel with Winterset’s bravo, Captain Badger, takes place “off,” but here stagecraft most skilfully suggests the. action—much better than if ,we.-wcro shown the actual fight. Altogether this episode of the Prince who was mistaken for a gambler, and of the ru fliers ruled by Beau Nash, is most admirably put on the stage. The incidents are practically impossible, but book and plav alike rr.ve them an air of verisimilitude. Your kingsr— and princes-“in exile are more likely to be according to Daudet than according to Tarkington. When J. KL Barrie wanted to create an Admirable Crichton” the other day he made him a butler. Still, Beaucaire, with his; supreme swordsmanship, his skill m cards, and in love, and his delightful wit, is a very lovable person, even though one indignant Britisher in Melbourne saw m him a covert Yankee attack upon English character —in this book and play ■ it

is one .small Frenchman who puts to rout io large Englishmen, instead of the opposite story of British melodrama. As for the playing of it, Mr Julius Knight realises the character to a quite surprising extent, and Miss Maud Jeffries, though in the red wig and make-up she does not look so poetically beautiful as we have been wont to remem'ber her, has decidedly advanced as an actress since last with us, and gives a very clever presentment of the haughty Belle of the Pumproom. Altogether it is a delightful entertainment, and all round the artists lend excellent support.

WIRTH BROTHERS’ CIRCUS.

A groat treat is in store for the amusement loving public of Auckland on Tuesday, January 19, when Wirth’s celebrated Circus Company will again visit the town. The special attraction will be the appearance of the modern giant, Herr Pagel, who has created quite a furore in the Australian States with his wonderful exhibitions of strength. Pagel, it will be remembered, had a hard light with the lion during the Wirth’s late season in Sydney, and nearly lost his life on that occasion, tie has challenged any man in the world at feats of strength for from £5 to .Cl 090. Messrs Wirth are bringing a host of fresh attractions ; in fact, they have had to again inciease the size of their tent. They have now : a fine spread of bright green canvas, which cost them a lot of money. The Howard Brothers (the mysterious thought-readers) are also coming back, with the show. This will be their farewell visit to New Zealand, as they leave directly .after for Europe.

One of the productions to be staged by the Anderson Company on their approaching visit is “ When London Sleeps.’’ In criticising the production of the play at the Adelaide Royal an exchange says “ All doubts as to the true excellence of the popular drama ‘ When •London Sleeps,” so long asserted by, the Melbourne and Sydney press, were set at test on Saturday night last when William Anderson staged the piece at the Theatre Royal. The house was crowded in every part, unfortunately crowded in places', and the audience showed their appreciation of the fine sentiments of the play and the finer character of the acting by their vociferous and enthusiastic applause throughout the evening. The trials and troubles ot the heroine, the bravery of the hero, and the low comedy element alike met with the reception they deserved, and the play, viewed in the light of Saturday’s presentation, must be pronounced an almost unqualified success. It has at any rate the elements to make it one. The heroine, Queenie Carruthers,, a circus star, suddenly comes into a fortune and position in society. In so doing she also subjects herself to the plots of her first cousin, Captain Rodney Haynes, who is> determined by fair means or foul to make her his wife. In pursuit of this laudable internum he causes her to become immuned in ‘ Helliwell Mansions,’ a house that only opens its doors when decent ‘ London Sleeps’; Le sets fire to her house in St. John’s Wood, and finally attempte to o'er I ci up as ‘ suttee ’ at the Indian

Exhibition. From all these perils she escapes, sometimes unaided, sometimes through the timely assistance of her lover, David Engleheart—“the star of the air”— and her circus friends. In the end of course, the villain is baffled and love and happiness reign supreme. As Queenie Carruthers, Miss Eugenie Duggan has an extremely difficult part to play, a part wher weakness would in cases not a few be excusable. Be it at once said there is not the shadow of an excuse necessary. Her representation of the character left nothing to be desired. Whether she was simply love-making, defying the villain to do his worst, or bravely escaping from her burning house, she was alike excellent, and her changes from one mood or emotion to another were eminently artistic. The adventuress, Hilda Carrode, was also well played. The other parts' were all well filled. The play is crowded with dramatic incidents of the thrilling order. The heroine only escapes one trap to fall into another even more dangerous, and the progress of the plot never drags. Its success in a large measure is helped out by the excellent way it is> staged and managed. The production altogether was a veritable triumph and its success is assured.”

Maggie Moore opened at Brisbane on Boxing Night in “ Killarney.”

Mr Charles Holloway has secured the Australasian rights of Arthur Shirley’s latest play, “ The Midnight Mail.”

Anderson’s Dramatic Company, at the Victoria Theatre, Newcastle, includes Albert Lucas, Ethel Buckley, Pearl Hellmrich, Ro.,e Conroy, John Cosgrove, Ashton King and Edwin Campbell. ’They opened in “ Delivered From Evil,” “ My Jack,” The /Best Must Win,” and “ Through the Divorce Court ” will follow. * * * s*We have’yet another actress-manageress eoming into the field in Miss May Renno I says the “Newsletter”) who is about to take her own dramatic company on tour. She has secured a splendid repertoire of sensational pieces, and as they will be superbly scened and staged, eh© should have a successful tour ahead of her. May Renno is the youngest managress in Australia. She was her© with the Majeronis. * * * * Mr George Musgrove, in a letter to “The Argus,” says : —“Kindly allow me a little space to contradict a rumour that, is. prevalent that L, am, abandoning my theatrical business in Australia. Far from it. I hope to put increased vigour into it, and my visit to Europe and America is to obtain plays, operas, artists and companies that I think will ;be suitaible to our intelligent but critical audiences. I have the Princess Theatre in Melbourne and the Lyceum'in. Sydney, which I have no intention of parting with. I prefer closing the Princess Theatre when an attraction worthy of .the intellect of Melbourne or the traditions of the theatre cannot be obtained. By this method it will be somewhat of a guarantee that when the Princess is open the performance will be worthy of the judgment of the patrons of the theatre.”

My Christchurch correspondent writes : —Our ancient Royal is once more vacant, the Hawtrey Co. having closed their successful season and departed for “the other side.” On the last night they were here, Mr Hawtrey said “a few words” on the merits of Christchurch as a show town. Because, be it' known to you, this flat City has been coming in for a good deal of abuse of late from sundry visiting managers as being “a theatrical desert” and so forth, whose aridness grows nothing but an unappreciative public and lots of weeds tin the shape of deadheads. One great operatic impresario has nothing but what is uncomplimentary to say about the Cathedral City as a field for theatrical enterprise, and his wailful words are confirmed oy the proprietor of an itinerant wax-works exhibition !! ! ! But Mr Hawtrey does not agree with the doleful dictum of hibitors of waxen effigies. He says, what these pessimistic play-producers and exEdwin Geach says—that provided the show is all right the people will roll up in shoals to patronise it. It all depends on that. To use poor H. J. Byron’s famous words, and apply them to Christchurch playgoers : “A play is like a c gar. If it is bad no amount of puffing will make it draw ; and if it is good everybody wants a box.” Everybody couldn’t have a box in Christchurch, because there are not enough to go round. But there is the dress circle and the stalls, and provided “the play’s the thing,” both those parts of the Royal are always well-patronised. For the rest, Hawtrey told us he had seen the plan of the elevation of the new Theatre Royal for Christchurch, and he pronounced it “very good." He ventured to advise that the proprietors should not concern themselves so much with paint and gilding as the solid comfort of playgoers, and, of course, he was right. The new theatre is to be commenced in a month’s time, and it wont he ready a minute before it is wanted “Robinson Crusoe” has finished its successful career at the Opera House, and ought to have made money for the enterprising firm of Fuller and Sons. The usual variety bill is now restored, and a host of favourites —old and new —are making things hum at the Fullers’ theatre Fitzgerald Bros.’ Circus is due to commence a season here on Monday (11th), and is, I understand, bigger, brighter and better than ever. The preliminary ads. are temptingly worded, and if the season doesn’t eclipse all its predecessors, write me down mistaken Plenty of shows coming, the Royal being booked for some time ahead.

The South African tour of the Royal Australian Opera Company (Pollard®! closes at Capetown on January 2“5.

From. South Africa comet? word of the engagement of Miss Gertie Campion to Mr Dave O’Connor, both of Pollard’s Company.

Mr Galway Herbert left with the Frawley Company by the Suevic on Christmas Pay.

KYRLE BELLEW ON PLAYS AND ACTING.

The following interesting article is taken from a late issue of the New York ** Sunday Telegraph” : — It is a long cry from a belted earl to an amateur cracksman, and somewhat of a change from a panoply of armour to a glazed shirt front, and yet the metamorphosis has merely proved what was already known, that Kyrle Bellew can lose none of his charm by versatility. With voice attuned to the situation, with speech modulated to a nicety, with hands Gallicly expressive, Mr Bellew is equally at home in plays of ancient and modern date.

When E. S. Williard, in “ The Silver King,” initiated the burglar in dress clothes 1 , the “ willun at the Wic,” as the scoundrel at “ Queen Victoria’s own theayter ” was termed, disappeared, and the new type was immediately accepted as a relief and a novelty, and has held the boards, on and off, ever since. With the new order of ruffianism has come, too, a negative sympathy from the audience, which turns the apocryphal hisses into applause, and has, in the instance of “ Raffles,” made a distinct success of a play that hitherto could only be found on Eighth Avenue. Mr Bellew diffidently acknowledges this, as he sits, pushing his fingers through his white locks, and discusses his latest play. Then he breaks off and proceeds, as he says to disquisitions of greater weight. “The play’s the thing !” he ejaculates l with emphasis, in answer to an interrogation. “Yes, I’ve read what Marion Crawford said in the “Sunday Telegraph” about the author being run after in England, the 'star’ in America, and both in France, and I agree with him with a qualification that the play’s 'the thing after all. People are continually inquiring whether I prefer historical or modern plays, and which I think the public like best. My answer always is that it depends on the play. Whether the public go for the sake of the author or the ‘star,’ unless the play is good, you may be very sure they won’t go at all. If the play interests, the public are satisfied, whether it be legitimate drama or not. The public taste doesn’t incline one way or the other. Some of them want to be amused, some to be interested, and the majority want both. “Take an English example. If an actor, big or little, had gone to a manager and expressed his wish to revive ‘Richard the Second,’ what do you think would have been the manager’s answer ? He would have epithetically replied that this particular actor must be a candidate for the ‘foolish house.’ And yet what have you in London ? A manager who has the courage of his opinions, who does produce that play, and, furthermore, of the opinion that he could produce and makes it a success. Beerbohm Tree was

act that play in a way so as to make it interesting to his public, and he hast proved his opinion to be correct. “You will now naturally say that the Spectacular has a good deal to do with the success of a play like this. I see, too, Mr Crawford furthers the idea that the spectacular is coming to the fore. I make a qualifiacation here also. The spectacular is coming into vogue in a certain kind of entertainment —extravaganza, and such showsi —but in legitimate plays there is a tendency to reduce it. Some years ago it was the fashion to have everthing absolutely real on the stage —I am not talking of the acting. In the days of the Bancrofts and the ‘cup and saucer’ drama everything was as it should be, even the champagne. This was merely a fad, which is going out fast. What on earth does it matter whether the armour is gold or silver as long as it impresses the audience that it is the real thing, or an extremely good imitation? As long as the stage looks all right, it doesn’t matter one atom whether the accoutrements are genuine or not. If you wish to stee these beautiful things in their native splendour, why not go to a museum? “Then, too, one sees on billboards that ‘in this production 300 people will be on the stage at one time,’ or words to that effect. The public don’t care for the number of people on the stage as long as the production is adequate. This multitude, this greatness, is only put? before

the public to gull it, but I fancy the day for that sort of bluff is waning. “While we are on the subject of accessories, a word about music, which some people think will be a great feature in coming deamas. I will begin by saying I am perfectly aware I am sinning against the very thing I am talking about, but personally I would do away with the music altogether. In some plays music is a necessity ; for instance, in ‘ Hero and Leander,’ which is almost an opera, and in other old dramas it is now and then excusable, but certainly not in modern plays. Why music ? Why do the fiddles strike up at a tender moment? Why, when the heroine clasps her head and says,, ‘ Oh, God! my poor child!’ should we have a violin obligato ? That doesn’t happen in real life, not even in a musical flat. It arouses a false excitement certainly, but it is absolutely false. What is the idea of an orchestra? To amuse the audience between the acts? With one or two exceptions, does it? On the contrary, it doesn’t. It drives one to go out and ‘ see a man,’ is distinctly good for the neighbouring bars. It is perfectly possible for an aria on the ’cello to demoralise even the most temperate of men.

“With regard to ‘stars,’ I agree with Mr Crawford without any qualification, and before I commence my screed on this subject I would like to say, in answer to many inquiries as to what my opinion is, to the capability of American and Eng-

lish actors to play the gentleman, that American actors can play an American gentleman better than an English actor can, and vice versa. Quantum suff. on that subject. Now, about the ‘ starring ’ subject. The ‘ star ’ is not necessarily a great actor. I remember Charlie Coghlan talking on the same subject, and he said that the whole question of the ‘ star ’ was wrapped up in the individual ‘ me/ That is to say, it was the personality. Can you have a greater instance of thisr personality than in Sir Henry Irving? In his case I grant you that the actor is behind it, but it is not so in the case of the majority of ‘ stars.’ The whole ‘ star ’ question rests on the personality or charm of the individual. “Now a word about stock companies'. It was different in the old days from what it is now. Then we were all educated in a certain line. No one has any individuality except the * star.’ The latter did not take his own companies about the country as is the case now. There was a stock company in every big town,, and we knew from a paper pasted up at the stage door whom to expect and at what time. The ‘ star ’ had no qualms as to the capability of hisi company. They knew their business, which had been studied out by the old actors for years and years and could not be improved on. Why, I remember once playing in ‘ The Rivals ’ at the old Star Theatre with Toe Jefferson, Mrs John Drew and Mrs Gil-

bert, when the principals didn’t have one rehearsal. I met Jefferson and Mrs Drew for the first time at the first performance. I went into their dressing-rooms for ten m inn ins and was merely told to do the same old business, and the play went without a hitch. This breaking of traditions, by the way, is really the secret of why thesi revivals of legitimate comedies fail at times. The old actors knew what was best ; they had their effects down to a hair. That was and is the right way to play the parts, and you can’t find any one to improve on the effects. Now sometimes a manager takes an old play and tries to make modern alterations, with the result that the production is a dead failure. Give the ‘ School for Scandal ’ to a company who have never seen it acted and they surely will not know what to do with it. Nowadays all this is different, but that, was the best way.”

THE CUYLER HASTINGS COMPANY

In last issue I published some notes on the plot of Mr Barrie’s new play, “ The Admirable Crichton,” which will shortly be presented here, under Mr J. C. Williamson’s management, by the dramatic company headed by Mr Cuyler Hastings. The “ Dunedin Star,” in its notice of the first performance, after outlining the plot says : — “ Opinions are sure to differ as to the ending of' the play. Crichton has assumed and maintained the post ol dux. The others recognise his superiority and call him ‘ Guv they wait upon him, compete for his approbation, and respect him as their king. He accepts their homage, and almost as an act of condescension asks the once disdainful and indolent Lady Mary, who in the first act complains of the burden of having to try on so many engagement rings, bur is now so disciplined by circumstances as to declare that ‘ It’s such fun to be alive,’ if she will marry him. Lady Mary replies : * You are the most wonderful man I ever met, and I’m not afraid,’ and from that moment she rejoices in being Crichton’s favoured dependant. All this is so cleverly worked up to by the author as to make the audience accept the position as natural. But then comes the rescue and the restoration to English life, and some of those who go to see the play are bound to find fault with the denouement. Lady Mary’s former lover reappears and continues his suit. Crichton has gone back to the butlership, but he remains the master-mind of the household, and a possible climax would be for Lady Mary to stick to her engagement and marry him l . Instead of that they part without any apparent emotion or regret. Lady Mary says : ‘ Crichton, you are the best man among us.’ He replies : ‘On an island, my lady, not in England.’ She says : ‘ Then there must be something wrong with England,’ to which Crichton answers * I will not hear even you speak against England, my lady.’ Then the curtain falls. It is a peculiar ending, but in this particular we think that the author is right, if only for the reason that Crichton’S professed reverence for class distinction would have to be sunk altogether if he were to marry Lady Mary. At the same time it is a question whether Crichton’s proper recompense is to marry Tweeney, the domestic who seems to have made it a condition of the wedding that she may be as vulgar as she likes. The union of two such opposite characters has the appearance of inconsistency. It might have been better to let Crichton remain the celibate tyrant of downstairs. On this* matter everybody will judge for himself. Mr Barrie has, on the whole, done such good work that these peculiarities find ample compensation. We strongly recommend playgoers to go and see this piece. It will stand all their criticism. So will the acting. This is simply delightful. Mr Cuyler Hastings finds in Crichton one of his very best parts, not particularly taxing to an actor of his ability, but noticeable because of its irreproachable finish ; and Miss May Chevalier’s easy stage style suits the part of Lady Mary most admirably, its strong ' point being the happy blending of sense and nonsense, earnestness and frivolity. The other daughters. Lady Catherine and Lady Agatha, are in strict subordination, yet Miss Kingston and Miss Terry make them quite interesting, and on the pictorial side these characters are of marked service. Miss Susie Vaughan, as the. Countess, comes on only in the last act, but distinctly makes her mark. Capable support is also given by Mr Edmund Gwenn as Lord Loam’, Mr Hamilton Stewart as the Hon. Ernest Woolley, Mr Paul Scardon as Lord Brocklehurst, and Mr Lumsden Hare as a cricketing clergyman, whilst Miss Florence Gleeson fairly revels in the character of Twcensy and only now and again approaches the frontier of burlesque. The cast is a strong one all round, and if space permitted we should like to enlarge upon the individual excellence of the acting. In the first notice, however, the play itself is the chief consideration. We may add that Mr, J. W. Hazlitt is entitled‘to thanks for his able stage management, and that Mr H. Diederichsen’s orchestra supplied suitable music/* J

Mr W. R. Shirley and Mr Foster Courtenay, late of Mr George Musgrove’s Comic Opera Company, return to England to fulfil engagements.

Mr Edward Lauri, who has filled the position of chief comedian to Mr George Musgrove’s Comic Opera Company since its formation in May, 1902, is returning to England by Orient Steamship Ophir, which left Adelaide on the 7th inst.

Miss Gracie Emmett and Company, who toured New Zealand some months ago under Mr Harry Rickards’ direction, were appearing at the Empire Palace, Birmingham, at' latest advices.

A glance over the “ Era ” list shows that there are “ on the road ” at Home over 220 different companies. “ Florodora ” and “ The Chinese Honeymoon ” head the list with five, while three each are to be credited to “ The Belle of New York,” “ Dandy Fifth,” “ Eternal City,” and “ Three Little Maids.”

Mr William Anderson presented “The Great World of London” on Boxing Night at the Lyceum, Sydney, to a house that could hold no more people. And the audience applauded the elaborate scenes, cheered virtue, and hissed vice with the whole-hearted enthusiasm that has become characteristic of the playhouse. The new melodrama is by Walter Melville, whose “Worst Woman in London” brought to the same management much good gold. In action it ranges from tragedy to farce-comedy, and the audience is worked from climax to climax of enthusiasm without reaching the anti-climax. The great scene shows a railway train in motion, and on Saturday the clever stagecraft involved in it thrilled the excited audience.

Mr Williamson’s companies on Boxing Night . —Sydney, Her Majesty’s Theatre, Knight-Jeffries in “Beaucaire” ; Sydney, Royal, “Sleeping Beauty” pantomime; Melbourne, Her Majesty’s, Royal Comic Opera Company in “A Country Girl” ; Dunedin, Cuyler Blastings Company in “The Admirable Crichton.” The Frawley Company is en route t'o South Africa, Ada Crossley to Western Australia, and Mr George Giddens (of the “Are You a Maston ?” Company is nearing Capetown in the Afric.

Miss Carrie Moore has been appearing for some time at the Apollo Theatre, London, in the part in “The Girl From Kay’s” played by Miss Letty Lind. She had only three weeks of the provincial tour when Mr George Edwardes recalled her for this.

As long ago as 1772 Mr Samuel Beazley, architect and playwright, erected the Lyceum Theatre in Wellington-street, London. Since that time it has been what is known in America as a “dime museum,” an auction room, and the first play-house in the English speaking world, and now at last it seems destined to become a music-hall. Of the many parts that it has played Mr Austin Brereton writes most entertainingly in his “The Lyceum and Sir Henry Irving” (Lawrence and Bullen, 21s. net). In its primeval days the theatre did not disdain a variety of raree show for the memory of which its very walls must have blushed later on. In the late eighteenth century the Lyceum was a home for Count Zambeccari’s air-balloon, for Mr O’Brien, the Irish giant, for Daniel Mendoza’a boxing academy, for Mme. Tussaud’s Waxworks, and a score incongruous attractions. It was not, indeed, until 1809 that the Lyceum became a theatre in the legitimate sense. Since that time its history has been more or less a chronicle of all that is worth chronicling, on the English stage of the nineteenth century. Mr Brereton carries his story to the Irving era by way of Phelps, Mrs Keeley, T. P. Cooke, Charles Mathews (the father and son), Lady Bancroft, Lady Faucit, and a host of others. The story is good reading, but beyond that the book is a genuine addition to stage history. A word of praise is due to the illustration, which is profuse and in most instances quite admirable.