THE STAGE

New Zealand Illustrated Sporting & Dramatic Review, Volume XII, Issue 735, 7 April 1904, Page 18

THE STAGE

(By

“Comus.")

HIS MAJESTY’S THEATRE.

“THE POWER AND THE GLORY.”

Mr William Anderson selected for his opening piece at His Majesty’s on Saturday night, Charles Darrell’s wellknown melodrama, “The Power and the Glory,” first produced in Auckland by the Westmacott Co., and pronounced on that occasion to be remarkably interesting. It does not appear quite so novel now as it did then, because haff a hundred other plays all more or fess founded on the same set of circumstances have intervened. In many respects, however, it is distinctly new. Mr Anderson stages it with a lavish disregard of cost, and the scenery and mechanical effects are not onfy adequate but elaborate and satisfying * in the highest degree. The care that has been bestowed in order to give verisemblance to the strict groupings, and the accuracy of the costuming, exhibit a regard for the sensibilities ' of the audience that is, shall I say, rarer than it ought to be. The interpretation of the story is also in capable hands. Miss Ada Guildford’s realistic style is especially adapted to the part she plays, that of a dangerously beautiful woman void of moral impulse. Miss Nellie Ogden, who showed us what she could do in “Jealousy,” when she was with the Majeronis, has plenty of scope for emotional acting as the heroine, making the contrast between virtue and vice .sharp enough to satisfy the most exacting opponent of Sunday trams. Mr Dalgliesh is a villain that fills up the cup of the gods to overflowing, and Mr Cross is a hero whose voice, hoarse with sentiment, can always bring down applause. Mr FrankReis makes a grotesquely humorous butcher, and Miss Fraser, as a flower girl imbued with proper sentiments about work and other British privileges, is a cheerful addition to the cast. All the others are good, especially little

Patty Hughes, who acts a blind child to the life, and a word is owing to the crowd of supers and the orchestra. On Saturday next, the Company will produce “In the Shadow of Night,” with “Honour thy Father,” “The Ladder of Life,” and “The Face at the Window” to follow.

OPERA HOUSE.

“ROBBERY UNDER ARMS.”

It is a great tribute to Mr Dampier’s popularity that “Robbery Under Arms,” which was staged at the same place only a few weeks ago, as it seems, shonld have drawn such enormous houses on its reproduction at the Easter holidays. It is, of course, a remarkable play, rich in the kind of incident that is familiar, if not by actual contact, then by close association to every colonist almost, and Mr Dampier knows how it should be presented. His own personal share in the production is full of distinction. Nothing finer than this impersonation of “Starlight” has surely been seen in melodrama. It does not take rank with the ordinary work of this class of play, but suggests an atmosuhere at once romantic and classical. But though Mr Dampier stands out so, the remainder of the cast is not dwarfed. All are eminently capable. Mrs and Miss Rose Dampier are both admirable, and Mr Rolfe is a bright wholesome Dick Marston, and everybody else is alert and instinct with the life of the piece. Though justice was done to the exceedingly clever bit of character work shown in young Alfred Dampier’s “Warrigal,” I cannot refrain from expresssing my appreciation of this young actor. The staging of the play again receives the most careful attention, and the sticking-up incident and the fight between the outlaws and the police in the midst of a downpour of rain are triumphs of stagecraft. On Saturday next the great drama, “Monte Christo,” will be staged.

Bland Holt has just received a new lot of me.odramas, all typical of Australian life : “A Rank Outsider,” “Won by a Head,” “A Hot Favourite,” “Beaten in the Straight,” “A Close Finish,” and “Bound to Win.” Five of the six plays have scenes depicting Victorian racecourses, Flemington having four Cup days and Caulfield one Cup day, while the principal scene in “A Close Finish” takes place on the Randwick course. * # « w Miss Jennie Opie is at present touring India with the Arthur Hill company. * * * * The Julius Knight-Maud Jeffries company will tour New Zealand at the end of the year. * * * Mr Hadden Chambers’ latest play, “The Younger Mrs Failing,” has won golden opinions from Bostonians where it has lately made its initial appearance. * * * * Maud Jeffries considers her two finest acting parts are Katusha in “Resurrection” and Marianne in “Herod,” the latter a poetical play from the pen of Stephen Phillips. # * * * The Royal Comics revived “Ma Mie Rosette” for the last six nights of their Melbourne season. The new baritone, Haigh Jackson, appeared as Henri of Navarre.

Pollard’s opera company, headed by W. Percy and Alice Pollard, opened in “The Messenger Boy” at Perth Royal, W.A., on 12th ult.

In this issue will be found a number of illustrations commemorative of the visit of the Cuyler Hastings Co. to Rotorua. The various actresses are depicted in Maori castume, and look uncommonly like the real article. • » ♦ * Mr E. Montgomery writes from Wanganui, under date March 31st “Just a line to let you know the welfare of Montgomery’s Entertainers. The Company has been completely reorganised, and now consists of eleven members, viz., Miss Ettie Hargood, soprano Edmund Montgomery, tenor ; Zeno, the solo pianist, violinist, etc. ; Harry Hall, comedian ; Eva Brady, balladist ; juggler ; Miss Esther Norden, A.L.C.M ,

Fred Gibson, coon impersonator ; Ida Esdale, serio and dancer ; Lawrence ward and the Mascott Sisters, mandoline and banjo duettists. Percy T. Brady is still in advance. We have recently concluded a fortnight’s season in Wellington, and are now playing Wanganui to good biz. We afterwards visit Hawera, Stratford, Eltham, Inglewood, New Plymouth, en route for Auckland, and are arranging for a season in His Majesty’s about May 26, before which we visit Waikato, Thames, Waihi, etc. P.S.—We have now included a splendid model plant of Marconi’s system of wireless telegraphy for exhibition in theatres.”

J. C. Williamson may possibly send the Beerbohm Tree Company for a tour of New Zealand on the conclusion of the forthcoming season at Melbourne Her Majesty’s * * * * Wilson Barrett’s Anglo-Australian play, “The Never-Never Land,” written during his last tour in Australia, was produced the first week in February at the Grand Theatre, Hull, and was successful. The plot deals with a “scallywag,” who, dying in the Never-Never Land, persuades his friend to go to England and impersonate him to the extent of assuming his family title and estate. This the friend does, but things are made awkward by the imposter falling in love with the dead friend’s sister, who, of course, believes him to be her brother. * * * * English plays when done into French are not as a general rule very successful. “Charley’s Aunt” was an exception, and A. W. Pinero’s “Second Mrs Tanqueray” was recently produced successfully at the Paris Odeon. But owing to a misprint, with a difference in the title, it was given to the Parisians as “La Feconde Madame Tanqueray”— “The Prolific Mrs Tanqueray.” Mrs Langtry and her theatrical company, while recently touring in Western America, were travelling down a steep decline on the railway, when the carriage occupied by the comoany went off the line. Mrs Langtry coolly drank the toast : “ Here’s to the one who keeps the coolest head” ; but the train stopping suddenly, she was thrown against. the side of the car and fainted.

MR STEPHENSON’S NEW COMPANY

The Sydney “Referee” says :—That Mr George Stephenson, the young New Zealand manager, who made such a hit i at the-Palace with his American Company, is in business to stay is proved by the engagements made for him in England by Mr Edward Lauri. By last mail Mr Lauri writes that he has booked a company of ten artists for a Colonial tour, including the old favourite in Mr Bert Gilbert, Careton (of Charles Rigby stamp), a soubrette named Alice Nixon, character old man, Mr W. Sydney, and a double team of acrobatic comedians, and a clever sister team. He has also purchased the exclusive rights of four new musical comedies, viz “The Rose of The Riviera,” “The Dandy Doctor,” “Bill Adams, the Hero of Waterloo,” and “His Majesty’s Guests.” When the mail left he was negotiating for the purchase of the latest London success, “The Earl and The Girl.” A novel sketch with marvellous lightning effects, entitled “Pansy Faces” (which has been the rage of the London Hippodrome for months past) has also been secured, and will be introduced in the opening piece of the Colonial tour, which will start at the Lyceum, Sydney, on May 28. The initial attraction will be “The Rose of the Riviera.” The company leaves England by the S.S. India on Thursday next ; scenery and wardrobe will be made locally, and on a most lavish scale.

THE COUNTRY GIRL

The New Zealand tour of Mr J. C. Williamson’s Royal Comic Opera Company was inaugurated at His Majesty’s Theatre, Dunedin, on Easter Monday with the musical play ‘‘A Country Girl,” by J. T. Tanner, the lyrics being by Adrian Ross and the music by Lionel Monckton. The piece was produced for the first time in Australia at Her Majesty’s Theatre, Sydney, on the 7th November, where it scored as great a success as it has enjoyed in Melbourne. The Wellington season of the company will commence on Wednesday evening, the 27th April and will extend over nineteen nights. In criticising the first performance of the play in Sydney the “Daily Telegraph” says “A Country Girl” is one of the most fascinating musical comedies witnessed in Sydney. Its story is written in a sprightly manner, and the music, which in parts attains the level of comic opera, is bright and melodious throughout. Many of the songs will no doubt quickly pass into popular airs, and go to swell the large number which the productions of Mr Williamson’s Royal Comic Opera Company have already given to the public. The two acts into which the comedy is divided present scenes of striking merit. The first set shows a Devonshire landscape, and the second “Irtterior of the Ministry of Fine Arts.” These capital achievements are the work of Mr J. Gordon and Mr W. Little, both of whom were called to the footlights. The dressing is simply magnificent, and the dances arranged by Miss Minnie Everett are singularly graceful. For the chorus work the company is entitled to the warmest admiration, and the general ex-

cellence of the production testifies to the high capabilities of the company, the able management of Mr Henry Bracy, the careful conducting of M. Leon Caron, and the satisfactory stage direction of Mr Spencer Barry. The story turns upon the love of a naval officer for a country girl, who afterwards becomes a renowned actress. The intervals between the beginning of the affection of these two and its happy termination are filled in with brightlypresented incidents, with musical surroundings, and there is not a dull moment in the whole performance. The name- part is most successfully played by Miss Florence Young. Her acting is perfect, and her singing, of a highly finished order. One of the greatest charms about Miss Young’s vocalisation is that it is apparently without effort. Her graceful performance all through was acknowledged with unstinted applause from every part of the house. Mr George Lauri has in the part of Barry, a sailor servant, a character which suits him admirably. He gets immense fun from it, especially in the second act, where he appears at a fancy dress ball disguised as a woman. Miss Evelyn Scott, as Nan, gave a performance which for all-round excellence she has not surpassed in Sydney. Miss Celia Ghiloni makes a good Eastern Princess, and a couple of solo dances given by Miss Maud Chetwynd proved features of the entertainment. In other respects the cast is a long one, and the characters are all well played, notably that of Mrs St. Quintin presented by Miss Clare Berry, who has a good stage presence, and as playgoers both here and in Melbourne know, acts naturally and gracefully. Amongst the male parts, those entrusted to Mr Claude Bantock, Mr Reginald Roberts, and Mr A. Lissant are specially conspicuous.

Mel. B. Spurr opened a season in Sydney on the 2nd inst.

Arthur Crane has gone to West Australia to join the Pollard Opera Company.

George Stephenson’s new English Company, headed by Edward Lauri, opens at the Sydney Lyceum on the 14th May.

The Dan Barry Dramatic Company closed a spccessful Sydney season with a performance of “Ten Nights in a Barroom.”

Miss Maud Chetwynd will play Miss Rose Musgrove/s parts with the Royal Comic Opera Company through New Zealand.

Mr Harry Roberts writes to the “Referee” from Detroit (Mich.) by the American mail to hand on Friday week : —“I shall probably visit my dear old home soon, and I shall bring some of the best plays that money can procure. Mr Belasco is still writing big successes. He is a dear fellow—as modest as he is clever. We get on splendidly. I play eight weeks with my own company, then go to London to meet Mrs Roberts.” Australian theatregoers would be pleased to welcome the clever actor home again.

Miss Belle D’Arcy, who was here with Frank Thornton and afterwards with the Daniel Frawley Company, writes from Capetown to “Lorgnette” under date of January 12, that the Frawley Company has done excellent business, and Mr Geo. Gidddens’ Company has opened to great houses at Durban. Miss D’Arcy says the Cape is the dearest place she ever struck. Hotels charge for board just twice as much per week as the New Zealand hotels, and everything else is dear in the same proportion. At the time of writing the weather was extremely hot and trying.

Mr George Rignold’s projected Shakesspearian season, which was to commence at the Melbourne Bijou on Easter Saturday, has (says a Melbourne paper) fallen through on account of the parties who promised the financial assistance drawing in their horns.

Miss Ada Ferrar has been earning hearty approval, much applause, and the laudatory notice of the Washington press by her fine performance as Madame de Semiauo in “The Marriage of Kitty” at the New National Theatre in the clever company headed by Miss Marie Tempest, who has been warmly welcomed on her return to Washington.

According to a good theatrical authority, Miss Nance O’Neill has made a hit artistically in Boston. She has got a new play called “The Fires of St. John,” and from' all accounts the financial success is assured. With the news of Miss O’Neill’s success comes the announcement that she has a new manager. He is Charles Salisbury, and has assumed charge of her affairs for the next three years.

“Lorgnette” in the Wellington “Mail” has the following :—Mr Frank Thornton, the comedian, who for some time past has been a martyr to lumbago, to effect a cure of which has, as he expresses it, “tried everything under the sun,” writes to a friend from Droitwich :— “Yours of January 12 reached me this morning, and it made me feel glad I was alive to be in touch with the outer world—for this place is really too dread-

ful for words —dead I absolutely dead ! 1 I have suffered so much with my back ever since I reached Home that when at last it climaxed itself by keeping me for ten days in bed I determined to come here for the brine bathsf I have been here just three weeks and it has been the same old game—a little better 1 much, worse ! —almost well ! 1 I— worse than here for the brine baths. I have been that I must want a new back. At all events, ‘salt’ is no good to me, and I go back to London in a couple of days. It is very trying, for I have done everything to get well. Now I am wearing, a copper disc on the sole of my right foot, and a zinc one on the left foot, weth the supposition that they will set up a current of electricity. Up to now the only result is a mass of verdigris on my right foot, which won’t wash off. .... I am afraid the final result will be as efficacious as many of the other ‘cures” I have tried.”

Mr Tom Woottwell, the parodist and comedian, has settled to play a comedy part at Drury Lane next Christmas. At the present moment Mr Woottwell is playing a “jolly-hearted sailor” at the Theatre Royal, Leeds, “where his travesty is rousing hearty laughter nightly.”

Fred W. Cairns, formerly of the Anderson and Fitzmaurice Gill companies, has been engaged for J. C. Williamson’s production of “The Darling of the Gods.”

As showing the labour and expense involved in the transportation of a big company, it is interesting to note that the Royal Comic Opera Company, now in New Zealand, is eighty strong, and that the cost for moving this small army, and the necessary baggage, scenery and props, from Australia here was close on two thousand pounds.

Miss Neva Carr-Glyn will go to South Africa with the Sheridan Company.

The Lynch Family Bellringers and their new company are. meeting with their usual success in the Victorian provinces, full houses greeting them wherever they appear.

HOW CLYDE FITCH REHEARSES A PLAY.

As General Sherman once chided a ynung soldier for dodging the streak of flams which indicated an exploding cannon ball, so Clyde Fitch would scold the stage manager who shrank from the Steady fire of annoyances which every rehearsal brings. Mr Fitch, if you please, does not lose lose his patience, or, at least his temper, at rehearsals. If he does, he internally mutters the oaths that so often accompany the embryo performances and vents his physical wrath upon the al-mond-eyed Japanese butler who attends his wants at his sumptuous Fortieth Street home. That is Mr Fitch’s “surprise ’ to his players, and every one of Mr Fitch’s products, you know, has a “surprise” of ■ome sort. Why, Mr Fitch doesn’t even remove his coat at rehearsals, and if that isn't surprising, what is ? Coatless, collar less and sometimes cuffless, the traditional stage manager has for years upon years stood for comfort. Mr . Fitch, on the other hand, retains his entire costume, and looks the quintessense of ease. Without wishing to raise a storm of abuse from the stage manager class, it is

unhesitatingly asserted that Clyde Fitch is the one stage manager in the world who is not either briefly or eternally disliked by the players in his charge.

As for the stage hands —they adore him. To adore an author-stage manager is paradoxical from the stage hand’s point of view, yet if Mr Fitch were nominated for Mayor of New York to-morrow the suffrages of the entire Theatrical Mechanics Association would be exerted on his behalf. So, you see, writing good plays is not the only unusual thing Mr Fitch accomplishes. All of these details have been carefully related to us by the press agent, but fell with only the weighted a Munchausen tale upon our calloused ears. “A stage manager liked by the actors? Pooh, pooh ! An author-stage manager positively loved by the stage hands ? Fudge !” That is what we said, and then we added something about our ancestry having established itself in Missouri. “Come, then, I shall show you,” said the press agent, and, with something of the emotions of Dante accompanying Virgil into the depths of Hell, we followed. To the Savoy Theatre he led us where Arthur Byron and a large company were rehearsing “Major Andre.” The first regular performance was but three days distant, the company had rehearsed long and arduously, various annoying mishaps had occured, and altogether we proposed nor to exhibit surprise if what we encountered really were Hades with a Mephistophelean playwright in charge. “At six o’clock this morning,” whispered the press agent, “the company adjourned after a twenty-two hours’ rehear-

sal. They are in for another long stretch.” It was now on four o clock in the afternoon, and we involuntarily prepared ourselves to forgive the tired players if they reversed the usual conditions and hurled profanity at the stage manager. As we entered the lobby of the Savoy Theatre we mentally analysed the atmosphere to ascertain if the blue . effects of the verbal outpourings within had penetrated that portion of the playhouse. Not a germ of an invective could we find. There was, however, an aroma of cigarette smoke.

“ A sure sign of a Clyde Fitch rehearsal,” whispered the press agent. “The actors always know how long a rehearsal will last by ascertaining the number of cigarettes Mr . Fitch has with him. They estimate their calculations on the basis of two cigarettes an hour.” It might have been a getaway day at the Savoy judging from the general confusion apparent throughout the place. William H. Crane had been temporarily deposed, and Mr xlrthur Byron was in the ascendant. Scattered about in the foyer were chairs, picture frames, sofas, mirrors, decanters, champagne bottles (empty), an automobile —all paraphernalia of “The Spenders.” On the stage

in their stead was “Major Andre” —and Clyde Fitch. As we tiptoed our way into the auditorium a soft feminine voice, accompanied by a piano, reached our ears. The song

was one of long ago. It sounded strangely pathetic, but right in the midst of a sweetly dainty refrain a figure arose from an orchestra chair and vigorously waved a hand. “Stop it ! Stop it ! Stop it !” shouted the interloper. “That’s much too loud !’' “Shall I try it again, Mr Fitch ?”asked the young woman at the piano. So this then was Clyde Fitch in the guise of a stage manager. He didn’t look especially ferocious. So far the press agent had not misled us. A sly peep at his hands did not disclose a club or slapstick. No more did it reveal the manuscript of the play. Mr Fitch was dressed as if for a morning stroll. A dark sac suit, stock scarf and cigarette formed his costume. When he didn’t carry his hat on his head he held it in his hand. It was at once apparent that he was the czar of this mimic kingdom. His sway was undisputed, even by the star, even by Mr Frank McKee, whose dollars were making the production possible. Standing in the wings, or lounging one side on tables and benches, were the members of the company. The stage was not set, this being merely a “line” rehearsal.

“Yes, try it again,” replied Mr Fitch to the yaung woman at the piano. “As the curtain goes up I want the tones to barely reach the rear of the house.” -Again came the strains of the simple melody, but the singer did not progess as far this time as before.

“I shall have to sing for you to give you the idea,” sighed Mr Fitch, and we fancied we heard a sigh from the surrounding players as well. “Does he sing ?” we asked the press agent . <

“Not so you can notice it,” he replied. “But you can judge for yourself.” Mr Fitch certinly emitted sounds, if he did flat it on a few high notes, and when he had finished the actress relieved him at the piano, and this time more nearly realised his demands.

“Well, that’s the best you’ve done yet,” was his comment. “Go on with the dialogue.”

Now Mr Fitch himself joined the group of players, seating himself on the edge of a table and industriously swinging one log back and forth. Clifford Constable and Ernest Lawford made their entrance, the latter taking a position at the top of an improvised flight of steps. Perhaps ten or fifteen lines were spoken without interruption when suddenly Mr Fitch leaned forward and said :

“Mr Constable, you introduced a superflous adjective in that line, one I am sure you will not' find in your typewritten part if you will take the trouble to investigate. I don’t object to your assisting n.e in writing this play, b*ut throwing in an unnecessary adjective here and there isn’t much of a contribution, now is it ?”

“Stung 1” chuckled the press agent, at the same time nudging us. If Mr Constable felt severely rebuked he did not indicate it. With a formal “beg pardon” he repeated the line as Mr Fitch nad penned it. The dialogue had now reached the point where Arthur Byron, the star, made his first entrance. He was not in costume, as were a number of players. His opening, speech was concluded and he was well along in the story of the play when he turned to Mr Fitch and said :

“Do you know. I don’t like this bit of business here where I cross left and

lay my hanhs ,on Mr Constable’s shoulders. It doesn’t seem natural to me. It isn’t the thing I would naturally do.” “Well, what do you suggest ?” asked the playwright. “It would seem more logical to me if I were to bend forward over the table and speak those lines close to his face,” answered Mr Byron. “Very well,” replied Mr Fitch. “That’s all right. If it’s more natural for you, that’s the thing to do.” Now this was no concession from the

author to star, as we afterwards learned. Mr Fitch listens patiently to all suggestions, from the lowliest to the most important members of his companies. The fact that he selects his own cast signifies clearly enough that he respects the abilities of its members, and he treats them accordingly. To such suggestions he assents as often as he insists on his original conception, arguing that the thing which strikes the player as the natural thing to do is likely to give the most satisfactory results. On the other hand, Mr Fitch is not susceptibe to the flattery or to the cajolery by which arbitrary stage managers are sometimes moved. He relies solely on his own judgment, but is willing to consider the opinion of others in forming it. The situation now called for Mr Lawford’s descent of the temporary stairway, and in rising he tripped and fell headlong to the stage. The players and Mr Fitch laughed heartily at the accident.

“I say, Lawford,” said Mr Fitch. “That’s a rattling good piece of business. Keep it in.” Lawford’s role was that of Lieut. Gregory Withers, nicknamed “Poppy,” of the British forces, an amiable but not particularly fine specimen of the AngloSaxon race. His blunders formed the basis of several comedy situations, and after an accident had revealed the amusing possibilities of the stairway tumble and Mr Fitch had approved it, its efficiency was readily apparent. We saw it ourselves and expanded our chests accordingly. “Very good,” resumed Mr Fitch. “I say there, remove those steps.” A dozen or more stage hands rushed from the wings to do his bidding. When were stage hands ever so diligent before at rehearsals ? Could it be possible that our friend, the press agent, had unconsciously uttered a truth ? Did the stage hands really “adore” Clyde Fitch ? They did, and herein lies the reason. During rehearsal < period he never knows just when he may require a stage hand or how many of them he may wish to call upon. He might, for instance, suddenly decide? to place a few trees where his original scene plot had called for a fountain, or ne might conclude that a certain situation demanded setting in the Vatican instead of a chamber in King Edward’s palace. Now, it’s a long jump from St. James to Rome, but when Mr Fitch makes it he wishes to do it speedily and the assistance of many stage hands is essential. Consequently in all Mr Fitch’s contracts is a clause providing for an unlimited allotment of stage hands. They were always present, but seldom active. For instance, during the twenty-two hours of rehearsals which had just proceeded this one, fifteen stage hands had sprawled about the property room and had received twenty-two cents an hour each for this pastime. Yes, they deariv love Mr Fitch.

I will meet you to-morrow on board the Vulture.”

It was Dodson Mitchell in the guise of Col. Beverly Robinson speaking. .“Really, Mr .Mitchell,” interrupted Mr Fitch, “this 5s not a discussion of the weather. You spoke that line as you might say, ’I hope we have pleasant weather for the picnic to-raorrOw.’ Not at all, not at all. This is the wav.”

And Mr Fitch repeated the line, giving it a totally different inflection. Again our chests expanded. We recognised the improvement of Mr Fitch’s delivery the moment he mentioned it.

Mr Mitchell did not sulk. On the contrary he remarked. “Thank you,” and imitated Mr Fitch.

The next scene brought Mr Lawford again on the stage. He had a tremendously long speech, one that approached the danger point of monotony. “I’ll show, you how to relieve that speech,” said the ever resourceful Mr Fitch. “You can cut it in two by picking up one of those clay pipes on the

table and examining it casually. Then finish the speech. See, this way.” And Mr Fitch enacted the trivial bit of “business.” The curtain had been rung down on the act and Mr Fitch had turned to speak to Frank McKee. “Mr Fitch,” called out Edward See, the assistant stage manager, “ I don’t know whaL we are to do, Mrs Smith’s dress and wig haven’t come.” “We’ll have to go on without them,” replied Mr Fitch without the slightest display of temper. “If otherwise we’re not ready, we’ll wait ; if we are ready we’ll continue.”

That best showed the disposition of the man. Nothing disturbed his equanimity ; his patience was a>. virtue that had already come to its reward. The nexs scene found Chrystal Herne as Barbara Allen on the stage. Miss Herne was palpably ill at ease. “I say. Miss Herne,” called Mr Fitch from the box in which he had been chatting with Mr McKee, “you seem a little awkward there. I’ll give you a line that will put you more at your ease. Suppose, for instance, you say, 'Don’t mind me, I’m an old climber in this part of the country.’ Yes, that will do nicely. Mr See, insert that in the manuscript, please.” Months previously Mr Fitch had completed “Major Andre,” but at his rehearsals he frequently introduces new lines that are the inspiration of the moment. And sometimes he is most ruthless in the depredations of his own manuscripts Thus the afternoon wore away, Mr Fitch having absolute charge of the stage, play and players. The process was laborious, tedious, monotonous, but Mr Fitch never faltered in his vigilance, never withdrew his attention and never betrayed sign of fatigue. Occasionally he was satirical in his comments, and once or twice there was a hint of sarcasm in his tones, but his suggestions were always timely and concise and he antagonised nobody. After realising the energy and keenness with which he conducts his rehearsals, one cannot help but wonder what proportion of the success won by Mr Fitch’s plays is attributable to stage management.” —“The Eavesdropper,” in the New York “Sunday Telegraph.”

A NEW RUSSIAN PLAY

Alexei Tolstoi’s romantic drama, “Ivan the Terrible,” was produced at the Bush Temple, Chicago, in January, by the Players’ Stock company. The venture was a great success. The play opens with the Czar disguised as an old miller, .awaiting, just before daybreak, an opportunity to see the beautiful ward of an old noble (Prince Morozoff), the Princess Terika. The scenery for this act is beautiful and the management of lights, as the day breaks on the distant hills is admirable. The poetic effect is heightened by the sound of the herdsman’s reed. The action in this act is good. It shows Terika’s love for the brave Prince Romanoff as well as the infatuation of the Czar and her betrothal to her aged guardian. The second act curtain, rising, discovers the banquet scene with the nobles at the tables in the Czar’s palace. Russian royal luxury is displayed, and the Czar soon enters and sits on a throne above and apart from the rest with his headsman, jester, and a few others. The terror and tyranny of Ivan’s rule are further developed, including his practice of sending a cup of poisoned wine to guests in disfavour. With the aid of Count Vezensky, a conspirator, he contrives to get his clutches more strongly on Romanoff because Terika loves him. She refuses to live at court, though her fiance’s daughter, a handsome, ambitious, selfish woman, eagerly shows her willingness. Both are allowed to return to Morozoff’s estates, but the Czar keeps up his relentless pursuit. The third act, interior of Morozoff’s house, passes without the Czar, and represents the culmination of Ivan’s plan to involve Romanoff in such a way as to give cause for royal vengeance. Morozoff discovers Terika’s love for Romanoff and upbraids her. Vezensky tries to carry Terika off, and in a climax she rushes up a flight of steps, seizes a large vase and smashes it to bits over the head of the pursuing Vezensky, who falls, stunned. Morozoff’s wrath leads him to side against Romanoff and the aged prince prepares to kill him in a sword fight, when soldiers of the Czar sent with Vezensky arrive an»d arrest Romanoff. The fourth act, at night in the Czar’s bedchamber, shows his superstition, cowardice and consciousness of having caused the murder of thousands, even of women and children. Terika comes in and spurns him ; a storm breaks, a vision appears at a large window, and the court jester, after a tragic scene, is killed by lightning. Act 5 shows the banquet hall again, with Romanoff on trial after Ivan’s simple, tyrannous, absolute brutal fashion. Persuaded by

the jester’s eloquence (act 4) he has agreed to crown Romanoff at court. Romanoff enters, but is crowned with cap and bells to be the fool. Fine speeches are exchanged and the action is resumed by Terika’s offering to save Romanoff by yielding to the Czar. Romanoff refuses to be saved thus, and at Terika’s request slays her. Then he drinks poisoned wine. The comedy of the play is furnished by the jester and Marlova, Morozoff’s housekeeper.