THE STAGE

New Zealand Illustrated Sporting & Dramatic Review, Volume XII, Issue 736, 14 April 1904, Page 18

THE STAGE

(By

"Comus.")

OPERA HOUSE.

THE DAMPIER COMPANY

Mr Dampier is making somewhat rapid changes. On Saturday he submitted one of the finest plays in his extensive repertoire, “Monte Cristo,” and the large audience was quick to recognise its high merit. The drama closely follows the lines of Dumas, and the leading incidents of the monumental romance are brought out with astonishing faithfulness. It is a series of vivid pictures, in which the history of Edmond Dantes is flashed, so to say, across the mind. Of course Dantes dominates the scene and dwarfs every other character, even that of Mercedes, the woman who loves him with such unfaltering faith and devotion. His light-hearted youth, his long-drawn misery in the dungeon of the Chateau d’ If, and his cynical manhood passed in compassing the punishment of the fiends who blasted his life, offer the richest field for dramatic interpretation known to the actor, and Mr Dampier finds in the part a most congenial and grateful task. His presentation of the character is nothing short of brilliant, and as the play unfolds itself one begins to understand the reason why the veteran actor acquired and has held his great reputation on the stage. Miss Lily Dampier shares the honours wiih her father, and plays with consummate grace and tact a part that might easily be made dull and uninteresting in less skilful hands. Mr Rolfe and the other members of the Company make efficient support, and the play is excellently mounted. Last night the Count withdrew in favour of the Detective in “From Clue to Capture,” which shall be noticed in due course. On Saturday, Mr Dampier will produce for the first time the drama of New Zealand life written by him in collaboration with Mr Charles Owen. It has been tried in one or two country centres, and is spoken of in terms of the highest admiration. The public will look forward to it with deep interest for several reasons, and I confidently expect to see a crowded house on the first night. The “New East Lynne” goes on on Friday, to please the ladies.

HIS MAJESTY’S THEATRE.

THE ANDERSON COMPANY.

“In the Shadow of Night,” as produced by Mr Anderson’s Company, certainly gets near the high-water mark of melodrama. The Company is specially adapted for such work, and they are aided to the fullest extent by the scene painter and stage mechanist, the result being that the audience are endowed with similar taste to those produced by a well-cooked and well-served dinner. The elements of the plot are so skilfully manipulated as to acquire almost an air of originality, while the comedy is of a refreshingly novel kind. The soubrette and the low comedian are virtually a hero and heroine, and in place of developing, as is usual, a subplot are essential factors in the main theme. The result, so far from producing any incongruity, imparts a lightness to the whole, and keeps the spectators perpetually in that bliss which trembles between tears on the one hand and laughter on the other, without the need for detaching their attention from the thread of the story. There is a stern father, a wronged son, suspected by all but his sweetheart and other good folk, a scheming nephew, and a poacher who is always ready to cut your throat for half-a-crown, an impossible parson, and a most unlikely sort of boy tramp ; there are robberies and murders and escapes from the police, rescues from drowning and burning houses, and a host of other things that rarely, if ever, happen in one family, but somehow or other Miss Guild ford, Mr Dalgliesh, Mr Cross, Mr Reis, Miss Hilda Fraser, and the rest work upon our sympathies to that extent that we believe all they tell as, and go home after the play haunted by the unpleasant suspicion that but for the faithful guardianship of our maid servant and her military lover, the street arab and the dog in the backyard, our ungrateful cousin would speedily put an end to us with his brother-in-law’s shotgun. Any-

how, we don’t feel in the least sorry that we sat the play out, nor wonder that the house is filled every night. On Saturday night there will be a change, when) “Honour Thy Father” will take the place of the present bill.

CHRISTCHURCH NOTES.

My Christchurch correspondent writes just too late for insertion last week : — Town full of Easter holiday visitors just now, and the shows all a-blowing and agrowing. The Sanford |Co., who have been holding the fort at the Royal for some time, shift camp to the Canterbury Hall to-night (Saturday), when they put on a new thriller, yclept “Tempest Tossed.” Judging by the pictorial posters, this ought to prove rather exciting. But we prefer our melodrama neat in this flat town. I think the management have no reason to grumble ; the “Players” have been drawing thumping houses all the time.

Wirth’s great circus, bigger, brighter, and better than ever, opened their season last Wednesday night, when so great was the crush at the pay-boxes that the sale of tickets had to be stopped at 7.30, and. crowds had to be turned away. A

splendid advt this for the Wirths. Mr Phil. Wirth treated his immense audience to a wonderful exhibition of horse-train-ing. “Moncrif,” “Maximus,” and “Minimum,” are equine marvels. As a trainer Mr Wirth is unsurpassed. Herr Pagel’s extraordinary feats of strength astonished evrybody. “The strongest man in the world,” said Mr Wirth in introducing him, and certainly if there are any stronger men than Pagel knocking round 1 fancy they’d be hard to find. The Howard Bros.’ performance is as marvellous as ever, and people are no nearer discovering “ how it’s done” than they were before. This is one of the best “turns” on the programme. The circus menagerie is the finest travelling. It includes five tigers, five lions, three or four elephants, a leopard, a hyaena, a number of monkeys, and a lot of Other assorted animals. The bill-of-fare is a very long one, but the items follow on so smartly that no time is cut to waste, and the audience never gets a chance to. grow weary. ♦ * * *

John Fuller has been much exercised in mind over his failure to secure a permit from the local powers that be to run a sacred concert on Good Friday Night at the Opera House, and has indited a scathing letter to the papers denouncing

the City Council as “parson-ridden.” John talks of seeking election to the Council with a view to broadening the the views and enlightening the minds of that august assembly. The fact that “the Blind Musical Students” were allowed to give a concert on Good Friday Night at the Royal has not inclined John to regard his failure to secure permission to hold a , similar entertainment at the Opera House with any more complacency.

Mr George Abbott, of your city, provides the special Easter attraction at the Royal, where he opens to-night (Saturday) with his company in “In Town,” rendered familiar here by the Pollards. This is to be followed by a number of attractive pieces of the same class. I fancy Mi’ Abbott (well-remem-bered here) will score a great artistic and financial success. He’s full of “go.”

Writing on Saturday last, my correspondent says : —Mr Geo. Abbott’s Musical Comedy Co., whose season closes this evening (Saturday) has, I believe, done well here, but as the management did not favour me with the usual complimentary. I cannot speak from personal knowledge as to the success of the shew.

My old friend Harold Ashton is here at time of writing, busily preparing for the opening of the Williamson Co. at the Royal next Friday. Everybody is glad to see Harold, who probably has more friends in these Colonies than any other showman on the track. The Williamson season is safe to boom, and we are all longing to make the acquaintance of “The Country Girl.”

Reported that an ancient Royal, newly painted and “done up” without, is to be re-decorated within and the seats reupholstered. Good enough ! It’s time; but how about the new theatre ? Echo answers, “How ?”

Wirth’s Circus must be coining money. Full houses (or rather tents), all the time. It certainly is a fine show of its k.nd. About the best travelling these colonies. Mr Phil Wirth has an excellent opinion of Christchurch as a showtown. “I have never,” he declares, “run an unprofitable season in Christchurch. In fact, it is my _ mascot town.” The pessimistic Petherick, the travelling waxworks man, will doubtless smile incredulously when he reads this. Well, I’ll back Wirth. So long as a show is any good, it’s safe to draw

here. But one-horse entertainments won’t gee in the Cathedral City, and that’s a fact.

John Fuller is thinking of standing for the Mayoralty—or a seat on the City Council !

I have received a characteristic letter from Mr M. B. Curtis, written at Vancouver. He is evidently in the best of spirits, and reports having done excellent business with Madame Slapoffski. He hopes soon to return here with what he terms a bang-up Cracker Jack Show, which seems to be the American equivalent of “Ai at Lloyds.”

Mr R. B. Young, a well-known Aucklander, who has been appointed touring manager for the Fitzmaurice Gill Company, writes, under date Wellington, sth inst., stating that there has been a real “run on the ‘Bank of England.’ The Company play the Wellington country centres up to the 6th of May, after ' Which they go to Christchurch, 9th to the 17th, thence to Dunedin, 21st to 28th. From Dunedin the Company sails for Tasmania.

Mr George Musgrove’s “Belle of New York” company entered upon their seventh year of tour at the Borough, Stratford (Eng.), last month. To celebrate the occasion the piece was redressed and supplied with new scenery and several interpolated numbers. Mr Frank Lawton, of whistling fame, reappears in his original part of Blinky Bill . * * * * Mr Arthur Bourchier told the following story in his speech at the London O.P. Club dinner recently :—“Apropos of taking our pleasures sadly, I remember the late Bret Harte telling an amusing story at the expense of the British playgoer. He was invited to a theatre party, and was taken to a theatre whereat a dismal failure was eking out those dreadful days and nights which prelude the production of its successor. They all suffered. They went back to supper, and their hostess said, ‘I daresay you are all wondering why I took you to so dull a play. Can you guess ?’ Someone suggested that the lady admired the manager’s acting. No, she couldn’t bear him on the stage or off 1 Another suggestion was that their host was financially interested in the management. ‘Not while I can help it !’ said the hostess. They gave it up. ‘Well,’ she said, ‘my husband is very particular about, his horses, and that theatre is one where carriages can quickly be called up !’ ” * * * * Mr William Winter, the dean of dramatic critics in America, is decidedly pessimistic. In his opinion “the American plays of the hour are mostly furnished by writers who manifest the brain of the rabbit combined with the dignity of the wet hen. It seems only necessary to open a hole n the wall and call it a theatre, and a multitude rushes in to sweat and snigger. There has not been a time in fifty years when the theatre was at so low a level as it has reached to-day—when the impulse is vanity, the motive is greed, the method is sordid engrossment, the aim is exclusively ‘business,’ and the result is a barren traffic and an arid waste. The present state of things will endure until the number of theatres is greatly reduced, the hydra of monopoly strangled and destroyed, a horde of incompetent performers driven into other pursuits for which they are fitted, the played-out veterans tucked up in their little beds, and the arena made clear for the men and women who can really act.”

Miss Nellie Stewart will return to Australia the first week in June.

Mr Bunth, of Bunth and Rudd, who appeared here with the World’s Entertainers, died at Moscow recently.

Miss Hilda Spong has returned from America to London to be leading lady for Edward Terry.

Miss Violet Elliott, who will be remembered by N.Z. patrons, is still playing in “The Duchess of Dantzic,” in London, and is, like so many Australians, studying singing, under Madame Minna Fischer, “who thinks very highly of her voice.”

THE WILLIAMSON COMIC OPERA COMPANY.

During the present New Zealand tour ol Mr J.C. Williamson’s Royal Comic Opera Campany, two new pieces are to be produced, namely, “A Country Girl” and “My Lady . Molly,” both of which have been produced in England, America, and Australia with great success. Referring to the production of “My Lady Molly,” at Her Majesty’s '1 heatre, Melbourne, the “Leader” says :—Mr Sydney Jones, in his latest work, has not disappointed the expectation-. of those w ho looked for a great deal horn the author of “The Geisha” and “San Toy.” r l here is higher musical quality in “My l ady Molly, though the popular taste for light and catchy airs has not been neglected. 1 he story of the. play, both in scene and incident, is reminiscent of “Dorothy,” but there is enough of originality to give it a distinction of its own, and the attractiveness is increased rather than diminished by the recalling of pleasant recollections. Miss Florence Young takes the part of the heroine, and gives a dashing representation of a very charming character. She has many opportunities of distinction musically and histrionically, and she may be complimented on making good use of them. As the wilful woman who will have her own way in spite of the tempestuous fathers and adverse matrimonial designs, she has to don male habiliments, and strut and swagger in tnis disguise with all the assurance of a young blood of the period. There are many humourous complications, including a duel scene, something after the style of the “Adventures of l ady Ursula,” and the love-making with Alice has to be played in the manner of real comedy. In the music her voice is heard to good advantage, and both in solo and duet singing is a pleasure to be appreciated. Miss Carrie Moore, in the part of Alice, the young lady whom “My Lady Molly” makes vigeurous lobe in the false assumption of the genuine suitor, has a scope for the display of vivacity and charm. Bhe exhibits characteristic archness, especially in the manner in which she plays the scenes after penetrating the disguise. Her most taking song, “I Mean to be a Good Girl Now,” is sure to ticxle the ears of the public. Miss Celia Ghiloni, who as Lady Molly’s maid and companion has also to appear in male attire, is effectively placed, and she sings most acceptably, especially in her solo, “There’s a Word r i hat I. aideHs Often Speak.” Miss Maud ( hetwynd and Miss Marietta Nash, in minor parts, are not without the chance of momentary prominence. Mr Harold i horley las the place of principal among the male characters, and as Harry Romney, the lover whom Lady Molly impersonates with a desire to secure him to herself, is a notable figure. He bears himself right gallantly, and his robust voice is heard with excellent effect. His solo, “To Y Ou, Sir Miles,” is one of the best numbers in the opera, and another, “At My lady’s Feet,” is almost equally good. Mr Reginald Roberts, as the favoured lover of Alice, has some chances of which he avails himself, and J is scry. “ here’s a Little Maid I Know,” is well liked. Mr George Lauri has a part oi which a great deal can he made. Mickey o’l o- d. a free appropriation of Lever’s Mid- < y Free, is really the pi\ot of the i'ay, and the low corm dv required to co it justice differs from the air.Ui ng 1 uPonery on which Mr l auri has g. ne * ,l b- -elitd ’o' l ' his effects. It cannot be ; a ; d that h~ a -

together realises the conception, .but he makes great fun, particularly in the scenes with the French governess. Mr Bathurst as Sir Miles Coverdale and Mr Arthur Hunter as the landlord of the inn co useful service. Ihe choral and orchestral work, both of great importance, are admirably done, and the mounting of the opera is as brilliant as could be desired.

ABBOTT'S MUSICAL COMEDY COMPANY.

Mr George Abbott’s Musical Comedy Co., which appears at the Auckland Opera House cm the 23rd inst., opened at Christchurch at Easter, and proved a great success. The “Press” . thus notices the opening performance ; —No better piece for holiday time could have been selected by the Abbottt Musical Comedy Company in which to make their debut here than the bright sparkling comedy, “In Town.” Both on Saturday and last night the Theatre was filled to overflowing, and the audiences were exceedingly enthusiastic. Mr Graham as .Captain Coddington was the life of the piece, and h (gave a very clever and artistic impersonation of that unscrupulous but amusing character. Mr Graham was excellent in the balcony duet with Miss Lita, and his manipulation of the imaginary mandolin was capitally done. But it was in the pantomime scenes, illustrating the song, “Some. Do It* This Way,” that Mr Graham excelled. All of the illustrations were good, but that of the lady performing her toiler was wonderful in its fidelity of imitation. In the French chanson a cafe chantant, in the last act, and the dance, Mr Graham was capital. The part of Lord Clanside was splendidly taken by Miss Celia Mavis. Ordinarily actresses taking boys’ parts do so awkwardly, but Miss Mavis looked and acted her part most thoroughly. She was good in the intioduced coon song, though it is a kind of melody one would hardly expect to hear from Lord Clanside, and in the other, “I’ll Keep My Eye on You,” Miss Mavis made quite a hit. One of the cleverest parts played in the piece was that ,of Shrimp, the call boy, by Miss Aggie Thorne. It was a very excellent performance throughout, especially the scenes with Miss Hetherton and the Duchess, where Shrimp gets his love letter read, and Miss Thorne also sang “Keep Your Eye on the Call Boy” well. The part , of the Duchess of Muffshire does not afford much scope for either acing or singing, but Miss Dwnt made the most of it, and sang in the . duet, “The jGolden Mein,” very well indeed. Miss Maud Lita was good as Kitty Hetherton, and ■-ang the • music in a way that elicited loud applause. Miss Wilson as Gwendoline, and Miss Louie Perfect, as Marie Belleville, filled the parts capitally. Miss Alice Mitchell, as Flo Fanshawe, danced a pas self I with much grace and effect. The other ladies were good, especially the trio in the Quakeress’ dance. Mi- Grainger played the Duke well, and Mr Whitfield made a good deal out of tEe part of Mr Hopkins The piece was excellently nut on th<- stage, and the lighting has been wonderfully improved. Herr Slapoffski conducted the orchestra. The piece will be played to-night, and to-morrow evening it will be followed by “The Gaiety Girl.” WELLINGTON NOTES. v Wellington correspondent writes : — 'I he I itzmaurire Gill company have been ! iaviny to good business. That thrilling

drama, “The Bank of England,” was remarkably well staged, and ably acted, and the same be said of “A Sister’s Sacrifice,” which followed the production of the former piece. This is a stirring story of woman’s love and devotion ; part of action being laid in the Far East give scope for fine scenery and effects, and every advantage is taken of the opportunity.

Mr I’. B Dix is keeping things in full swing at the Exchange Hall. Tod Callaway appear, to be as popular as ever, and the Bicgraph pictures, thoroughly up-to-date,- never fail to please.

The Messrs Fuller have every reason to be satisfied with the support accorded their enterprise. Every entertainment is well patronised, and the hew performers who ha’e come along are already warm favourites. Fred Bluett, Dick Davis, and the Stagpoole Trio make things merry and pleasahi while on the stage.

Herr Friedenthal has been delighting lovers of high-class music with his recitals. This talented pianist, with his exquisite taste and technique, is always sure of a warm welcome in New Zealand.

Our theatre-goers are evidently lovers of drama, as is evidenced by the well-fil-led houses recent visiting combinations have had. Dampiei s did good business and then the Holloway company followed suit. Now we have the Fitzmaurice Gil) company with the same class of entertainment, and still the money rolls in. Harold Hubert, Carrie Davie, and Carrie Hubert, late members of MacMahon and Geo. Leitch’s companies, left by the Sierra for San Francisco on Friday, to join Fortham’s company in New York. “Made Abroad” will again, says the “Academy,” soon be the complaint at the principal London theatres ; and the “Athenaeum” draws attention to the fact that in one week “of the four important novelties with which we are called upon to deal, three consist of translations from the French, while the fourth is an importation from America.” Sir Henry Irving, who was once collaborator in an edition of Shakespeare, has been taken to task by a Toronto critic for his reading of the part of Shvlock. This critic cannot conceive “the Jew that Shakespeare drew” as endowed with so much intellectual keenness by the author and yet foiled by so farcical and childish an agreement. Shylock has been taken too literally. The truth is, according tc the Canadian critic, that Shylock lends the money in order to extract a crafty and magnanihabits are beneath a good business habits are beneath a good busibess man’s contempt, gets the money, and Shylock gets his revenge by making Antonio a present of the interest through

the means of a sham agreement. He cannot possibly discharge his debt. The Jew’s purpose was to humiliate the Christian before the whole community of the most cosmopolitan city in the world. We submit this revised version of Shylock’s character to the consideration of the Auckland Shakespeare Society.

Speaking of “Ma Mie Rosette,” which the Williamson Royal Comics will probably produce here during their forthcoming season, the dramatic critic cl the Melbourne “Argus” says :—“The oftener one witnesses this popular operette, the more obvious becomes the discrepancy between the graceful and original music and the poverty of invention in the libretto. The resemblance in the second act with the plot of ‘La Favorita’ must have struck every listener familiar with the two works. But the story of ‘Ma Mie Rosette’ is still more indebted to two operettes well known in France, ‘Victorine’ and ‘La Nuit Porte Conseil.’ The dream ‘motif’ is borrowed from the latter. The weakness of the book is probably the chief reason of the work’s lack- of success in the composer’s native country. By the way, the programme was silent respecting the authorship of the nlay. The libretto is by Jules Prevel and the Armand Liorat, whilst the music is by Paul Lacome d’Estaleux, a prolific composer, who is known in England solely by this work. -His compositions, which are all in the operette category, are characterised by an originality, brightness, and daintiness that are very attractive. ‘Ma Mie Rosette,’ which was first entitled ‘The Youth of Henry IV.,’ is an excellent example. The original and best Rosette was Mdlle. Juliette Nesville, a Belgian artist, who .first created the French maid’s part in London, and whose understudy, Miss Palotta was for some years, until Miss Nesville lost her reason, when the pretty Viennese actress assumed her roles.”

The war-cry of the members of the Dampier Dramatic Co. when on tour, and used by them with startling effect on taking their departure by coach or train from the Goldfields and Hot Lakes centres, is “Ohinemuri, Waimakariri, Oamaru, Timaru, Waipukurau !”■ It sounds well when you say it quick.

Mrs Roosevelt recently occupied the Presidential box at the New National Theatre, Washington, witnessing. Miss Maxine Elliott’s performance of Clyde Fitch’s comedy “Her Own Way.” Both actress and play scored a great success, and Mrs Roosevelt between the acts invited Miss Maxine Elliott to the White House to supper after the performance

Mr Hugh J. Ward, who is playing the Scarecrow in “Humpty-Dumpty” at Drury-lane, has been engaged by Mr Arthur Collins for next season’s pantomime.

“MARY QUEEN OF SCOTS,” AT SYDNEY.

Mr Albeit Gran, assisted by Miss Lynda Raymond and Mr Harry Grattan and the 'pupils of his Conservatoire, staged his four-act historical drama, “Mary Queen of Scots,” on Saturday fortnight. Mr Albert Gran has taken the years 1566-67 of Mary’s ill-fated life for the groundwork of his play, which terminates with the murder of Darnley. Opening with a state ball in the Picture Gallery—that scene of . so many episodes of ancient courtly gaiety in Holyrood Palace, we are introduced to Mary and Bothwell and the court dancing a minuet. Marv’s favouritism to Rizzio arouses the ire ’of her husband, Lord Darnley, who in Act IF. assists Ruthven and other conspirators to kill the Italian. Act IFFshow us fir st John Knox’ house in the Netherbow, and secondly the historic interview between Mary and Knox. Act IV. takes place at the lonely house at Kirk of Field, and shows Darnley’s murder and the subsequent explosion, an effect, by the way. which was ludicrously managed on Saturday. This is the barest outline of a piece that has some really excellent scenes and powerful situations. As a whole, indeed, Mr Albert Gran’s drama adds literary beauty and force to dramatic capability in a manner sufficiently rare to make it a matter for genuine regret if such work should be wasted on account of the weakness of the support connected with his debut to the public. For with the exception of the principals the interpretation, even for amateurs, was by no means strong. As a matter of fact, amateurs in costume plays are a-., a great disadvantage. It is not given to everyone to wear the doublet and hose with convincing gallantry. Mr Gran infused all the necessary historical feeling into the weak and vaccilating Darnley, and acted superbly in the closing scene and in the incidents around Rizzio’s murder. Miss Lvnda Raymond looked to the life the beautiful but unfortunate Mary Stuart, and acted with all her customary grace and fervour. The difficult scene in' Act 11., when Mary appeals to the soldiery for help was well carried out. Her regal costumes evoked great admiration. —“Newsletter.”

“A MAN OF HONOUR,” AT THE AVENUE.

An enthusiastic welcome was accorded the revival of “A Man of Honour” at the Avenue Theatre, London, recently. The Stage Society were responsible for its first trial production at a matinee performance some twelve months ago at the Imperial, when it created a decidedly favourable impression. In this domestic tragedy Mr Somerset Maugham’s philosophy has a tendency to lead us to believe

that a toe-conscious sense of honour is incompatible for practical dealing with some Of tlv grave issues of life. And here, in the case of Basil Kent, a man of culture and high intellect, we feel wholly persuaded l that his quixotic attitude towards the girl he has shamed —the illiterate Jenny Bush—is noble and highminded in theory, but fatal in practice. Tn this sordid human story Mr Maugham has not spared his hand to remorselessly reveal the squalid facts resulting inevitably from the ill-assorted union of an able man of letters and an ill-bred, meanminded barmaid.

The plot, strong and convincing, shows us Basil Kent, a barrister of distinction, who, having betrayed Jenny Bush, a barmaid of a Fleet Street tavern, has decided that in spite of his growing affection for a widow lady, Mrs Murray, his only honourable course under the circumstances is to sacrifice his feelings and marry the girl he has ruined. His friend. John Halliwell, happily and suitably

married, endeavours to persuade him of the impracticable foolhardiness of such a proceeding, but Basil Kent carries out his intentions.

The second act reveals his grievous error and justifies Halliwell’s gloomy prognostications. For the vulgar jealousy, the captious little-mindcdness of the woman he has wedded, and the constant intrusion of his wife's brother, a typical cad, drives Basil Kent from the home which aft f, r twelve months becomes intolerable to him, and during which time his affection for Mrs Murray and hers for him has deepened into a mutual confession of their love. Jenny’s suspicions are at length definitely aroused, and when, on matters reaching the climax, her husband leaves the house she follows him to Mrs Murray's abode, where, confronting them both, she pleads with Basil to return to her. but unavailingly. for, irrevocably realising his impossible position as Jenny's husband and companion, he tells her that a separation is the only course le'( them. Jennv, stunned at this

revelation of her husband’s indifference, and unable to foresee any happiness in life under th< circumstances, throws herself into the river as the only method of ending her misery. The story concludes with Act TIL, and it is a pity that the fourth act has not been eliminated, since it is entirely superflous, failing,as it does, to throw any fresh light upon the pro’ lem, and leaving one in uncertainty whether Hilda Murray finally makes up her mind to marry Basil or her pOet lover, Brackley.

Mr Justin Huntly McCarthy is dratising Longfellow’s “Hiawatha.”

King Hedley, the well-known American actor, is in Sydney at present.

Williamson's English Comedy Company opened at Adelaide on Easter Saturday night.

Pete Hughes was tendered another benefit by the profession at Melbourne Her Majesty’s.

James Welch, the bn dish comedian, is touring South Africa under the management of Sass and Nelson. His chief piece is “The New Clown.”

Pollard’s Opera Comj any include as principals Arthur Crane, Olive Lenton, Nellie Wilson, J. Ralston, Wm. Percy, Harry Quealy, Charles Albert, and Jessie Ramsav.

Tom Pollard will anxiously await the financial results of the tour of the Royal Comics in New Zealand. If not too good, the festive Tom may yet be seen on his native heath as opera manager, and J.C.W. will, as of yore, lease his operas to him.

Will Percy, of Pollard’s Opera Company, has been taken into the management, anf! has for the present abandoned his proposed visit to London.

Mr Georg: S. Titheradge is again in harness. The popular actor was appearing in “The Question,” an original threeact play, at the Court Theatre, London, when t'he mail left.

Mr Nawn, who was with Rickards some two years ago, has organised a company which includes some of the gems of the American vaudeville stage, for an Australian tour, opening at the Sydney Palace on May it next. Rial, who was at the head of “The World’s Entertainers,” is manager, and writes that the combination will eclipse all other importations.

Mrs Walter Sanford writes from Christchurch unde ’ date April 4 :—“Dear Comus : I though you might be interested land, I thought you might be interested in hearing of our success in Christchurch.

We are closing four weeks of phenomenal business, and the people of Christchurch have re-affirmed the verdict of the Auckland critics by welcoming the company plays with enthusiastic curtain calls every evening. Strange to say, the play after . “TLe Power of Gold” made the biggest impression was “The Struggle of Life,” the play dealing with life in New York City. In Auckland the play was not so understandable as the rest, bur, here the public liked it immensely. Our business has surprised ourselves, as everyone warned us against Christchurch ' As to the newspaper critics, they placed Us in the same category as Wilson Barrett, Nellie Stewart, Cuyler Hastings, Willoughby and Geach s ‘Stranger in a Strange Land,’ and all the other companies that have visited this place within the last two years that is to say, they didn’t approve of us; but the people here have long since learned to depend on their own judgment, and we see the fact exemplified very strongly, that, criticism, to be effective, must be approached in a dignified and consistent spirit. We play two weeks on the way to Dunedin, filling an engagement in that town of four weeks, with Wellington to follow, and then the Lyceum Theatre, Sydney, for five months.

Even Sir Charles Wyndham, popular actor as he is, is finding that English audiences are growing tired of problem and other unpleasant plays. His latest production at the New Theatre, London, is entitled “My Lady of Rosedale,” and though exceedingly well-played it has not caught on. It is an adaptation from the French, and the story is utterly unEnglish. In French it was plausable ; in English it is impossible and unpleasant. Moreover, there is practically no story. Sylvia Fitzallan is separated from her husband, who is in debt. She wants to sell her estate, Rosedale, and the purchaser, Mr Wigram, buys it because he is in love with the unhappy chatelaine, whom he has met at Monte Carlo. She seeks a divorce from the undesirable husband, who at once tries to make it up when he finds her possessed of a substantial income, and then takes the child of the marriage, to whom she is devoted. It devolves upon Mr Wigram to try and bring Fitzallan round to the divorce point of view, and he finally succeeds, but not until eight thousand a year conveniently falls to the miserable husband’s share by the death of a relative at the psychological moment. Of course, it is wholly impossible that Englishmen would behave like Wigram and Fitzallan, and an English audience will not in the least believe that any people in this thin story are anything but French, nor, indesd, will they be entertained by this study in divorce proceedure.

Anthony Hope (in collaboration with Harrison Rhodes) has contributed as his last dramatic venture “Captain Dieppe,” which appears to have scored a success at the Duke of York’s Theatre. The plot is briefly outlined in the last English files. At Monte Carlo the Countess of Fieramondi has played heavily, lost more than she can pay, borrowed of a shady individual, one Paul de Roustache, to whom she also has written compromising letters. The Count not only knows of the friendly terms (existing between his wife and Roustache, but he is furiously jealous, and when the play opens the pair are not only not on speaking terms, but they do not see each other, though sharing the same house, which, furthermore, the Countess is forbidden to leave. But Roustache is pressing for money, and the Countess is at her wits’ ends. Her witty, reckless and daring young cousin, Lucia, comes to the rescue. She dresses the Countess in her clothes, and the pair give out that Lucia has gone to Genoa, whereas, of course, it is Emilia, who goes to borrow the money wherewith to pay off Roustache. Then the charcters branch off in a different direction. For Emilia, Countess of Fieiamondi’s intrigue and trouble we no longer care, it is in Lucia and the elegant, gallant soldier of fortune, Captain Dieppe, that interest henceforth centres. The latter has come to Fieramondi as the ambassador of a band of Legitimates, plotting to restore somebody to some throne. The Count is in sympathy with • the design, and the mendacious, courtly Captain Dieppe is welcomed. Lucia, masquerading as the Countess, of course, falls in love with him, and he with her, and between them there are delightful comedy scenes of misunderstanding and banter, while a decidedly lurid melodramatic touch is imparted by the search after Dieppe by the French detectives, who are, of course, baffled by the resourceful gallant. This, briefly, is the skeleton of the new p lay, which a dozen adjectives would not rightly describe. To begin with, it is difficult to say what manner of play it is. It is called by its authors a “light comedy,” but is it not also a farce and a romantic drama ? By whatever names it may be called, however, it is essentially clever, amusing and fresh, and what can the public desire ? Of course, it is

wholly impossible, but its intrigue is vastly diverting ; it is crisply written, it is airy, picturesque and never dull.

Thus “Peter Quince,” in Melbourne “Punch” Pete Hughes is one of the best know figures in the theatrical profession in Australia, although it is many years since the public have seen him in war paint in the full glare of the footlights. “A-many years ago,” when Mr John F. Sheridan brought “Fun on the Bristol” to Melbourne, and made the Widow O’Brien a character of enduring fame, one of the company playing a small but not unimportant part was the dapper little dentleman, who was already growing bald at the top, and was even then known to his fellowworkers as “Pete.” He was the merriest and most light-hearted af men, and then, as now, the description of Yorick, the King’s jester, was applicable to him —

“A fellow of infinite jest. Take him for all in all, I shall not look upon his like again.” But if Pete’s head was bald, it was remarkably level, and if in his stray moments he was a fellow of infinite jest, he had great capacity for serious managerial business. The keen and shrewd J. C. Williamson was not slow to perceive this, and Pete Hughes abandoned the footlights for the unseen hard work of management. He became one of Mr Williamson’s most valued and trusted lieutenants, taking charge of his companies, and piloting them through the other colonies and New Zealand.

Mr David Belasco, the author of “ The Darling of the Gods,” who announces his intention to build a theatre in London devoted exclusively to his productions, comes of a London Portuguese-Jewish family, and is forty-five years of age. His first play was a melodrama called “Jim Black ; or, the Regulator’s Revenge.” The action demanded the services of a mob in one scene, “ and,” says Mr Belasco, “ I got a lot of San Francisco hoodlums to appear. They were so much m earnest and battened up the members of the cast so horribly that we had to drop the curtain.” He is a smart stage director, and was the dramatic instructor of the well-known American actress, Mrs Leslie Carter.

The uncopyrighted song, “Hiawatha,” which Miss Carrie Moore introduced into a London musical farce, is undergoing a series of quick changes. It was originally a piece of music which the composer thought so little of that he neglected to copyright it in England, where it was “dumped” by enterprising publishers. In Australia it was next converted from a solo into a double sextet, sung to a sort of complicated cakewalk. Now in London it has been! expanded into an “illustrated love-song” at a leading music-hall. The scene is an Indian encampment on the shores of a beautiful lake. It is dawn, heralded by the song and chorus of chiefs and squaws. Then enters the love-lorn Minnehaha, and presently Hiawatha, to plead his passion in a lyric set to the strains of the haunting American melody.

Jo-Jo, the Russian dog-faced man, who excited considerable curiosity in Australia some years ago, died recently at Salonika, from pneumonia. He was a native of Kostroma, and was discovered by Barnum, who boomed him as “the wonder of the world.” Jo-Jo was merely a youth with an abnormal growth of hair on his face ; and from what would have been the despair of an ordinary British boy the Russian freak was able to amass a fortune.

Some of the American papers do not appear to have a very high idea of popular taste in London. Speaking of a recent West End production, an American paper states that “as it was not a success, New Yorkers may look for it with a good deal of confidence next season.” In such circumstances no author need be without hope, for in the hisses of a first-night audience in London he may read the promise of a triumph beyond the seas. A London contemporary points out that at the very moment when the American scribe was penning his little gibe, no fewer than seven London successes possessed the boards in New York.