THE STAGE

New Zealand Illustrated Sporting & Dramatic Review, Volume XII, Issue 740, 12 May 1904, Page 18

THE STAGE

(By

“Comus.”)

OPERA HOUSE.

“THE FRENCH MAID.” The last production of Mr Abbott’s Musical Comedy Company is not the best, but it is a lively trifle that serves to keep the audience in excellent spirits. Its chief merit is that it gives that brilliant comedian, Fred. Graham, an opportunity of posing for two hours or more as the most egregiously amusing ass of a Cockney waiter at a French hotel. The man, or woman, who can keep a straight face when Chawles the waiter stands in hopeless idiocy upon the stage, should be carefully shadowed after leaving the theatre, for he or she is a possible burglar or sandbagger, whose dark thoughts forbid a smile. In other words, Chawles is good. He is so good that the average playgoer doesn’t care much whether the others are of any particular account or not. Yet some of them are. Miss’Mavis is a French Maid with the attributes of the fawn . and the “feathered songster” whose name she bears, and little Miss Aggie Thorne is a Dolly whom it would break the most adamantine of hearts to leave. She sings in this comedy with bewitching grace, and the man with an ear for tuneful morsels wants to 1 now why she has heretofore been kept in the vocal background, if one may employ such a phrase. Miss Lita is a lively Lady Hawser, who flounces in and out with every regard for the proprieties, and Miss Wilson’s French landlady is exactly what a French landlady should be, as the reviewers say when dealing with biographies. The men are not so charming as the ladies, probably because they are men, but they keep things moving. Mr Lynch is a good French Hoffman, and Mr Grainger is a hearty sailor, but Mr Whitfield is not dignified enough for a real Admiral, and not funny enough for the bogus article. Mr Walter Whyte is a naval lieutenant who evidently got his commission on the strength of his singing capacity, for he throws in two or three lovely little melodies. Moreover, he acts gracefully, and should rise in the service. Miss Nelly Dent comes on for a music-hall turn with Mr Graham, which includes an intensely diverting skit on the modern melodrama, and Miss Mitchell dances a tarantelle with fascinating vigour. It is impossible to say much in praise of the chorus and at the same time retain my reputation for truthfulness, but the orchestra and the scenic artist do deserve a word of encouragement. A surprise is promised for Saturday, the last night of the present season.

HIS MAJESTY’S THEATRE. “ THE FACE AT THE WINDOW.”

Mr Anderson made a lucky stroke in selecting “The Face at the Window” for his farewell production. It has been drawing enormous houses during the week and will, there is no doubt, fill the spacious theatre for the next three nights. Whatever may be said about the work of the author, and the plav even from the literary standpoint is not without merit, there is not the slightest doubt that it is magnificent melodrama. The conception of a part that enables Walter Dalgleish to alternate the character of a polished Italian Nobleman, with that of a first-class graduate in the most diabolical of crimes, is a stroke of genius. “The Face” is the sort of play that the fat boy in Pickwick would have given half-a-day’s food for. As a specific for making the flesh creep,"ft is warranted to operate on the most callous human being. When the howl of the wolf is heard and the limelight is turned on “the window,” the packed auditorium draws its breath, and when the awful face appears the shudder that runs along the seats would provide power enough to run the electric light. The play is good in other respects, and is splendidly staged and stage-managed by Mr Frank Reis, but the main attraction is the Face. Incidentally it is a pi l that the English tourist, who does the funny business, is not less like a poacher. Miss Guildford, Mr Cross, as the clever detective who dies and is brought to life, Mr H. Douglas, and others, put in a large amount of good work.

The Company will during the month tour the Waikato and Goldfields.

MR. MEL. B. SPURR

Mr Mei. B. Spurr, the famous Monologue Entertainer who, after achieving a first-class reputation in London, has enjoyed a most astonishing vogue in Australia, opens at His Majesty's Theatre on Monday evening next under the management of Mr Herbert Flemming, who is known as one of the best actors that ever came to the Colonies. Mr Spurr has just concluded a nine weeks’ season in Sydney. He is described as combining the best qualities of all the popular monologuists, including Maccabe, and is said to rivet the attention of his audience from first to last. The entertainment depends who)' upon the richness of its inherent qualities and owes nothing to extraneous aids.

CITY HALL.

MONTGOMERY’S ENTERTAINERS.. This popular Company opened at the City Hall last night. Owing to the early hour at which these pages go to press, I am unable to notice the performan)ce in this issue. But Mr Montgomery has been before the public so long and has always kept faith, that we are prepared to accept his owrt assurance that the present show is good all through and quite up-to-date. Moreover, the Southern critics have given him the kindliest and most favourable notice, so that there is every probability of the City Hall being wellpatronised during the next few weeks.

Mr Montgomery enjoys the distinction of being the last professional tenant of the City Hall, which has been) sold to Messrs R. H. Abbott and Kneebone, and will shortly be transformed into a business block.

MR J. C. WILLIAMSON’S ROYAL COMIC OPERA COMPANY.

Before reaching Auckland, Mr Williamson’s Opera Company will appear in a few of the principal intermediate centres. Their dales are : —Napier, Thursday and Friday, May 19 and 20 ; Masterton, Saturday and Monday, May 21 and 23 ; Wanganui, Tuesday and Wednesday, May 24 and 25 ; New Plymouth, Thursday and Friday, May 26 and 27. The pieces to be staged are “ A Country Girl ” and “ My Lady Molly.”

Mr Claude Whaite, the popular touring representative for Mr Herbert Flemming, has been in Auckland for several days preparing the way for Mr Mel. B. Spurr. Mr Whaite left New Zealand about two years ago under engagement to Mr Brough, and toured the East with that gentleman’s Company. When Mr Brough took a rest in London, Mr Whaite joined Mr Flemming. He is looking exceedingly well, and has evidently enjoyed his run round the world.

Whitehouse’s Bioscope and Star Variety Company are travelling overland by private conveyance frpm Rotorua to Mangaweka, and showing at all places en route, including Taupo, Rae-

tihi, Karioi, and Taihape. This reliable entertainer is always able to report satisfactory business, as his programmes are well varied and up-to-date. Mr James Fitzpatrick, of the Company, is a brilliant performer upon the mouth-organ, banjo and brass whistles, while the Bioscope scenes are bright, clear and satisfying.

Mr Frank O’Sullivan, representative of Pollard’s Opera Company, writes to the Christchurch “Press” from Perth under date April 14th : —Back again in Australia. It is safe to say that marriages, sickness, and a desire to see England created more havoc in our ranks than would have resulted from Boer pompoms and Mauser bullets during our South African tour. The heaviest casualties occurred amongst the ladies. The two Campions and Karkeek sisters will be most missed. Mr Pollard arrived in Perth in advance to secure reinforcements for the company. Miss Olive Lenton and Messrs Arthur Crane and Bob Needham are amongst the fourteen new members. Alice Pollard has come along splendidly in her profession, and the same may be said of Jack Ralston, who has been playing all the leading baritone parts since O’Connor went to England. Percy and the other old boys still retain their popularity. Business in Perth was very good. The company is now in Kalgoorlie. We play a return visit here, and then go on to Adelaide, with Tasmania t'o follow. To give some idea of the changes in our ranks —irt the “Casino Girl,” Miss Olive Lenton now plays the

name part, Alice Pollard (Dolly Twinkle), Charlie Albert (Fromage), Marie Metcalfe (Mrs Rocks), and Jack Ralston (Harold Stuyvessant). Almost a new cast since we played the piece in New Zealand. New business and songs have been) introduced, and it goes much better than it did previously. In fact, we established our record week with it in Johannesburg.

I am glad to see that the critics elsewhere are speaking in) terms of praise of Mr Hamilton Stewart’s admirable presentation of the part of Torpenhow in “The Light That Failed.” “The Don,” in Melbourne “Punrh,” writes :—“Mr Hamilton Stewart distinguished himself in a special way as the hero’s chum champion and comforter. As the man with the sunny an’d unselfish nature, fond of pleasures, yet linked to the fortunes af his afflicted friend with a love “passing the love of women,” Mr Stewart stood out in a new light. From every standpoint his unforced effort was an admirable one. There was about it a most winning air of freedom, frankness and freshness. When force was demanded the actor supplied it in full measure, and in the sentimental passages he was never at fault. More, perhaps, than in any other situation of the piece, Mr Stewart’s art and sympathy sustained him in the second act. Kipling’s text is at this point followed with painful yet pathetic realism. The acting of Mr Stewart as he kissed the forehead of his blind friend hushed the house to the

stillness of a church, and the silence was not broken until the weight of the lowered curtain thumped on the staae. A ‘demonstration’ followed, and when the curtain was raised Mr Hastings ‘took the call’ hand-in-hand with Mr Stewart. It was the only dramatic ‘moment’ of the night—the one effect in which there was no commonplace colour of clap-trap melodrama.”

Mr Geo. H. Barnes, of Musgrove fame, has been engaged by Mr George Stephenson, and goes ahead of “Mama’s New Husband,” in Australia.

“The Kickapoo” is the title of a new dance invented in Paris, and successor to the cake-walk. It was done in England some weeks ago for the first time at the London Tivoli, and English journals hail it with joy and thankfulness as superseding the eternal coon prance.

Norval M’Gregor, who will be remembered as leading man with the Janet Waldorf Company, is, the last mail advises us (says “Touchstone” in “Punch”), supporting Miss Nance O’Neill, who is in Boston, playing “The Fires of St. John,” “The Jewess,” “Hedda Gabler,” “Magda” and “Masks and Faces.” Mr M’Gregor has received most favourable criticisms for his sound judgment and artistic acting. Miss O’Neill is proving a big attraction. The last advice of Janet Waldorf is that she is still at her home in Pittsburg.

A. benefit for the Actors’ Home lately realised £lO6O in New York, and another one in Boston brought in some £4OO.

Mr Harry Plimmer, the popular young New Zealand actor, lias been appearingin “The Darling of the Gods” with the Knight-Jeffries company at Melbourne.

At last Miss Ada Reeve is to have a comedy all to her sparkling self. There will be some music in it, but not enough to make it a musical comedy in the generally understood sense, for “Winnie Brooke, Widow,” which is the work of Mr Malcolm Watson, of the “Daily Telegraph,” and “Fordwych of Aldwych,” is, like “Kitty Grey,” above all, a comedy with a story. I (the critic of “M.A.P.”) was privileged the other day to look into this story, while it was being fitted by Mr Malcolm Watson’s partner with dialogue and lyrics, and I discovered in it two features which should be of immense assistance to Miss Ada Reeve’s venture. One was a capital plot, and the other was a first-rate part for Miss Reeve. Although there is no denying the versatility of this delightful actress, she has her “favourite characters” like most of her sisters, and it is a great thing for the future of the new corned or it should be, that the part after which it is named is one which positively bristles with the kind of opportunities that are nearest to her art and dearest to her heart.

CHRISTCHURCH NOTES.

My Christchurch correspondent writes, just too late for last issue : — Williamson’s Royal Comics finished up here on Tuesday to the best night, financially speaking, of the season. Every night the theatre was full, but on the last night the people were jammed as tight as sardines in a tin. I got to the festive scene shortly after 7 p.m., but found every seat in the dress circle and most of the seats in the stalls taken. With some difficulty I at last got a place in the fourth row of the stalls. Later arrivals had to stand or go away, and when the curtain rose on the final attraction of the season, “ The Mikado,” the house was densely crowded. I believe that if a good company like this were to come along with a Gilbert and Sullivan repertoire exclusively they’s fill the Royal every night for a month. “ The Mikado ” went well from start to finish. Miss Florence Young made a most fascinating “ Yum Yum,” and sang delightfully. Her rendering of “ 'rhe Sun and I ” brought down the house, and she got encores for all her numbers. Miss Celia Ghiloni (who made such a conspicuous success in “ The Country Girl,” as the Indian Princess), made an ideal Katisha, and if. in the ungallant words of Ko-Ko, she was “ a most unattractive old thing —tra, la !” —it was all the make-up, which was wonderfully artistic. Miss Ghiloni is a most finished vocalist, and one of the most accomplished actresses (in her line) we have ever had in 'New Zealand. Miss Evelyn Scott (also most successful in “ The Country Girl ”) repeated her success in the small part of Peep 80, and Miss Maud Chetwynd made a charming Pitti Sing. Mr Haigh Jackson, as the Mikado, was appropriately dignified, and scored heavily with “ Let the Punishment Fit the Crime.” Mr R. Roberts, as Nanki Poo, never appeared to such advantage before, and his rendering of “ A Wandering Minstrel I ” was faultless. Mr Bantock’s Pooh Bah and Mr England’s Pish Tush deserve honourable mention. The former impersonation especially was extraordinarily clever. Mr Laori’s Ko-Ko was good, but nothing like as good as his Barry in “ The Country Girl,’’and his singing of “I’ve Got a Little List ’’ (although it got a triple encore) would not bear comparison with Howard Vernon’s rendering of the same familial - song. But the performance, as a whole, was first-class, and the delighted audience encored everything—sometimes three and. four times. The scenery was superb, the dresses gorgeous, the music unexceptionable, and ringing cheers greeted the company after the curtain fell for the last time.

The Chas. Holloway Dramatic Company followed the Royal Comics at the Royal, opening in “ The Two Little Vagabonds.’ Some of the lady members of the audience were so carried away by their feelings that they “ sniffed,” and even sobbed, audibly. Imaginary woes will move to tears some people who are not moved at all by real suffering. The pair of small vagabonds were most excellently represented by Miss Beatrice Holloway and Miss Sophie Lashmore. Miss Ida Gresham is to be warmly congratulated upon her admirable acting as Mrs Thornton. She is a most capable and charming actress. Miss Faning in the charactf part of the drunken wife of the Gaffer was excellent. The company is a very strong one, and includes such well-known artists as Vivian Edwards. Godfrey Cars. J. P. O’Neill, J no. Hesford and Frank Hawthorne. On Monday there will be a change of bill, when “The

Shangraun ” will go on. The receipts on the second night of the season exceeded those of the opening night by some £25 —an encouraging state of things for the management.

WILLIAMSON’S ROYAL COMICS

The Royal Comic Opera Company is “booming” all the way up from the far South, and Aucklanders will be ready to welcome it “ Lorgnette ” in the Wellington “Mail” thus refers to the opening production of the company in the capital city :— “After a lapse of something like eight years Mr J.C. Williamson’s Royal Comic Opera Company made its re-appearance at the Opera House last Wednesday evening. The reception which this talented organisation received was of a very enthusiastic character. The house was literally packed from floor to ceiling by a delighted audience. The initial production was the musical comedy, “A Country Girl,” a play which brings with it the hall mark of success from England, America and Australia. It is in two acts, the first represents a rural Devonshire scene, while the second shows the interior of the Ministry of Fine Arts. From every point of view both sets are admirable, and reflect the utmost credit on Mr Williamson’s scenic artists, Messrs W. Little and John Gordon. One of the principal features of “A Country Girl” is the gorgeousness of its dressing. The costumes worn in the second act exceed in beauty and attractiveness anything that has picbably ever been seen on the New Zealand stage. The company which Mr J. C. Williamson has sent to New Zealand this time is an exceptionally strong one, and the performance is of an unusually nigh order of merit. The opening chorus, “ Under the Harvest Moon,” attacked with power, rendered with effect, and enthusiastically applauded. Indeed, the work done by the chorus and ballet from the rise to the fall of the curtain, and they had plenty to do, was a marked feature of the production. The principals, one and all, vied with each other to make the performance a success, and ably succeeded in their endeavours.

Since her last appearance in Wellington Miss Florence Young has made a vast improvement as an actress, whilst her rendering of the numbers allotted to the part of Marjory were artistic pieces of vocalisation. Miss Evelyn Scott achieved a distinct success as the village hoyden, Nan. She scored a great hit with her songs, “Try ‘Again, Johnnie,” and “Molly, the Marchioness.” Miss Maud Chetwynd gave a splendid impersonation of the milliner, Madame Sophie, scoring heavily in the duet “ Two Chicks,” with Mr Lauri. Miss Celia Ghiloni created a good impression as the Princess Mehelanch, of Bhong. This lady did very well in her rendering of the solo “ Under the Deodar.” Mr Haigh Jackson, as Geoffrey Chailoner, cut a picturesque figure in naval uniform. He is the possessor of a voice of good quality, which was heard to advantage in the songs “ The Sailor’s Life ” and “ My Little Girl.” Mr Jackson also took part with Miss Florence Young in the duet “ Boy and Girl.” Mr George Lauri as Barry, has a part that fits him like the. proverbial glove. He is given abundant opportunity to show his versatility, and he scored heavily in the songs “ Yo Ho, Little Girls ” and “ The Pink Hungarian Band.” He also made a hit in the second act with a lecture on “ Man,” given in his disguise as a fair haired gushing- dowager attired in a ball dress. Mr Claude Bantock got a hearty reception on making his first appearance of the sham Rajah of Bhong. His impersc nation of the character was a quaintly humorous one, and the manner in which he sang the two songs allotted to him, “ The Rajah of Bhong ” and “ Peace I Peace !” was greeted 'with roars of laughter. Mr Maurice Dudley played well as Granfer Murhmery, whilst others that deserve mention are Mr Arthur Hunter, as Joseph Verity, and Mr Reginald Roberts, as Douglas Verity. Miss May Hill, as the solo dancer of the company, created a good impression for her graceful dancing of a mazurka. M. Leon Caron wielded the baton and deserves great praise for the excellent work done by chorus and orchestra. The incidental dances, all of which are arrang-

ed and invented by Miss Minnie Everett, are uncommonly striking. Mr Henry Bracy anh Mr Spencer Barry are responsible for the excellent manner in which “ A Country Girl ” is staged. Summed up, the performance is a notable one, and has been most enthusiastically received by Wellington theatregoers. A successful run of “ A Country Girl -* is assured, and if the other pieces to be played are staged in the same elaborate style the season of Mr J. C. Williamson’s Comic Opera Company will certainly be a record.

Mr Albert Kerr, the trick cyclist, has joined the Ada Delroy Company at Newcastle. Mr Tod Calaway and Mr Robin Hay open next Saturday. Mr Bell at present has a very compact company.

According to the latest London files, Mr Guy Boothby, the well-known novelist, and a South Austr'alian, is soon to make his appearance as playwright.

Mr J. L. Toole was seventy-four last month, and received many birthday presents. A big basket of flowers, “With best love from Toledo,” was sent to his old friend by Sir Henry Irving.

Messrs Sotheby put up for sale, in London recently, a relic —probably the only one in existence —of Garrick’s schooldays. It is the portion of the fly-leaf of a Greek Testament used by him when at Lichfield School, inscribed in his autograph to the effect that he lends “ George ” (his brother) the book, desires him not to abuse it, and states the penalty if he does transgress in that way that David will “ fag ” him. Although but thirteen years of age at the time—for the memo, is dated 1729—the writing unmistakably shows the same characteristics as his later hand. It is signed in three places.

It is said that Yvette Guilbert’s intentic n to found, with the assistance of her husband, a new theatre in Berlin after the style or the Paris Opera-Comiq ae. Having been able, owing to her popularity, to make such large sums of money by singing a few simple airs, which occupy but half an hour at the most, it seems a pity (says the “Stage”) that the artist should burden herself with the cares of management. Her husband, Dr. Schiller, probably knows less of theatrical management than she does.

Melbourne playgoers (says “ Punch ”) will remember Miss Nina Osborne pleasantly for two reasons, because she was a. rising member of the Comic Opera Company - associated here with later Gilbert und Sullivan successes, and because she is a sister of that permanent favourite, Miss Ida Osborne. Nina Osborne, after leaving Melbourne, went to New Zealand, and then to South Africa, as a member of Pollard’s Opera Company. Instead of returning to Australasia, she joined the George Edwardes’ Gaiety Company under the management of Wheeler (the J. C. Williamson of South Africa). She was to play small parts, and understudy larger ones. Upon the third performance of “ A Country Girl ” she was called upon at short notice to play Nan. She had no advantage of rehearsal, yet made such a success of the part that she was directed to play the character for the remainder of the run. Her engagement with Mr Wheeler lasts till next October, when Miss Nina Osborne intends to go to London and try her hi* k there

OTHELLO ” ON THE JAPANESE STAGE.

The Japanese stage—the most advanced form of Japanese art—is undergoing a whirlwind of revolution in the last two vears ; that is to say, Westernising. Electricity is beginning to be used abundantly and adroitly. The stage setting has been effectively simplified. The work of stage-setting, particularly in Tokio, had been controlled by the Hasegawa Company for nearly one hundred years. The company won the reputation of making the stage real. They did not spare expense in production. They would build an exact temple on the stage, if a temple ought to be there. They would not mind removing a cottage from the country on to the stage, if "there were a country cottage scene. No wonder it took fully one hour between the acts to perfect the stage setting, however many people were employed. It was only a few years ago that the company learned of its foolish waste of work and money. And they began to use the American “ drop.” The use of the drop curtain marked a revolution for the Japanese. If only they could see 1 he Darling of the Gods ” they would still find many a thousand things to improve their own stage. The Belasco production is a very clever combination of Oriental and Occidental. However, it is said for the Japanese eye that it is far too American, like the pictures of Whistler s Japanism. I have much to say against it. Remember. J am a -Jap. This year (the thirty-sixth of the “ enlightened ” Meiji era) saw an epochmarking- transformation of the Japanese stage in the very staging of Othello in Tokio. Shakespeare's great tragedy for the Japanese? Acs, surely it sounds to you absurd, but it is a fact. You would be surprised if I told you that, the managers of the J apanese Othello fed their purses considerably and the players (Oto Kawakami Company) earned a lasting reputation which was not allowed them until to-day. We had been laughing at their art as amateur. Some three years ago Oto Kawakami ai.d Mme. Sada Yacco passed through this country on their way to the Pans exposition. They gave many performances to Americans, which were highly praised. We Japanese used to denounce their unwerthiness of such an admiration. We even ventured to murmur about Americans’ utter want of discrimination. But still greater recognition they won in England and France——a reputation g-reater than Americans ever gave them. They played in every country in Europe. Undoubtedly they made their “ foreign tour ” partly from eagerness to study Western stagecraft. Their ambition was to revolutionise the J apanese stage, as the leaders of the new acting. When they returned home, they commissioned Suiin Emi—a novelist of ' high repute—immedi-

ately to translate “ Othello ” for them. Even the school children in Japan know. Shakespeare’s great name. But there is no complete translation of his work. Some ten years ag - o Prof. Tsubouchi, a noted Shakespearian in Japan, undertook to produce a Japanese version of “ Hamlet.’’ but without success. Three vears ago Samuro Takayasu published his translation of “ King Lear,” which was spoken of favourably. But Suiin Eini was the very first to attempt the adaptation of Shakespeare to the Japanese stage. We wondered what, he could do.

We were told that he would present to us a certain modernisation of “ Ot-

hello,” as well as its Japanisation. We promised ourselves not to be too severe, since he was undertaking a work which appeared impossible at once. We would be satisfied, ,we said, if he produced.some shadow of the play —even the faintest shadow —showing lago’s terrible villainy ruining Othello’s noble mind with its poison. Did he succeed in his adaptation ? Yes. he did. And the players also.

The Japanese “ Othello ” was first put on the stage last April. It created a big sensation. A hundred foreigners (English and Americans, of course,) went to Meija (the theatre) in Tokio to wonder at the Japanese cleverness.

“ Cyprus ” in the play was moved to Formosa —to Pescadores Island (Hokoto in Japanese), to be particular. The Japanese Othello (Major-General Washiro Muro, the commander-in-chief in Formosa) has been dispatched for immediate action against threatening danger from the Chinese pirates combined with the Formosa natives. Be was made up hateful in face, but not black as the real Othello might appear. He was only boorish looking, so the contrast between him and his Desdemona (Tomoye Fujin in Japanese) was not suspicious, to which Tomoye’s father, Count Banjo Fura, the minister of the treasury (Brabantio in the English play), objected. Family history is first in Japan. Tint third act (act 111., scene 1, in the original) opens with the scene of a huge banque.- in celebration of the subjugation of the rebels. Upon the tables you will see a thousand bottles of wine, fruits, cakes and “ Western ” food. From the room next to the banquet hall a burst of laughter from the already arrived guests reaches you. Here lago (Gozo lya in Japanese) will appear, accompanying Roderigo. The Japanese Roderigo is in the guise of a Formosa gentleman, by name Ko Rotori (son of the director of the bank). They will talk briefly over their treacherous devict s against C'assio (Major Yoshio Katsu in Japanese). The translator did not know how- to use the clown in the original. third act. He introduced Bunta Kuroi (the Formosa interpreter) in place of the clown. He skipped the jolly drinking songs in the hall of the castle. (It was impossible to reproduce the merry rhythm of the English for the Japanese). However, the bedchamber scene (act IV., scene 3, in the original) cannot go without Desdemona’s song : “ Yuku mizuya ! Saso nagareni yanagikaze ! Motsuragaininaru ptomegoga, koini nakunewa satogawano, senisuterareshi warewa ukiyoni suniutsukiya !’’ It is a pretty Japanese song, but only a faint echo of the original. It is a love song without the directness of the original, vague expression being considered high art in Japan. And it would be regarded as most extraordinary for a lady to sing a popular song. Therefore, the adapter introduced the Edison phonograph to sing it. Bianca appeared as a geisha girl from the gallant Shinbashi of Tokio, BiaKa by name. You will not blame Suiin Fmi for failing to bring out the sublimity and beauty of phrase of the original. Who ever could ? French translators have failed, and German also. You taUl find the most forcible expressions in English turning to something short of the ridiculous in the translation. The translator was forced to leave immense gaps. At the very close Othello (I mean Gen. Muro) wound up his words with “Saraba 1” (farewell) without “killing myself,

to die upon a kiss.” And to mention a kiss is absurd in J apan. J apan is the country without kissing.

Oto Kawakami's Othello was said to lack the sublimity of character of a nobly energetic soldier of ripe years. Who evor could fill such a part successfully among Japanese actors except Danjuro ? —alas ! who is dead. Kawakami’s “Tsuyuga nanjino yaibawo sabirakasan” (keep up your bright swords, for the dew will rust them) did not make any thrilling impression. As the play advanced, it was said, Gen. Muro almost turned to a beast full of jealousy and revenge, quite forgetting the noble character of his part. “Kitowa agfetaka ?” (have you prayed to-night ?) sounded so cynical .

Sada Yacco’s Tomoye (Desdemona) might b<- passable, while she wanted the purity and simplicity of character of the original. And Minoru Takada’s lago (Gozo lya) could only express the frauds and villainies of the part, without showing the subtleties of hypocrisy that made him called the “Honest lago.” He was a typical stage villain. Some critic said that he had not read “Othello” at all, or perhaps his intelligence was not equal to a perfect understanding of lago’s character. As far as our Japanese temperament is concerned it would be the most difficult part to render. So, one of Shakespeare’s great tragedies has made an appearance on the Japanese stage, and has turned out a success, whatever critics may say. I am sure that many more such plays will reproduced hereafter in Japan. Our Japanese stage does look bright, doesn’t it ? —(“Yone Noguchi” in “N.Y. Sunday Telegraph.”)

Apropos of “ The Marriage of Kitty,” which promises to be performed here by the Williamson English Comedy Company, “ The Matinee Girl,” in the New York “ Mirror ” writes :—

I have noticed, though, that these stern actors with faces remindful of the “ads” for artificial ice, are tremendously in earnest when they are once “ stirred to their depths,” as the historical novels say. They are like spring freshets when the winter ice is broken.

Item : Mother says this is disgustingly precocious and comes from my going to the theatre afternoons with girls. She says she will go with me herself hereafter, or send Aunt Jane. My play-going, she says, needs to be censored.

Which reminds me of “ The Marriage of Kitty.” Isn’t it just deliciously going-to-be-bad-but-never-is-quite ? Mother says it is not for girls, but then she has never seen it. I saw it and told her about ft, and she said she . wouldn’t be seen inside the theatre.

And that reminds me again that when the National Art Theatre Society excite,ment broke out a woman spoke on behalf of the girls, matinee girls, if you like. She said she knew a girl who had seen every play in town that season and that there were only two and a-half which she could take her mother to without a blush.

Of course “ The Marriage of Kitty ” wouldn’t be anything without Marie Tern pest. Isn’t she ugly—and charming ? We were talking of her the other day, my chum and an actor friend of hers, and I. My chum said : “ Isn’t she a living proof of what Maxine Elliott said, that beauty isn’t essential to stage success—that it’s really rather in your way ? She called it a fifth wheel. The, actor balanced- his spoon on his chocolate cup for a full minute and then said with conviction : “ I’d rather kiss .Marie Tempest once than Maxine Elliott a dozen times.” Selah !

Mr Harcourt Beatty, who made such a hit as C harles 11., in “ Sweet Nell of Old Drury ” with Miss Nellie Stewart, is now playing leading man in a farce called “ The Electric Man,” at the King’s Theatre, Hammersmith, London.

Mr Arthur Hahn, the well-known baritone, who came here under engagement to Percy Dix, is now doing well at the Tivoli, San Francisco. Mr Wallace Brownlow is at the same place.

Carkeek, the “ champion wrestler of the world,” has arrived at Sydney under engagement to Mr Pickards. The newcomer (says the “ Referee ”) will draw an immense salary. During his Australian tour he will meet all-comers in GraecoRoman, Catch-as-catch-can, or the more scientific Cornich style. A “go ” between the redoubtable Carkeek and Fitzgerald’s champion Jap should draw a terrific house !

Mr Chas. Macnaughton, who has been engaged by Ed. Lauri for the Stephenson English Musical Comedy Company, is universally acknowledged as being about the best “ dude ” impersonator on the English stage. He has lately been touring with one of the Gaiety companies as principal comedian.

Although at some of the Chicago theatres business, has been resumed, the managers are still subjected to innumerable restrictions and interferences from the city officials. Travelling companies are also subjected to exorbitant charges on arrival for fireproofing their scenery, the scale being 5d per square foot. * * * ♦ “ Why don’t you write another good play, Mr Gilette ?” an enthusiastic friend inquired of the actor ; “a good, live, realistic, up-to-dater ?” Mr Gilette scribbled something on the back of a card. “ How would this do ?” he inquired : “ Scene —A drawing-room. Married ladv seated, young man in dress suit at her feet. Folding doors at back open. Discovers husband with a double-barreled revolver. He fires and kills married lady and young man. Husband then advances and contemplates victims. After a pause, he exclaims : ‘ A thousand pardons. I’m in the wrong flat.’ Slow curtain.”