WHAT THE PUBLIC WANTS.

New Zealand Illustrated Sporting & Dramatic Review, Volume XII, Issue 746, 23 June 1904, Page 19

WHAT THE PUBLIC WANTS.

“The Usher” in the “New Itork Dramatic Mirror” makes the following remarks, which are worth pondering : — The commercial manager is always asserting that he “must give the public what it wants” —thereby meaning that the public wants nothing intellectual, artistic or above the level of mediocrity.

But have recent ' developments in the theatrical world shown cither that the commercial manager knows what the public wants or that the public wants inferior dramatic pabulum ? It would seem that the commercial manager either is ignorant of what is demanded or that he cannot supply it. This last view is taken by Mr Towse, of the ‘‘EveningPost,” who has published some timely observations on this subject :

“There is just as large a crowd of admirers of ‘Hamlet,’ ‘Othello,’ and ‘Macbeth’ to-day as at the time when Shakespeare wrote them. The commercial manager, of course, is forever harping upon the notion that he must give the -public what it wants, but he does not as a rule know in the least how to do it. On the contrary, he is continually ruining himself by offering the rubbish which he thinks the crowd wants, but which it will not accept. Then he accidentally produces a good play and makes a fortune. It should not be forgotten that the theatre crowd of the better sort includes a large share of the intelligence which is the main support of al] imaginative literature and the arts.”

But this is precisely what the commercial manager overlooks and ignores. It is his settled belief that the public’s intellectual level is low. and that it is easier and more profitable to appeal to £he appetites of the mob than to strive

for the recognition and support of persons of intelligence.

The theatregoing crowd, however, normally go where the intelligent are attracted oftener than not ; and the discrimination of the crowd is keener than the commercial manager thinks. When, as during the past season, the crowd turns away from mediocrity and trash, the commercial manager is shocked and bewildered. Be cannot understand it all. He does not admit for a moment that his theory and practice are at fault—he blames the ‘‘times.”

The Newcastle “ Herald ” is reproducing some records of the earlier history of the town from the files of the “ Chronicle.” Under the year 1871, appears the following, which will interest playgoers of the older generation : —“ We (‘Chronicle’) have been daily expecting to receive, a notification that a benefit would be given to those accomplished artists, Mr and Mrs E. Holloway, at the Theatre Royal. None has, however, appeared, and we are at a loss to know r why such an- unusual custom should be departed from of giving a benefit to artists at the close of a season. way, on his taking the management of the Theatre Royal introduced plays of a first-class character, and the public are, in a great measure indebted to him for bringing to Newcastle such distinguished actors and actresses as Madame Duret, Nr Le Roy, Mrs Gladstone, and lastly, the great comedian of the age, Mr Charles Matthews. Such perseverance is deserving of more acknowledgment, and we trust that if Mr Holloway does not take a benefit at the Theatre Royal, he will give the public another opportunity of testifying their gratitude to him. (Mr Holloway, who is now upwards of eighty years of age,, is at present appearing with Mr Alfred Dampier’s Company at the Victoria Theatre.)

One of the recent London successes is a play called “ Sunday ” which there is some chance of Miss Nellie Stewart introducing to Australia. According to an English contemporary. Mr Fred- Terry has been taken to task by several correspondents for using the word “ Sunday ” as the title of a play. The following letter is cited as a specimen of the reproaches levelled at the actor-manager “ I cannot understand why you have desecrated that beautiful word ‘ Sunday ’ by applying it to anything connected with the stage. I am happy to say that since 1 was nineteen years old I have never entered the portals of a theatre. Surely you must feel with me that ‘ Sunday ’ is a word that should be treated with reverence. If you must call your play by a day in the week, why not. choose any day but Sunday ? Mr George Alexander has shown in this better taste than yourself.” Ihe title of Mr Alexander's play is Saturday to Mondav.”

I learn from the “Australasian” that Dickens’ unfinished novel, “The Mystery of Edwin Drood,” has been completed and dramatised. Mr J. H. Wilson, a member of the editorial staff of the “Boston Transcript.” greatly daring, has made the venture, and entitled his adaptation the “Jasper Judgment.” He has utilised three of the possible endings that havb been-attempted. One is by an anonymous American writer, the other is bv the novelist s son. the late Charles Dickens, and the third is the ending essayed by Wilkie Collins.

A Melbourne critic, apropos of the Gaiety Co.'s productions, recalls an anecdote concerning the first performance of “The Ring” at Bayreuth. In that little Bavarian town the two largest buildings were the “Festspielhaus” (the celebrated Wagner Theatre) and the lunatic asylum. A large party of musical critics and connoisseurs went from Paris to the initial production of “Das Reingold,” August 13, 1876. According to Wagner’s direction, the auditorium was kept in complete darkness. At the conclusion of the first act, with its weird music, the Parisian enthusiasts were profoundly perplexed ; and in the darkness a Gallic voice was heard to utter. “Mon l ieu, v e have made a n istake. We are in the Asylum.”

Lennon, Hyman, and Lennon, have returned to Fuller’s fold, and are introducing “The Jail Birds,” “The Zco Gardens,” “The Hotel Grande,” Fnd other new sketches to New Zealand audiences.

“The Chinese Honeymoon” has now run for over loot) nights at the London Strand. Over £30,000 is said to have been cleared bv its various representations in all parts of the world.

Miss Maggie Moore’s compart/, at present in West Australia, includes John Forde, S. A. ritzgerald, V. Scully, Osgood Moore, Ethel Bashford, Madge Herrick, Launcelot Vane, and J. E. Moore as manager.- The repertoire includes “Judy o’l rot,” “Forty-Nine,” “Killarney,” etc.

It is long since W. S. Gilbert has given? to the stage a play. With his Savoy operas he was satisfied, and sought not further public approval in comedy writing—his first success. When Sir Arthur Sullivan died Mr Gilbert declared he would never write again for the stage. After a fairly long silence, “Bab” has thought better of his determination, and produced a play entitled “The Fairy’s Dilemma,” “an original domestic pantomime in two acts,” for Arthur Bourchier.

Cyril Keightley is still appearing with the Benson repertoire company in England, and doing well. Mr Keightley played several important parts with the organisation at Stratford-on-Avon during Shakespeare’s week, and gained excellent notices.

The Marquis of Anglesey has failed for half-a-million, but whatever folks may say to the contrary, it was not (says “Peter Quince”) his theatrical tastes that cost him dear. Jewellerv and other things- ran away with much £ s. d., but his histrionic ambitions were fed cheaply. . For some time the noble Marquis ran his own company, playing high-class comedies in firstclass theatres in aid of charity. In a comparatively short time Anglesey handed over to deserving institutions' about six thousand pounds in hard cash. His people were always good, the artists making up his company being so excellent -that two of them—Miss Florence Hamer and Wilfred Draycott—were considered by J. C. Williamson bright and clever enough to be brought all the way to Australia.

When the company -at present known as the Beerbohm Tree company comes to New Zealand, it is understood that a revival of “A Royal Divorce” will he a feature of the repertoire.

The “Referee’s” London correspondent writes on May 5 : —Although only returned last week, Miss Crossley has already commenced her season’s work oy singing at an “At Home” last Tuesday - She will give a concert at St. James’ Hall on May 24, with the members ot her company/Mr Percy Grainger, Mr Peter!-, in, and Mr Jacobs; and Mr Benno Schereck, from Melbourne, as director. She is booked up to next December twelve months (nearly twoyears ahead), and is engaged for six festivals this year.

“The Don,” -writing in Melbourne- “ Punch,” says : —Miss Rose Musgrove, who made “The Marriage of Kitty” in Sydney, does not appear to have lost any of her power of attraction. On Saturday night a crowded house celebrated the commencement of the third week of the charming little comedy at the Criterion. In a company of experienced and well-seasoned actors the young Australian lady is easily the star. All the “mirth and melody” is supplied by Miss Musgrove. On the principle that you cannot have light in a picture without shade, Miss Florence Hamer’s Madame de Semiano is to be admired. 'lhe English actress gives value and prominence to Miss Musgrove’s “sweetness and light.”

Apropos of “The Silver King”' “Feter Quince,” in Melbourne “Punch” is indebted to “A. W. S.” for an unreported incident which took place at the Melbourne Theatre Royal when Mr King Hedley appeared irt the name part. One night the University students had a theatre party, and, as usual, the audience was unwontedly lively. Catcalls, interruptions and interpolations were frequent during the first, act. -In the second act these continued,'and Mr Hedley bore them with great patience for a time, but even his Job-like attribute gave way at last, and the audience were startled to hear the following .modification of the text of Wilfred Denver :— “Oh, God ! Put back Thv universe, and give me yesterday, and if. those blackguards in the gallery don’t keep quiet, I’ll not go on with the performance.” Then there was peace.

“The Rose of the Riviera” is likely to enjoy a long lease of the Sydney Lyceum (says “The Don”). When I called rourtd on Saturday night I' found the place even more crowded than it was or l / the occasion? of the “trial trip” of Mr George Stephenson’s Musical Comedy Company. As a rule the first week decides the success or failure ,of a theatrical venture in Sydney. In connection with the present company the critical period is over, and Mr Stephenson shows his appreciation of great good luck by a smile of sweet content and supreme satisfaction. Although Mr Edward Lauri is not the strong man, of the show as a performer, he is entitled (apart from his boisterous, .-playing of the part of Briskett). to much credit for the way in which the musical farce is put on, and for the ; “srtan” and smartness of the pretty and pleasing production.