THE STAGE

New Zealand Illustrated Sporting & Dramatic Review, Volume XII, Issue 747, 30 June 1904, Page 18

THE STAGE

(By

“ Comus.”)

CHRISTCHURCH NOTES.

My Christchurch correspondent writes: — Since my last the Theatrescope has been on at the Royal. It professes to be the finest thing of the kind that ever struck Maoriland. Some of the pictures are good enough, certainly, but taken as a whole, the show wants waking up. * * * *

Had a yarn with John Fuller the other afternoon. He reported having secured a five years’ lease of the Auckland Opera House. Here in Christchurch the Fuller Show has hardened up a good deal of late, and it is now making money hand over fist. One of the best turns lately has been that of Carmo, -the juggler, .assisted by Madame Carmo, These are clever people in their line of business. Their balancing feats are wonderful. On Monday Lennon, Hyman and Lennon make a welcome re-appearance at the Opera House. Millie Herberte. farewelled to-night : she is deservedly. popular. ■ . • * ■ . * •■ .*

Mel; B. Spurr opens here shortly, and his bills are even now all over the city. They are good bills, too, of original and striking design. .Mr Claude Whaite, who business manages for Mr Spurr, is a live agent, and appears to understand the art of theatrical advertising thoroughly.

I understand that Miss Maud Chetwynd (here with the Royal Comics) returns to Sydney in August, when the divorce suit, in which she is the petitioner, will be heard. She is a clever little artist, and her sprightly performance in “ A Country Girl ” and other productions; will not soon be forgotten. DRAMATIC AUTHORS IN REVOLT. Playwrights in Paris are very much afraid of the theatres getting into the hands of a few managers as the London theatres are doing. ’The Dramatic Authors’ Society has, therefore, decided that it will have nothing to do with any manager who is financially interested Jn more than one theatre ; and the Folies Dramatiques, whose manager is supposed to belong to a “ combine,” has already been put upon the society's black list. Most of the best known dramatists belong to the society, so it exercises a good deal of power.

His” MAJESTY’S THEATRE. “ On Saturday, “In Old Madrid” will be revived by the Woods-Williamson Company at His Majesty’s Theatre. This play, which is founded on the wellknown novel, “In the Palace of the King,” gives the leading artistes great opportunities, and with adequate mounting it should prove popular. * * * *

Montgomery’s Entertainers are at present touring the country districts and goldfields centres, everywhere meeting with a warm welcome, and doing satisfactory business. Mr Montgomery is a special favourite in the Waikato. He never returns to an old field without a budget of novelties.

Mr R. ,T- Tregaski, who for ’many vears has piloted* the Steele-Payne Bellringers during their travels, arrived in. Auckland by the Westralia last week, and intends to make this city his permanent residence. Mr and Mrs Ralph Steele and family, and Dr. and Mrs Low (Miss Maude Payne), are ;also in Auckland with the intention of establishing a‘ home here, and taking, a wellearned rest during the winter. Whilst resting they purpose obtaining fresh novelties and reorganising their Company for their next tour of New Zealand. » *. . * I learn from the Wellington “ Mail ” that Mr Charles Holloway, the wellknown actor-manager, who was here recently with his company, is laid aside with an attack of pneumonia.

Sanford’s American Dramatic Company will make their Sydney debut at the Lyceum on Julv 2 in “ The Power of Gold.”

Juncker, who has gone to America, will always be kindly remembered by his “ I Was Dreaming ” song in “Ma Mie Rosette.”

Nellie Stewart may be seen in a Shakespearian role during her next colonial campaign that opens in October. She is said to favour either Cleopatra or Rosalind.

The recent revival of “ The Silver King,” in Melbourne, reminds the “Newsletter ” that the triumvirate made £30,000 profit in the year of Titheradge’s first Silver King appearance.

Mrs Bland Holt says that each play opens up a new phase of life to study. “ Thus your part,” says she, “ becomes educational through • the manifold inquiries you made regarding it.” ft ,* & Me Arthur: E-icg, : who for a number of ars was conductor of Pollard’s Opera Ampany, felt IKaf company in Perth, • v/ving secured a good position in Kaln? arH Miss Maggie Moore first presented “Struck Oil” in Australia in 1874. * * * * A. B. Tapping, who visited Tasmania with'the “ Sweet Nell ’’ Company.; has-, since his return to England, organised. a company, and is producing “ The New Bov.” # # Maud Beatty says that English professionals are a little world to themselves, and' everyone seems to work so hard, andto' make such a business of their work.

Miss Clara Morris recently celebrated the fortieth anniversary of her first appearance on the stage. She is at. present a member of “The Two Orphans” star cast in America.

Mr George Stephenson has secured another American success, entitled “Other People’s Money.” It will be staged by the entrepreneur’s American Comedy Company at the Criterion on October 8. # * * *

In latest English files the marriage is announced, at 58 years of age, of Henry Sienkiewicz, the author of “Quo Vadis” and a host of other novels. The bride (nee Marie Babska) is a young and handsome Polish lady. This makes the novelist’s third matrimonial venture.

“The Prince of India,” General Lew Wallace’s novel, written by him while U.S. Minister to Turkey, is to be turned into a spectacular play, on the lines of “Ben-Hur.” The dramatisation of the book has been entrusted to Mr J. T. C. Clarke, a New York editor of many years’ standing, and a tried playwright. Mr Clarke once wrote- and sold to Sir Henry Irving a play on the subject of Don Quixote, and he is also responsible for a play on the subject of Machiavelli, in addition to many others.

Mr Walter Howe, for some years with Bland Holt, was playing Beau Nash in “ Monsieur Beaucaire ” at London Imperial. * * * * Mr Frank Weathersby, manager for Mr John F. Sheridan, wrote to the “Referee” from Kalgoorlie (W.A.) by the latest mail: “Business in West phenomenal, and we play return visit Fremantle, June 15,' 16, 17.. Then Town Flail, Albany, June 20,. 21, 22 ; sail by Persic, June. 23, for Africa ; open Maritzburg, July 31; Johannesburg, July is, at Her Majesty’s. ~ Just sold by wire to Williani Anderson new London drama, ‘A Girl’s Cross Roads,’ ‘A Female Swindler,’ and ‘Bdtwee.n Two Women..’ ” J ?

Messrs• Stanley, ■Woodhouse an'dypjEJedr derwick, solicitors for -the- Theatrical Managers’. Association, -write., as fpl-; lows Jo a:London paper with; referenceto the comments.'and. letters .which-have recently appeared in . the Press ,: on: -' the question ' of ;■•“gagging,'” and the;statement that the.. Lord Chamberlain* ’ had issued a prohibition against .‘.‘gagging”,: “At an interview we had. about ten days ago with the Lord '■ Chamberlain upon some other business, he informed us ’ at the conclusion of such interview that he- was about to consider certain rules and regulations which were in course of preparation, and would like us to consult our clients and theatrical managers before they were settled and ascertain their views thereon ; and for this purpose he courteously lent to us ,at our request the draft which had been prepared by one of his officials, but which his lordship stated had n»ot at that time been considered by him. It subsequently appeared that the draftsman, without the knowledge of the Lord Chamberlain, had inserted for consideration the words ‘nor can any gag be allowed.’ We find, however, that when the suggested draft was considered by the Lord Chamberlain, and before any comments had been made, he had struck out the words above quoted, and afterwards informed us of the fact, so that it is clear his lordship never intended to adopt the - suggestion’ of the draftsman as to the prohibition of ‘gagging.’ It is, of course, regrettable that the suggested draft of the rules, which was lent to be dealt with privately and confidentially, should have been the subject of premature public comment.”

The George Abbott Musical Company has disbanded. ♦ * * * Alfred Dampier’s Company are doing the inland towns of New South Wales. * * * * Charles Holloway is at Adelaide at the local Royal. The Fitzmaurice-Gill Company are in Tasmania. » * * * Cuyler Hastings will return to America via England. * * * * The Willoughby-Geach Company disbanded in Adelaide in the early part of the month. * , » Frank Deaton is in the company exploiting Charles Arnold and “ What Happened to Jones ” in the English provinces. A * * * * Howard Chambers is still with the Bostonian Light Opera Company in America. _ * * * * The New Zealand tour of “ The Marriage of Kitty ” Company opens at Auckland on August 1. * * * ’ Edward Lauri is due in Melbourne on July 13, to prepare for the advent of the new Stephenson Musical Comedy Company- , * * * J. F. Sheridan, who is playing to big biz. at Perth, shortly leaves Australia for South Africa. * * * * Mr Harry Diver and Miss Helen Burdette (Mrs Diver) are running a show in Queensland. Amongst attractions is q, Japanese sketch entitled, O Mata San.”

Mr John Lemmone rceived a cable from Paderewski from Port Said, on June 3, stating that all was well. lhe distinguished pianist is a passenger by the Ortona, and the Melbourne season Eill open. on July 7th. Madame Padere wski and Mr W. Arlington, his London agent and secretary, are accompanying M. r: derewski. _

“M.A.P. ” gives an autobiography of ci reus-man, J. A. Bailey. He began life, without a dollar, as a labouring boy with a circus, and rose to be partner with Cooper. Cooper and Bailey's Circus came to Australia in 1876. Tbe n proceeded to South America via Maoiiland. The partners were pretty well ruined in South America. Bailey, however, took up another insolvent circus m the ’ United States and wrought it to such a pitch that it rivalled Barnum s. Then he partnered with Barnum. Took the show to London and Berlin. Bai num opposed the purchase of Jumbo, the elephant, which was Bailey’s idea. After Barnum’s death Bailey bought his share for £500,000. He says Barnum did not understand circus business.

According- to the “ Mail,” the Japanese play, “ The Darling of the Gods,” will not be included in the repertoire of the Beerbohm Tree Dramatic Company for the forthcoming New Zealand tour, the lighting and mechanical effects being much too intricate for the New Zealand stages.

The Messrs Fuller seem determined to make a name for themselves in the way of engaging the best available talent to appear at their theatres (says “Lorgnette”). The latest they have made is the securing of the versatile artist, Mr Fred Graham and Miss Nellie Dent, who will make their first appearance under the Fuller banner at His Majesty’s Theatre, Wellington, next (i.e. last) Saturday. Mr Graham will be remembered by Wellington theatre-goers for his excellent impersonations in “San Toy, A Runaway Girl,” “The Circus Girl,” and “The Belle of New York” when Mr Williamson’s Musical Comedy Company toured New Zealand last year. Miss Nellie Dent has made a name for herself under Mr J. C. Williamson’s management. Both artistes have lately been appearing with Mr George Abbott’s Musical ComedyCompany.

Writing to “ Lorgnette ” from Maldon, Victoria, under date June 5, Mr George Callender, touring manager of Heller's Mahatma Company, says : —“I have been busy arranging- a short tour of Victoria. We were unable to secure a Melbourne theatre, so have decided to play a four weeks’ season at Ballarat, visiting the other towns afterwards. Mr Heller has brought out a repertoire of fourteen illusions, and you can rest assured some of them are ‘top-notchers.' Both Madame Maundana Heller and Mr Heller are anxious to get to New Zealand again.”

I hear very flattering accounts from Manchester of Mrs Craigie’s new play, “ The Flute of Pan,” and. I shall look forward with great interest to seeing it in London later on (says the “New York Cliper’s ” correspondent). It is a play dealing- with the conflict of “love and pride,” and the setting is romantic. Miss Netliersole, like Mrs Craigie, makes something- of a new departure fin this effort, for which relief those who do not care to see her spending her- great talent on “Sapho," and its kindred, will give much thanks.

From a private letter 1 gather that Pollard’s Opera Company will probably be disbanded on the return to Adelaide from Broken Hill, as trouble has arisen between the management and Mr J. C. Williamson (says “Touchstone” in the Perth “Daily News”). One of the matters in dispute is stated to be the payment of the chorus. Mr Williamson, who has been backing the Pollards, refused to take over some of the chorus girls at the rates of pay which they had been receiving prior to reaching Adelaide, and M r Pollard then decided to disband the company and return to New Zealand.

Mr Len Davis, manager of the Hawtrey Company, writes to a friend in Christchurch, that all the company are longingly looking forward to a possible return visit to New Zealand.

MME. CALVE AND THE FIRE HOSE.

The spectacle of Mme. Calve drenched by water from a fire hose has been seer. 1 at Newhaven, ( onnecticut. Three hundred Yale students, says the “New York Herald,” were so anxious to see the “diva” in “Carmen” that they went to the stage door of the Hyperion Theatre, and insisted on being engaged as supernumeraries.

They could all sing the toreador song. The management selected twenty-five of a distinctly Spanish type, to appear as the “disturbed populace,” and dismissed the others. That was not liked by the 275 students, who remained, and declared that they must anpear on the same stag ■ with Mme. Calve.

When again asked to disperse thesang the toreador song. The stage hands, fearing a riot, summoned policemen, who tried cajolery. Mme. Calve’s carriage drove up at this moment, and to avoid being trampled upon bv the horses the students opened a passage way. The stage carpenter turned on a stream of water from a fire hose, an Mme. Calve emerged from her carriage just in time to meet the rush of water. The “diva” was astonished, but the students, removing their hats, gave three cheers for Mine. Calve, who bowed, and remarked, “C’est tres chic.” Afterwards they evicted down and dispersed.

£lOO PRIZE FOR A LIBRETTO.

One of the reasons assigned for the decay of comic opera is the difficultv c-f obtaining good “books.” Messrs Chappell, the Bond-street (London) music publishers, can find plenty of clever young composers, but thev cannot fit them with a “book.” So, in the hope of discovering another Gilbert or Basil Hood, they are offering a prize of £mo for the best two or three act libretto sent them bv a novice. Here is a chance for New Zealanders to try their hpjtd.

“THE FAIRY’S DILEMMA,” Al’ THE GARRICK.

Tn his latest, if one may take his postprandial announcement seriously, his last contribution to the stage, which was presented at the Garrick Theatre. Mr W.

S. Gilbert has been true to the traditionsof his own making (says a London critic). “The Fairy’s Dilemma” is a piece of sheer nonsense^ —very clever, very witty, and very amusing, but still nonsense. The official description of the entertainment, “an original domestic pantomime,” explains its scope, and a glance at the programme shows how thoroughly the author has exploited his idea. From the up rising of the curtain we are plunged into a whirl of topsy-turvydom, which is consistentlv sustained until the end.

In the first scene, the Abode of the Demon Alcohol, we find the Fairy Rosebud soliciting the demon’s aid. There has: been little doing in the true-love department of late years, and Rosebud is apprehensive of being relegated to the back row “ among the stout ones ” unless she Joes something to justify her office. Heridea is, that if the demon will carry off a guileless young hospital nurse and convey her to the chambers of a “ bad, bold, buccaneering- baronet,” who has sinisterdesigns upon her virtue, Rosebud will rescue her “ before anything happens,” and restore her to the arms of her clerical fiancee. The demon protests that it is playing the game somewhat low down, but he consents, and in the rest of thenlav we see how these w-ell-intentioned muddlers cause the direst confusion amongst the objects of their affectionateconcern. Col. Sir Trevor Mauleverer, Bart., is the last of a long line of blameless baronets, and he is secretly engaged to Lady Angela Wealdstone, who. in order to avoid a hateful matrimonial alliancewhich her father has arranged for her, has left her home, and become a trained nurse. The Rev. Aloysius Parfitt is en■'•aged to Clarissa, daughter of Mr Justice Whortle, but in order to deceive theiudge. who has selected Sir Trevor for her future husband, the two men each agree to pretend to adore the other’s inamorata. The scheme succeeds in hoodwinkmo- old Whortle, but it leads to some friction on account of the realistic fervour which Sir Trevor throws into h’s simulated attentions to Clarissa, and. ( it entirelv misleads the good fairy and the fiend. ' ’ '

No sooner is Clarissa married to the parson than Alcohol appears in the vicarage and spirits the young wife away in a blaze of red fire to the baronet’s apart - ments in Whitehall Court, and when Rosebud summons her to appear and allay the worst fears of the husband an<l father, Lady Angela enters by -way of n trap-door, and is most indignant will* the fairy for disturbing her. her toilet, it is evident then to the Supernatural plotters that they have got their Un-

natural victims into a desperate mess, and the only solution of the difficulty that occurs to them is to translate their porteges to “ the Revolving Realms of Radiant Rehabilitation.” Up to this point we have had pantomime scenes, with a pretty ballet and goblin manoeuvres, and slabs of highly diverting farcical comedy, but the two dramatic elements have been kept more or less separate. Now, however, the two are blended in a parody of pantomime, which, although it proved a little tame before the final curtain was reached, evoked shrieks of uproarious merriment. r J he demure clergyman is changed, under protest, into a harlequin, and murmurs bewilderingly as he surveys his spangled, gl ttering form, “ I don’t rememoer putting on this underclothing this morning.” Lady Angela is transformed at a wave of the fairy’s wand into a columbine, and the dismay with which she attempts to disguise the immodest paucity of her skirts was almost too much for the audience, who seemed at times io be threatened with convulsions. The judge, wl.< se strong point is judicial humour, takes very kindly to the role of .-antaloon, and admits that he does not find it so great a change as he should have supposed, and the baronet becomes a clown. While they are under the magic spell they manage fairly well to sustain the parts allotted to them, but directly Rosebud relaxes her vigilance they relapse into their former selves, and are seized with the most comic remorse for their unseemly gallivantings. In the last act they return to the vicarage in their pantomime habiliments, and are afraid to stir out for fear of being recognised. One of the characters finds a highly favourable notice of their performance in the “ Tinies,” and the discovery, to the huge amusement of the audience, amazes them even more than the unusualness of their own transformation. This was the last topical jest that Mr Gilbert allowed himself —one of a longnumber that ranged over every subject, from officers’ uniforms to the fiscal po icy, and from judicial humour to conscientious objectors. It is all, as I have said, irresponsible fooling, and if you go to the Garrick prepared to be amused by this form of entertainment you will have a splendid time. If, on the other hand, vou are not in the mood for madcap extravaganza you will probably find the performance very little to your liking. But the fault will lie with yourself, not with the author or his accomplices, the players. The way in which such serious artists as Miss Violet Vanburgh, Mr Arthur Bourchier, Mr Jerrold Robertshaw, Mr Sydney Valentine, and Mr 0. B. Clarence throw themselves into the spirit of the thing, and rollick in their unusual environment, is something to wonder at. Mr Bourchier’s clown is an astonishing example of his versatility, and Miss Vanbrugh’s columbine is a sight to remember. Miss Dorothy Grimston played with much more than her customary

ease and deftness, and Mr Clarence, both as parson and harlequin, was always in the picture. There were some boos at the fall of the curtain, but there are always some people in an audience, who, havinglaughed themselves hoarse for two hours, have sufficient pluck and gratitude left to guy a manager or an author.

MR J. K. HACKETT ON “THE ACTORMANAGER.”

(New York “ Sunday Telegraph.”)

James K. Hackett, being an actor-man-ager, approaches the English side of this branch of the profession nearer than any one else on the tapis. He might —in fact has been and will very often in the future —be taken for an Englishman, and he confesses he is not at all ashamed of the

mistake ; which is objective and not expressively subjective. Mr Hackett is eminently in earnest, whether on the stage or off, and is imbued with that nervous restlessness which is so characteristic of all big actors and actresses. He is emphatic in his views, with a due regard to not having them looked on as savouring of too much self-consciousness, and he is eminently domestic.

You will find him in a dapper house somewhere in the Thirties, and while he talks to you he will take a delight in showing you the ins and outs of this room and that and explaining his newest inventions, of which there are not a few lying- around. For example : “Here is a dining-room table,” says he, “ which is somewhat of a curiosity. You have often, no doubt, seen what they call fairy lamps, which are placed at the cor-

ner and in the centre of the table. Mell, this contrivance is an improvement on those charming illuminations. An illustration of what I mean will lead us up to the subject of stage management. I have here four or five, maybe half-a-dozen, buttons. Now turn the electric light down and press one button, and you will notice that the whole surface becomes red. It is lighted from below. There are other colours, and you can blend them as you may wish. Over the- ‘ walnuts and the wine ’ it is pleasant, especially on a summer’s night, to sitaround and smoke with only this dim religious light as an illumination. “ What am I driving at ? Well, this 'light always seems to me to give an incentive to better things and thoughtsthan when you are sitting in the glare of an electric galaxy, and so it is with the

stage manager. He should be the quiet light —and I mean the 1 quiet ’ light —and should shed all sorts of rays on the company with which he is engaged. . You may think that is rather a neat way of bringing - my new invention to your notice, but the novelty of it excuses my conceit, doesn't it It did. There are a great many possibilities in that table. “ Now to business. Do I think it advisable for a man to be an actor-manager ? In the financial or artistic wax ? T suppose you mean the latter. 11 hy not ? Doesn’t the actor see the practical view of the situations better than if he had. never been an actor ? Does it interfere with his rendering of nis own part when he has to pay so much attention to the rest of the company ? I don’t think so. Personally, I always have some one to read my part for me at rehearsals until the very last minute, and then I go ahead in my own way. To sit out in front and imagine yourself acting while the others are actually doing so is .a great advantage, I can assure you. 1 can understand how to speak my lines better. But when you come to me and ask me what mv opinion is of an actor-manager I can only turn to you and say with pride that 1 have done one thing well in that way~ Lhe Secret of Polichinelle.’ ’1 hat isn’t conceit, either, for the critics agreed with me. So did the public. In this case I didn’t have a part, and saw then how much more a man who is an actor can do for the person who is trying for points and yet sometimes doesn’t know how to get them. An actor-manager can get results whicn merely the manager or the actor cannot. He sees both sides of the question, and so is more qualified to put his finger just on the spot where it is needed. “ But then, again, you can’t apply this to all instances. You may remember that Augustin Daly was no actor —couldn t speak a line. Y’et he was a good stage manager. It is possible even in his case that he might not have been able to give the right intonation. In fact, once I recall an actor being told to say ‘ I love you !’ by Daly, and he did say it, but he gave such a wonderful imitation of how Daly himself said it that it threw not only that incomparable man into convulsions, but the whole company as well. “ That brings us up to the question of voice, and voice is talent. In fact, some voices partake of magnetism ; and what is magnetism but a combination of different talents ? And when 1 speak of voices don’t only mean good voices, but bad ones, too. There may be a great deal of magnetism in a bad voice. Furthermore, one can be magnetic and yet have no talent. You may possess tremendous magnetism and fail when it comes to being an actor. This magnetic question is, or seems to be, rather involved, but it is easy enough to follow out when you know how or have seen how.

“To go back to voice, which is really a most important thing iii acting and, perhaps, stage management, if it comes to that, it is hard to try a company out in the place they, are not going to act in when the piece is produced. I remember playing Borneo to Miss Nethersole’s Juliet. We rehearsed at the Lyceum, and everything passed off beautifully. Then we went to the Broadway, and my voice was no good ; that is the pitch of it. I had to put on the loud pedal. What was good enough for the Lyceum was not good enough for Broadway. And, at

that, as you may obserpe, 1 am a pretty big-sized man and have by no means a small voice. I must confess I prefer to play in the smaller theatres. One can do better work. In a big theatre you are apt to overact to the front row and underact to the back row.

“ But this is too personal, and treats more of acting than stage management. “Tn drama —and I am and have been speaking of drama all the way through—it is really very difl’cult to get people of refinement to play small parts. Besides, a man of refinement off the stage is very often exceedingly bad on the' stage. De may be able to wear a dress coat in private life with ease and comfort, whereas, when he comes on to the stage he looks as if he wished he had a hundred pockets into which he could convenieni I- - put his hands at different times. Au contraire again : A ’ bounder ’ —you know what I mean, for the term defies definition —will very likely make a good stage appearance. A woman, of course, has more aptitude for the stage than a man. She is taught to suppress her feelings from her youth up, and misses the opportunity to or doesn’t have the opportunity to indulge in those more or less venial vices which a man is prone to,such as swearing, drinking, and so on. “ I don’t mvself think there is anything very difficult about the massing of crowds, though I see some stage managers say there is. As long as they don’t interfere with the action of the drama and perform their duties of filling in the scene they serve their purpose. There comes in the stage manager, of course, but it is not by any means the most difficult part of his business.

“I think the greatest thing in sta;<management is not'to waste your powder. Economy of gesture and economy of effect ought to be more studied than they are at present. Let the shadows be kept so that the light must come out. Work up to the situations and be careful of the subordinate efforts in that working up. Never fritter away a laugh. Cut out a humorosity or two, if necessary, but know exactly what to keep in. The great secret in the stage management of a company is never to let your audience (to put it vulgarly) ; boil out.’ Keep them bubbling along. Keep them going. Those are the great things to be aimed at. “ For your company, if they seem to be getting lazy or tired, crack a little joke. Maybe the joke isn’t good enough, and they won’t smile, but continue to have that tired feeling. Then leave off playing that particular scene at once, and come back at it in half-an-hour. Y'ou’ll find you’lf get your effect then. If anyone wishes to dispute your authority, or, say, your judgment, tell him that you can’t argue the question then, but will do so after the rehearsal is over. Then talk

about it calmly, and you will gain a great deal more than if you went plunging into rabid colloquies at the very moment.

“ There is always a danger, too, that the stage manager will not, and does not, express his meaning exactly as he should. There is a great deal in this proper explanation, for, after all, a new part is always a severe trial for an actor’s nerves.

“So far as authors are concerned, I have always insisted on having absolute control, and I have never had any trouble with them. I try to have all my plays as natural as possible, but I also make them effective. One can’t be absolutely natural in anything on the stage, for the simple reason that you are at the best of times only acting. An ideal has to enter into everything. That is what the audience wants.

“ Furthermore, I don’t agree with anyone who says that an actor ought to lose his individuality in any part. Versatility is a great thing, but with all your versatility you will certainly be put down as a specialist sooner or later. To-day is the age of specialties. No one buys mediocre goods now. If you want cheese you go to the man who makes it best, and so on with all commodities and other things. Well, following this argument out —say it takes a couple of years to go through this country theatrically—when you appear, what do the people wish to see you in ? That character they have remembered you in and which they like < the best. This makes you a specialist. You may play ' other parts as well, but not to their minds, so you had better make up your mind that, though the chocolate ice cream is as good as the vanilla, they prefer the vanilla for some reason or other, and you had better give it to them. Will -Joseph .Jefferson ever be handed down to future generations as performing any other part than Rip Van Winkle ? Isn’t my father known best by his Falstaff ? And so it is all the time. You must be a specialist.

“ I don’t know that I can say much about plays. We’re all on the lookout for them, whether they come, from a man who knows the technique of the profession thoroughly or whether he will happen to hit the bullseye by accident. You i

be sure that we stage managers will help him out in everything and anything does ; only let him give us the ideas. It’s no use advising every aspiring author to do something else. We all of us at times run down the particular profession we are in and say, ‘ For goodness’ sake, do anything but this !’ I would encourage any one who had the slightest desire to write a play. The prize, when gained, is a big one, and is worth trying for again and again.”

Says London “Everting News” : Mme. Patey, singing “On the Banks of Allan Water,” was seized by death as she came to the words, “There a corse lay she.” Death by accident has come many times on the stage. Only last December a man named Robert Matteson was stabted by the heroine of a play in a mock death struggle. Many people will remember Frank Pavne, who so often appeared at the old Olvmpi Hundreds of times he shot an apple off the head of one of the company to which he belonged. One night his hand was unsteady, and he shot her dead. They had just become ergaged to be married, and poor Payne was tried for the manslaughter of his fiancee.

In a chatty letter Miss Rose MusMusgrove informs “Lorgnette” (of the “N.Z. Mail”) that she loves her part in “The Marriage of Kitty” (Kitty Silverton), and also in- “Madame Butterfly (Cho-Cho-San), but she has a decided preference for the latter.