THE STAGE

New Zealand Illustrated Sporting & Dramatic Review, Volume XIII, Issue 757, 8 September 1904, Page 18

THE STAGE

(By

“ Comus”)

OPERA HOUSE

FULLER’S EMPIRE COMPANY.

The Messrs Fuller have added a clause to the title of the popular place of entertainment over which their banner is proudly flying. The full name is now “ Opera House and Palace of Varieties,” and it indicates the character of the show very aptly. The interest in vaudeville has never before been so well sustained in Auckland, a fact that is owing solely to the care and enterprise manifested by John Fuller and Sons. They have made up their minds that we shall have nothing but the best that money can obtain, and the intelligent public have come to recognise the management at its proper value. During the present week the wrestling exhibitions of the Australian champion, Harry Pearce, have created a large amount of interest, but the athleticelement forms only a small portion of the entertainment, which is as varied as it is bright and novel. Professor Ohmy’s performing dogs, and the contributions, vocal, terpsichorean, and farcical of Miss Whitford, Miss Kate Maher, Miss Maie Marlow, Miss Tillie Dunbar, Mr Jas. Williams, the Brothers Lennon, Mr Harry Cowan, Mr Walter Melrose, Mr Harry Hart, and the SadEyed Shriek, Will Stevens, make up much more than a liberal programme. But the guiding principle of the Fullers is to keep adding new and first-rate items. Accordingly on Saturday next Mr Tod Calloway, who is a prime favourite wherever he goes, will make a welcome re-appearance, together with the McAuley Sisters, juvenile sketch artistes, and Mr Joe Rocks, endman and eccentric comedian. On Monday the personnel of the company will be enriched by the addition of the famous ventriloquist, Mons. Victor, with other mammoth attractions to follow. It will be seen by the advertisement that Messrs Fuller will present a twentyguinea gold watch (now in Mr Kohn’s window) to Constable Skinner if he can stand up to the champion wrestler, Mr Harry Pearce, for twenty minutes.

HIS MAJESTY’S THEATRE.

PADEREWSKI. The king of pianists drew large audiences at both recitals last week, despite the high prices charged, and all who went to hear him must feel the better for it. In listening to a master like Paderewski there steals over the mind and heart the sensation almost inevitably produced by the contemplation of the most perfect masterpieces of the plastic arts, or by the clear apprehension of the meaning of Shakespeare. We are impressed by the aspect of consummate and absolute beauty. One comes away from the recital with just one regret —not that it is over, for everything must have an end, and regrets of that king are futile and childish —but that one had not the opportunity for a closer intimacy, so to speak, wth the player and the instrument. If one could but get the artiste, with his piano into a room and ask him to play this or that composition which, even in imperfect and inadequate interpretation, has haunted the soul ever since they were first heard, or even if, under similar conditions, the player were permitted to follow his own ordered fancy, how delightful it would be I There is something in the big theatre, with its vast echoing spaces, and the rows of conventional faces in the auditorium, that distracts and breeds discord. However, we should be glad that we were able to hear the great man under any circumstances, and grateful to Mr Lemmone for giving us the chance to add one more to the little packet of precious memories that serve, like lavender in raiment, to keep life sweet and wholesome.

CHRISTCHURCH NOTES.

My Christchurch correspondent writes : The Woods-Williamson Company has done so well here that the season, which was to have finished last night (Friday) has been extended to Tuesday. This is proof positive of the success of the com-

bination, which is far stronger than when it was last in Christchurch ; stronger in every way. The principals have improved so much that it is difficult to recognise them for the same people. Alf. Woods now ranks as a sterling actor, who will compare favourably with many stars about whom much more fuss is made, while Miss Williamson is hailed as an actress of exceptional power and undoubted ability. “ Hands Across the Sea ” attracted overflowing business, and last night “ A Woman’s Sin,” Miss Williamson’s dramatisation of Hall Caine's famous novel, “ The Manxman,” went on, and will be repeated to-night. Alf. Woods’ Pete Quilliam and Miss Williamson’s Kate Cregeen are stage-portraits worthy to rank side by side. The great novelist who first gave those characters to the world could hardly be dissatisfied with their interpretation at the hands of Mr Woods and Miss Williamson. On Monday next there will be a one-night revival of “ The Christian ” (one of the most popular pieces in the company’s repertoire), and on Tuesday night the company will farewell.

Fuller’s excellent show at the Opera House continues to do immense business. Tod Calloway, who is extraordinarily popular here, farewelled last night, and met with a send-off he will not forget in a hurry. He had to respond to any number of recalls. Carino is in his last nights, but plenty of good people are left, including Victor, the ventriloquist. Ivy Nicholls, Dick Davis, Harry Brown, Harry Sadler, and others. On Wednesday the Uessems, whose fame has preceded them, appear.

THE SALAMBOS

The Salambo Family, which opened at Rickards’ Melbourne Show last week, comes from America, with the highest credentials. The combination has also been a wonderful success in England and South Africa. Mr Salambo and Mdlle. Ollivette give a combined performance in an electrical act, during which wireless telegraphy plays a big part, the lady transmitting waves of electricity from her body, causing bells to ring any desired number of times, etc. She also, while blindfolded, names any article one produces, tells how old one is in seconds,

and does other like marvellous things. Eire Cecilia Salambo, who is known as Historicus, is the third member of this clever family. She is only eight years old, but has a memory for dates of notable events, names of places, foundation of cities, historical items, and such like that never fails. A few questions asked her at random by the Melbourne “Sporting and Dramatic News’ ” theatrical representative on local matters were all answered rapidly and correctly, and she will assuredly cause a sensation on her appearance. Altogether the turns should be very attractive and interesting.

Mr and Mrs Ralph Steele, of the famous Steele Payne Company of Bellringers and vocalists, have returned from Australia, where they succeeded in obtaining several novelties for their New Zealand tour. They are at present busily arranging their trip.

Whitehouse’s Bioscope and Star Artist Company have just returned from a trip through Taranaki to Mokau, and have done satisfactory business. As the Com-

pany passed Urenui, the proprietor was repeatedly warned that the roads were absolutely impassable for vehicular traffic, but the dates being announced he was not to be deterred from making an attempt, and once more succeeded in doing the alleged impossible, securing good houses at Tongaparutu and Mokau, which he undoubtedly deserved for his intrepedity. Strathmore was visited under the same untoward conditions. A sterling entertainment and “ bound to get there ” may well be said of this bright little company. By the time Old Drury is re-opened to the public great alterations will have been made in the internal arrangements. Of the 143 requirements put forward by the Theatres Committee of the London County Council 92 have been agreed to by the proprietors without discussion. They have decided to reconstruct the upper tiers and also the stage in fire-re-sisting materials. Two new staircases will be provided from the gallery, and two front the dressing-rooms. The flies, too, will be reconstructed with fire-resist-ing materials. The whole of the new works, which will make the National

Theatre one of the safest in the world, will, it is expected, be completed lit time for the usual Christmas pantomime.

By a curious coincidence both Miss Julia Neilson and Mr Fred Terry and Messrs Otho Stuart and Oscar Asche had decided upon a revival of “The Taming of the Shrew” during their forthcoming provincial tour, with the view of appearing later in the piece at a West End theatre. Not unnaturally, Messrs Stuart and Asche desired to defer any intimation of a project that might serve in any way to prejudice the interests of their opening venture, which, as already announced, will be Mr Bernard Fagan’s romantic play, “The Prayer of the Sword.” All the scenery and costumes requisite for the revival are, however, in an advanced of completion, and the piece is practically cast. When these circumstances were brought to the notice of Mr Fred Terry, he at once waived any prior claim he and Miss Neilson migdt be thought to possess to the London production of the comedy.

Cn the day that Wilson Barrett passed away poor Herbert Campbell was laid to rest in Abney Park Cemetery, London. The popularity of the comedian was demonstrated by the public sympathy evoked by the funeral. Tens of thousands of people lined the roads, and over 150 floral tokens were deposited on the plumed open hearses which conveyed them to the grave side. Herbert Campbell was beloved by all youngsters with whom he ever came into contact, and there was a touching tribute, amid many others, from “The children of Drury Lane” —children who manly a time and oft have romped round a burly and beaming pantomime “King” or “Oueen” in the person of the dead comedian, who never failed to show kindness and consideration to the little ones, anti, more especially, to the poor and the suffering among them. But, for that matter, the “variety” artist who was laid to his rest befriended all who ever appealed to him for help, and his funeral brought forth many reminders in this connection of his warm-hearted sympathy and generosity. * * * * Says a writer in a London paper : “It is indeed terrible to hear that Signora Duse, who is living in complete retirement, will not pass a theatre when she goes out if she can help it. The theatre, she says, has been the cause of much sadness to her. But how about her audiences ? It would certainly be interesting to have their views. Personally, I have always had great pleasure in passing any theatre wherein Signora Duse had been playing. I saw and heard her once.” Hardly flattering ! * * * ■* Work is nearing completion on five new theatres in New York, to be opened in the fall season. Some of them will be ready for rehearsals September i, and all of them by November i. The new theatres are : Hammerstein’s Drury-lane, largest in the world, at Thirty-fourth-street and Eighth Avenue. The Liberty, owned by Klaw and Erlanger, situated on the south side of West Forty-second-street, a few doors west of the New Amsterdam. The Lew M. Fields Theatre, sometimes referred to as the National, owned bv Oscar Hammerstein and leased to Hamlin, Mitchell, and Fields, situated on the south side of West Fortv-second-street, near Eighth Avenue, The Colonial, at Sixty-sixth-street and Broadway, owned bV Meyer R. Bi ruber g. The Yorkville, at Eighty-sixth-street and Lexington Avenue, owned bv Meyer R. Bimberg. Approximately, the builders will have spent £550,000 on new places of amusement before all of these are onen. The Drury-lane will seat 4800 people—--3 500 in the orchestra, 2300 in the balconies, and iooo in the gallery. Some idea of its size may be gained from the following figures : Width of proscenium opening, 71ft ; height, 70ft ; footlights to back wall, soft ; height to galleries, 4oft ; curtain line to footlights, sft ; distance between side walls, 125 feet. The Drury-lane will cost close to £300,000.

Mel. B. Spurr tours India on the conclusion of his Australian season.

Arthur Greenaway, the well-known actor, is returning to Australia under engagement to J. C.' Williamson.

Mr Harry Lee, who is known for his “great men” impersonations, is still doing that turn at the Tivoli in London.

On the 10th inst. the Stephenson American Comedy Company open a season at the Melbourne Princess’, the first production being “ Other People’s Money.”

There is talk of Miss Edna May coming to Australia next year, under the management of Messrs Frohmann and Williamson.

Out of only seven theatres open in London at the beginning of last month, musical comedy was being played at six.

Kyrle Bellew contemplates another visit to Australia. At present he is in San Francisco.

French plays, well acted, are so popular in London that . the company lately performing at the Avenue Theatre has been engaged for another season there next year.

Mr Charles Frohman, who has left London for New York, stated before his departure that he had engaged over 400 English actors and actresses for his American theatres, as well as for his English ventures.

Mr George Musgrove and Miss Nellie Stewart’s dramatic company has sailed by the R.M.S. Oroya. Mr Musgrove has engaged Mr Van Biene (a comedian and musician) and Mr Charles Warner for starring tours in Australia next year. *** * *

Miss Linda Raymond is returning to the colonies with a company of her own, to produce Walter Melville’s latest melodramas.

Geo. Leopold, who died the other day, was in his time one of the best clowns on the colonial stage. He with his brothers, were originally imported by George Coppin.

Mel. B. Spurr is appearing at Melbourne Athenaeum, South Australia, "West Australia, and Sydney to follow. His Australian tour will terminate during the month of November. A tour of India and China will follow.

Tom Pollard, like all pros., is (says the “ Newsletter ”) in love with New Zealand. He has the highest opinion of its resources. Premier Seddon is doing wonders by opening up the King Country. He also makes a sweeping assertion to the effect that in the history of the years to come New Zealand will be to the other States what England is to Australia.

A Northern Queensland journal prints three sub-leaders in its columns. The first concerns the great advantages derived by the town from the establishment of a merry-go-round, the second praises a buck-jumping exhibition, and the third gives in detail the advent of the circus. A leader describing a children’s party would about complete the list (thinks the Melbourne “ Sporting and Dramatic News.”)

Mr Williamson’s Dramatic Company, headed by Miss Tittell Brune will produce a costume play in which Madame Bernhardt recently appeared in London, in Sydney during the season “L’Aiglon, “ L’Aiglon ” will be one of the biggest productions ever staged in Australia, and includes forty-two characters and a large number of scenes.

The late Dr. Herzl, the leader of the Jewish Zionist movement, wrote a play entitled “ Das Neue Ghetto.” It depicts the typical assimilated Jews with their failings and difficulties, and is highly spoken of by students of dramatic literature. An English version is to be staged in London shortly, the profits of which will be devoted to erecting a memorial to Dr. Herzl.

An actress’s love letters took up three columns of the Paris “Figaro-’ lately. The lady whose amatory correspondents have thus found themselves famous is Mdlle. Cleo de Merode, the well-known beauty, with her hair in Madonna bands on each side of her face, who has been made familiar by her photographs. She made a professional tour in Sweden and Norway, and received so many love letters that the Parisian journalists' interviewed her about them on her return to that city.

The Hong Kong “ Daily Press ” is responsible for the statement that cinematograph pictures of the execution of two hundred criminals in Canton will, be secured for the St. Louis Exhibition. “ A short time ago,” says the journal, “ a "Hong Kong photographer paid a visit to the Viceroy and came to an arrangement with him whereby all executions were to be postponed until a date towards the end of the present month.” This pending the arrival of the cinematograph apparatus on its way from the United States. It is difficult to accept this statement quite seriously, and we pay our contemporary the compliment of hoping it has been misinformed. The gruesome spectacle of an execution is not one to be put before audiences as a form of entertainment.

The latest “ Era ” contains a chat with Miss Maud Milton. recently in Australia.

The death is announced in America’ of Mr James Emmett, a very old-time minstrel, whose claim to fame is that he was 1 the composer of “ Dixie.” He was 86 years old.

Miss Connie Milne is now playing Tawera in “ Tapu,” in lieu of Miss Maud Chetwynd, who has left the stage to be married to a well-known Melbourne mining-magnate.

Alfred Dampier is playing at present in Brisbane.

May Pollard, the ■ delightful Matza, Ma Mie Rosette, Phyllis, and other heroines of the old days of the Royal Comics, is now (says the “ Newsletter ”) poultry farming in Victoria.

By the Sonoma, from America, arrived a lot of material for the Sanford season at the Sydney Lyceum. Some of the latest New York plays will be staged shortly.

Mr Williamson’s Dramatic Company, headed by Mr Cuvier Hastings, re-appears at Her Majesty’s, Sydney, on September 17. Miss Tittel Brune, an American actress, will make her local debut, and Mr A. E. Greenaway and Mr Gaston Mervale their re-appearance. “ Sunday ” will be the opening bill.

The London music hall stage lost one of its brightest stars in Mr Herbert Campbell, who died on July 19. The late comedian made his first appearance as a negro comedian, and he afterwards appeared in single turns when his contemporaries at the time were Vance, Leybourne, Lloyd and Coyne. “ I’m Getting a Big Boy Now,” was one of his many successful songs. In 1882 he joined the Drury Lane Company, under the management of the late Sir Augustus Harris, where he remained until this year.

Mr Alfred Dampier produced “ The Merchant of Venice ” in Brisbane lately.

Mr Ully Deering, who re-appeared at the Criterion Theatre, Sydney, last Saturday, is (says the “ Referee ”) one of the very few Australian-born'veterans in harness to-day. He was born on the site of the present Tivoli in Castlereagh-street something over half a century ago, his parents having come to Australia from the old r i ottenham Court-road Theatre, London, and he made his first appearance as an infant saved from a wreck. Touring Australia with his father’s company, he- played as a boy at Geelong at the time of the Ballarat gold rush, and subsequently at the old Queen’s Theatre, Melbourne, and at Ballarat. On the death of Deering, senior, he played many parts off the stage, including job printer, butcher, drover, station-hand, and furniture maker. He went to India as mechanist with Mr G. B. W. Lewis’ first dramatic company, and has many entertaining memories of the Calcutta and provincial seasons. When the Lewis Company returned to Australia, he remained to stage a panto, for his sister in Bombay, in which he was harlequin. On returning to Australia he took up character parts, in which he has filled many engagements under Mr J. C. Williamson and other managers. Of the improvement effected in Australian stage life by Mr Williamson as compared with the old

days, no one speaks more eloquently than does this much-travelled veteran. Mr Deering has toured Australasia once more with the Haw4rev Company during the last four years, and returns to h’ native city looking and feeling much younger than his years, and “equal to playing Tatterley for four months if necessary. with more of old Carbury and Silas Hobbs to follow.”

The Melbourne “Argus” is not altogether in love with “Tapu," though the critic says some pretty things about the haka and poi dance. This is the opening paragraph of the notice “Tapu,” the Maori comic opera, by a librettist and a composer who are themselves natives of New Zealand, had been looked for with curiosity as an advance guard of that new school of Australasian drama which, it is fondly hoped, will one day be established, and its first production in Melbourne on Saturday evening marked an undoubted success on certain lines. Although Mr Arthur Adams, the verse writer, and Mr Alfred Hill, the musician, are the original authors of the work, as it stands it now shows that several hands have been at it ; to Mr J. C. Williamson may be credited most of the arrangement and stagecraft of the piece. The management itself announces in the advertisement that “the plot of ‘Tapu’ is unpretentious and the story trifling,” and in view ■ of the modest disclaimer, by which criticism, is disarmed, it seems cruel to press the point that “ the ter-

rible law of Tapu,” so dramatically sung of by Mr Haigh Jackson, has apparently been applied to all rhyme and reason in plot and dialogue. It is, in fact, a law that is applied with great stringency to all logical sequence in every plot of every musical comedy that ever was written. But why should plot and story be unpretentious and trifling ? Plot and story should not give themselves away in that fashion. fl here should be no occasion for it, but after seeing “Tapu” it must be said that there is only too much occasion for apology on that score. The failure to be sincere and coherent is the morb disappointing in that it is evident in- the opening scenes that the opera originally presented a well-intent ioned, single-minded little plot of the romantic type, but its aims at sentiment were thwarted early in its career, and so it grew common and rather vulgar, and took to caricaturing Mr G. H. Reid as a pis aller.

Mr 1< rank M eathersby writes to the “Referee” from Johannesberg under date July 22 Just a few lines notifying our safe arrival in Africa. We finished our West Australian tour at Albany on June 24, left next afternoon by Persic, arriving in Durban Sunday, July 10, immediately leaving for Maritzburg, 70 miles inland trip, opening on Monday to a great house with “ The Bristol,” which was received with its old-timed Australian enthusiasm. Finishing Saturday night, we left after the show for Johannesburg, arriving Monday morning, and opening same evening with “ fl’he Bristol,” repeating our Maritzburg success. We play here six weeks, then a short run of 1050 miles to Capetown, where the Good Hope Theatre will house us for a season. Pleased to be able to report all well and in the best of spirits.

Says the latest London “ Stage ”:— “ fl’he Duchess of Dantzic ” will be sent on tour in the early autumn by Mr George Edwardes. fl’he company, who will include Miss Evie Greene, Miss Billie Burke, Miss Adrienne Augarde, Miss Elizabeth Firth, Mr Holbrook Blinn, Mr Courtice Pounds, Mr Herbert Clayton,, and Mr Leonard Mackay, will open at the Prince’s, Manchester, on Monday, August 22.” This company, it is comes to Australia to Mr Williamson.

Who says a chorus girl has no wit ? There had been some unpleasantness about the wearing of diamonds being com fined to the leading lady. Whereupon a “ thinking part ” young lady arose and said to her manager, “ How about wedding- rings ? As she can wear one on. every finger I suppose she will not object to my wearing the one I am entitled to?” And therein they gave her a fortnight’s salary—in lieu of notice, —(“fl’he Pelican.”) * * * * Mr J. C. Bain writes from Hobart to the “ Referee ” : “ I am pleased to tell you business is real good here. I re-open Launceston again in three week’s time In the meantime I have sub-let my theal- - in Launceston to Pollard’s Opera Company and Stephenson’s Stine-Evans Company. '♦ * * Stephenson s Musical and Comedy Company open at Wellington next month. * * * « ( To be quite frank, Wilson Barrett’s rtamiet was more remarkable as an effort of physical endurance than as an histrionic experiment. “It was ” a leading critic declared, “one of’ the audacities of modern art. It was rapid emotional hysterical, passionate, and restless. In the actor’s effort to avoid being conventional, he often rushed into u e extreme, and forgot to be reflective. St + ar + ted , °Fk at whirlwind speed, and almost oook the breath of the audience away with surprise that he had stamina to endure the fatigue and exhaustion of such an enterprise.” But the occasion n +£ de + menior able by the speech which the actor made behind the footlights at the close of the first performance at the Princess’. The caricaturists and humorists of the time made merry over that autobiographical deliverance, but the sincerity with which + -ki W f' s s P°ken appealed with irresistible force to the audience, and aroused tnem to generous enthusiasm. Coming before the curtain in the traditional suit of black, he said : “Twenty-five vears ago a poor and almost friendless lad stood outside the walls of the theatre that once stood here, and determined to devote his last sixpence to the enjoyment in the gallery of one of the celebrated revivals of “Charles Kean.” Coming out of the theatre he swore to himself that not onlv would he become manager of that theatre, but that in the distant future he would play “Hamlet” on that verv spot. Amzi tIO AA s in this insta nce satisfied, for tne little boy was myself, and I have played ‘Hamlet’ before you this evening.” ' .......

“ A FAMILY AFFAIR.”

SOMETHING ABO TIT THE FULLER PROPRIETARY. The following interesting article about the Fuller Family is from the Wellington “ Post/' The paper came to hand just too late for last week’s issue : — The owners to-day of a theatre in three of the chief centres of the colony, and the lessees of another in the fourth, each controlled by a member of the family, if this colony is not altogether ‘‘Fuller’s Earth,” as has been sometimes said, it may at least be truthfully claimed that .they own a valuable portion of it. “ And yet,” said Mr Ben Fuller, the general manager of the firm, in the course of a short chat yesterday, “ we began our career inside ten years ago with an asset in the shape of a silver tenor voice and a modicum of that indispensable commodity—Hope.” The subject seemed worth pursuing further, as an instance of the progress of a showman’s life, and Mr Fuller proceeded to explain how the scattered members of the family were brought together in 1894 for the purpose of a combined attack on this colony. Mr John Fuller, sen. (the aforementioned assets was at that time managing “ pop ” concerts in Adelaide ; Mr Ben was campaigning in South Africa as pianist to Mr Harry Lister, monologue entertainer; Miss Hetty Fuller was in Brisbane with the Pollard Opera Company ; Mr Walter was musical director of one of Mr Joseph Poole’s Myriorama Companies travelling in the English provinces ; Miss Lydia Fuller was in another part of the British Isles with Mr Warick Gray’s Juvenile Opera Company ; and John, jun., was in New Zealand, as callboy to the Royal Comics. The threads were drawn together, and within the course of a few months there was a family gathering in Auckland, where, in 1895, at the City Hall, they launched upon a united career with a series of “ pop.” concerts. “ Those were merry times,” said Mr Ben, reflectively, “ merry, for every hand was at the plough, but exhilarating. The idea ‘ caught on,’ and at the end of twelve months, before interest became exhausted, it was decided to experiment with pictorial entertainments, and I was despatched to London to select stock. This class of entertainment also pleased the northern public, and we gradually worked south, playing seasons wherever the country seemed worth working. In time we took a lease of the Agricultural Hall in Auckland, and ran pictorial concerts there on two nights in the week, and a variety performance on a third, filling in the rest of the week with trips into the suburbs. About this time the Auckland Industrial Exhibition came into being, and while that stupendous competitor concerned itself with the products

of the country we embarked in a rival exhibition in wax, embracing all the celebrated murderers and criminals of the age, and other celebrities. We ran two seances a day, and mopped up much money, and some notoriety. “ You see,” explained Mr Ben, “ the variety show was not as popular in those days as it is to-day, and we went into the wax business in the hope that the combination of the two would reach the great heart —as well as the pocket, particularly the pocket —of democrary. It did In time I hustled the ‘ works ’ off to Dunedin, where we had taken a lease of the Alhambra Theatre, and, quitting Auckland, Mr Fuller, sen., carried the Myriorama off to the ‘ other side, where it vacillated up and down the country with more or less success. The Scotch town in the South proving trumps, I began to bring across variety people, and presently extended operations to Christchurch, and later to Wellington, by which time the family had got together again, and we embarked in vaudeville business pure and simple. Our success encouraged others to come along and work on similar lines, and as it is a theatre maxim that ‘ you can’t raise your prices, though you can lower them,’ we in the end went out of business for a time. But we had left our stake in the country. We at that time owned the Choral Hall (now His Majesty’s Theatre), at Wellington, and the Alhambra Theatre at Dunedin, so we let them advantageously and went to Australia, where we ran a twelve months’ season at the Standard Theatre (rechristened The Empire) in Sydney. The outbreak of plague in 1901 drove us out of Sydney, and we went to Tasmania for a year, and our New Zealand theatres being then again on our hands, we got back to the land of our adoption.” “ And what is ahead ?”

“ Well,” replied Mr Ben, “ our business motto all through has been ‘progress with prudence,’ and having proved the o-round we are working we contemplate

presently wringing out our own people direct from the theatres of the older and newer world. At the present time we have an arrangement with Mr Harry Rickards, the Napoleon of vaudeville in Australia, by which we get from him the best of his ‘ star turns.’ The Usessem boys, who are to appear with us in Wellington next Tuesday, come in under this arrangement. Their quality may be judged from the fact that they will cost us approximately £lOO a week during the short period thev remain under our management. The Nawns, now in Dunedin, are another consignment, and presently will arrive ‘the Musical Johnstons,’ and Burke, Moeller, and Teller, an American comedy team —all top notchers. Early next year I hope to set out for ’Frisco in order to select stars for myself, and reckon that before many months have gone by we shall have a steady inflow of prominent people feeding the theatres we now control in the colony, and giving people something which they appear to want.” “ Then you have faith in vaudeville?” “ That,” said Mr Ben, “ ought to be clear enough from the fact that practically all we have made in the past we have put back into the business, either in people or property. My impression is that the colony has only been skimmed as yet, and that the theatre, if the entertainments are good, is steadily growing in popularity. An indifferent entertainment speedily finds its proper level ; it doesn’t pay to ‘ gull ’ your public. My own opinion on this point is that the colony might advantageously legislate against managers bringing theatrical organisations here without giving a guarantee that they can find the passages for the members of their company back to the place where they were engaged. As for ourselves, we intend to move with the times, and give people what we find best suits them. Follow the bent of your public and you can’t go far wrone - . Mr Fuller remarked on the fact that

“ the firm ” had a few months ago added) the Christchurch Opera House to its list of properties, and had spent liberally in improving His Majesty’s in Wellington, towhich theatre has recently been added a perm an ent orchestra, and which also, in the course of the next month or so, is to. be brought further up-to-date by the construction of a “ raking ” floor, which will enable the stage to be clearly seen from, all parts of the downstairs section of the bouse. As to the present disposition of the family—which at the present time has something like a hundred performers in its employ—Mr Ben is stationed in Wellington as general manager ; Mr John,, sen., is in charge of the Opera House at Auckland, which is held on a five years' lease ; Mr Walter controls the Christchurch Opera House ; Mr John, jun., is at the Alhambra Theatre, Dunedin ; Miss Hetty is in Manila with the Orpheus Music Hall Company ; and Miss Lydia has assumed domestic responsibilities and made her home in this colony. “ Most of us are still young, and there are ‘juniors’ looming on,” said Mr Ben in conclusion, “ and as for myself, the work is my only hobby, but before I am relegated to the- ‘ shelf ’ I "hope to see many important phases of the progress of ‘ polite vaudeville ’ in this little colony.”

CHURCH AND STAGE

Sir Charles Wyndham has been rejoicing in the presence of a congregation consisting of a bishop and a number of actors, clergymen and actress on the growing - union between the pulpit and the stage. The Church (says a London, exchange) has long entertained the belief that the people of the stage were a curious and tainted race, who had to be missioned and converted like Kaffirs or stockbrokers. They chased them with tracts, enticed them with teas, and sponged upon them on behalf of their charities. They preached against the

tempta.fions of the stage, their womenfolk avoided contact with an actress, and they refused to distinguish between the actress who followed her profession for the livelihood it offered, and the divorcee who went upon the stage to supplement the notoriety she had achieved in the law courts. Then the Church discovered that while they were still regarding players as brands to be snatched from the burning, society had opened its doors to admit them, notoriety-hunting dignitaries of the Church were glad to have their names associated with those of actormanagers in charitable concerns, and Royalty was pleased to single them out for special honours. Sir Charles Wyndham did not consider he had demeaned himself by forsaking medicine for the stage, and candidates for admission to Mr Tree’s School of Acting represented every known profession, from the established Church to the ancient and honourable calling of “ charing.” Sir Charles declared that the theatrical profession was on the whole neither better nor wosse than any other profession. To our mind he was too modest in claiming so little for the stage, and it would, on the whole, be more correct to say that it is no worse than any other profession, and better than many.

The following from the London “Daily Mail,” of July 15, will be of interest: — On the stage of the Garrick Theatre yesterday Mr W. S. Gilbert conducted the first complete rehearsal of “ Rosencrantz and Guildenstern,” his burlesque of “ Hamlet,” which is to be played by dramatists for charity next Tuesday. Mr Anthony Hope, Mr Henry Arthur Jones, and Mr George Bernard Shaw were absent, but the King Claudius and Queen Gertrude were there in the persons of Mr Gilbert himself and Lady Gdtfi/n. Campbell,, besides Mrs Madeline Lucette Riley, the Ophelia, Miss Clo Graves, the Player Queen, Captain Robert Marshall, the Hamlet, Mr Leo. Trevor, the Rosencrantz, Mr Paul Burnand, the First Player, in addition to Mrs Alicia Ramsey, Miss Margaret Young, Miss Gladys Unger, Colonel Newnham. Davis, Mr Alfred Sutro and Mr Edward Rose, to whom “ thinking parts ” had been assigned. As it is no good having a lot of distinguished people unless the public can see them properly, the characters were made to march in a circle round the stage before the action of the play commenced. “ I really think ‘ Lead Kindly Light ’ would be appropriate music for us here,” suggested one of the dramatists ; but the pianist, who deputises for the band, paid no heed. The. Play Scene began. “ Stop,” said Mr Gilbert ; “ this is where you titter.” Two lines more, and he interrupted with, “ Now you laugh, louder.” Two lines more, and, “ This is where you explode.” “ Umph,” muttered a dramatist in the crowd, “ I am paid to think—not to laugh.” “ Yes,” replied his companion, “ I shall want my salary raised if I have to laugh.” It was the cue for the entrance of th First Player, Sir Francis Burnand. “ Can’t I have some music to bring me on ?” he pleaded. <l Whoever heard of the leading actor coming on without music ?” “ I don’t see why you should have tjmsic,” Mr Gilbert replied, entering into tty - spjriZ of the joke, but not moving a ► muscle of his face. Ob, I think we want it, please,” per-fX-sisted Sir Francis. t( Don’t you want it. / Miss Graves ?” he asked, turning to 1' Player Queen. I do, indeed ; I feel the need of music greatly.”

“ Think it will help you ?” queried r Gilbert. . “Oh, I’m sure of it, replied fair Francis. . “ Eight bars,” exclaimed Mr Gilbert, and the piano tinkled out eight bars. At the end of the play Rosencrantz has to pick up Ophelia and whirl her round his head. “ Rosencrantz wrestling with his love, ' murmured Mr Gilbert, everyone appreciating the delicacy of the jest. As the scene finished the ladies broke up into animated groups and discussed —dramatic authoresses are women —the mysteries of plaits and curls and what would be most becoming to wear on Tuesday. * * * *

According to a London paper, the Salvation Army are now invading Strand theatredom. They captured Terry’s Theatre recently, when Geiser al Booth’s amateur—or is it professional—histrions displayed “dramatic scenes of love and sorrow.” There were living tableaux, “American songsters,” and a cowboy band. The haughty West End stall was for this occasion reduced to a two-and-sixpenny worth, and the gallery to a sixpence.

Miss Roland Watts-Phillips has been engaged as a member of the Nellie Stewart Company, which opens in Melbourne in October.

Diavolo, the celebrated “Looping the Loop” cyclist, will probably visit Australia shortly. Messrs Combs and James, of the American Travesty Stars, are negotiating with that object. ’** * *

The Charles Holloway Company (says the “Referee”), under the management of Mr Edwin Geach, have proved a great success in West Australia, and when the mail left they were refusing money with “Two Little Vagabonds” at Perth. His Excellency the Governor, Lady Bedford, and suite recently witnessed the prcduction.

. A new attraction at the Pavilion Music Hall, London, at present is the walking races on the new mechanical walking track by which Miss Minnie Letta and her Sporting Girls nightly fill the house. The track revolves over two drums driven by a small gas-engine. When it has started revolving the competitors jump upon it, and commence walking, a dial indicating the distance travelled. Miss Letta claims the walking championship of the world for ladies.

It is announced that Mr J, M. Barrie is writing a new play for Miss Ellen Terry, under the management of Mr Charles Frohman. The work will exhibit the “modern feeling” shown in the attitude towards each other of a mother and daughter, and will be a straightforward play, in four acts, without satire or fantasy.