THE OPERA HOUSE.

New Zealand Illustrated Sporting & Dramatic Review, Volume XIII, Issue 797, 15 June 1905, Page 18

THE OPERA HOUSE.

FULLER’S ENTERTAINERS. Air. John Fuller is a staunch believer in the principle that what the public want nowadays is variety, and that there is truth in the contention is proved by the number of people who attend the Opera House every evening to witness the efforts of the Empire Entertainers to amuse. The company is a good one throughout, and the applause all through is unstinted, nearly every item being regularly redemanded. The prismatic effects introduced by Aladame Lottie Act are exceedingly pretty. Aliss Lavinia Tyson is nightly encored for her song, “ Sunshine and Rain,” while in the second half of the programme her rendering of “ While the Moon Shines Bright” and “ Follow the Crowd on Sundays” (illustrated) never fails to please. Aliss Nellie Power is already a warm favourite, her voice being heard to good effect in “ Phoebe,” with a popular coon song for the inevitable encore. Mr. James Opie does full justice to the stir-

ring nautical ballad, “ The Admiral’s Broom.” The terpsichorean art is most efficiently represented by Aliss Florrie Leigh, Miss Flo. Calcutt, and Aliss Alma Lyndon, whose dances are decidedly clever. The cycling feats of Alessrs. Roy Murphy and Bert Delavale are so well done as to make it appear that such feats are easy—until one comes to try them. The entertainment concludes with a biographic pantomime entitled, “ Little Red Riding Hood,” this being taken direct from Drury Lane Theatre. There will be a complete change of bill next Saturday, when more new artistes are booked to appear. — “ A Aloorish Alaid,” the new comic opera by Alfred Hill and J. Youlin Birch, comes up for the public’s’ verdict on Alonday week (June 26) at His Alajesty’s. Alost people are hoping it is going to be a success, and several are confident it will be nothing less. The opening performance promises to draw a house that will give the traffic inspector a headache, and after that those who have heard the opera or portions of it aver that it will absolutely compel popularity for the rest of the week. The chief characteristics of the opera are said to be brightness and variety. “ Tapu” Hill’s music has been described to me as brilliantly descriptive, and nothing if not melodious, right through. He is said to have got magnificent effects in his orchestration (always a strong 'mint with Alf. Hill), whilst in some of the numbers he has attained to grand opera level. For the rest, well, it will be a wonder if artistes like Fred. H. Graham, Madame Lilian Tree, Archdale Tayler, Hamilton Hodges, Alisses Marion Mitchell, Sissie Sandford, and Lucie Ehrenfried, cannot pet good results in dealing with both music and “ book.” It is claimed for the libretto that it is at least never dull, whilst all who have heard the lyrics speak in emphatic terms of praise of them. Let us hope the HillBirch venture may turn out as well as it expected to. It would be very gratify-

ing to find we had in our midst two men capable of turning out " really good opera from time to time. The box plan for “ A Aloorish Alaid” opens on Saturday next at Wildman’s. ■X - •X- w # The subject of our frontispiece this weak is Miss Nannie Bennett, of the new English Dramatic Company, who plays the role of Lady Castlemaine in “ Sweet Nell” and Eva Sorrell in “ Pretty Peggv.” * * Air. Dudley Clinton, one of the most popular members of the new English Dramatic Company, now appearing ah His Alajesty’s, is a cousin of the Rev. W. E. Gillam, of St. Alatthew’s Church, Auckland. * * * ■ • Air. M. B. Curtis has cabled from America cancelling the dates for Howard Thurston, illusionist and magician, who was to have opened at His Alajesty’s on July 8. * * * * Mv Christchurch correspondent writes me that the Fullers continue to do splendid business, and the constant succession of fresh talent they keep the Opera House supplied with is doubtless responsible for the very liberal patronage accorded to them * * «. Aliss Jessie Maclachlan, the famous ballad singer, was to have here on July 4. 5, and 6. Owing to the phenomenal business done in Australia the dates have been cancelled, and it is probable she will not arrive till October. * * * «• Mr. Courtice Pounds, in Australia a few years ago, will, by the courtesy of Air. George Edwardes, who curtailed his eii"""ement in America out of consideration for Mr. Beerbohm Tree, repeat his interesting performance of Sir Hugh Evans, in “ The Merry Wives of Windsor.” and of the Clown, in “Twelfth Nmht.” at His Alajesty’s Theatre, during the Shakespeare week.

After the conclusion of the season at His Majesty’s to-morrow week, Mr. Musgrove’s new English Dramatic Company will make a fortnight’s tour of the country, commencing with a three nights’ season at 'Rotorua. On their return they will. leave on July 4 - for Gisborne, this being the commencement of a Southern tour. After leaving this colony Tasmania will be visited, arid then Melbourne, after which the company will make a flying trip to West Australia, playing a fortnight’s season in Perth. They will then return to Melbourne in time for Cup week.

Mons. Leon Caron, whose death is so deplored by all who knew him, was born at Boulogne, in the North of France, 55 years ago last January, and came to Australia about 27 years since, where he practicallv resided ever since. In his earliest years he displayed an aptitude for music, and while still very young was placed under the great violinist Camille Urso. Subsequently he became a pupil of Gilmore, the organist, in Paris.

The late M. Carol, was the composer of several works, among them being the “ Cantat” for the Melbourne Exhibition in 1880.. Seventeen years ago he became connected with the then firm of Williamson, Garner and Musgrove. Subsequently Messrs. Garner and Musgrove dropped out. but M. Caron continued with Mr. Williamson, remaining in the latter’s service until his death as conductor of orchestras. During those 17 years M. Caron was the recipient of many evidences of regard from some of the various distinguished artists with whom he had been associated as conductor of orchestras, and received complimentary batons from, among others, the late Wilson Barrett. Nellie Stewart, and William Paul. On the occasion of M. Caron’s departure for England on business some six years ago, he was presented with a writing desk by the company of Her Majesty’s Theatre. He died at the Gresham Hotel, Druitt-street. Svdney. on the 28th ult.

Miss Tittell Brune during her season in New Zealand will produce “ The Second, Mrs. Tanqueray,” “La Tosca,” “ Theodora,” “ L’Aiglan,” “ Camille,” “ Borneo and Juliet,” “ Sunday.” and “ Merely Mary Ann.” A season in Sydney will follow in September next.

Mr. John F. Sheridan, the world-famed “ Widdy,” produced on Saturday at the Criterion Theatre. Sydney, a comic opera entitled “ King Dodo,” by Gustav Ludero and Frank Pixley. Sheridan played the name part, who is described as a jolly old potentate, monarch of everything in Spoojuland. Miss Maud Amber and Mr. Winfield Blake, American artists, are with the company, which also includes a very strong corps de ballet.

The reported robbery of some of Miss Nellie Stewart’s jewellery last week created quite a sensation; Fortunately the actual monetary loss was inconsiderable.

The Otahuhu Musical Comedy Club produced a musical comedy entitled “ The Second Mrs. 5.,” at Onehunga last Thursday.

Miss Amy Willard, whose portrait appears in this issue, who is now playing in Auckland with Mr. George Musgrove’s Company has played many good comedy parts in London. Two of her greatest successes were Paulina in Mr. Weedon Grossmith’s piece, “ The Night of the Partv.” at the Avenue Theatre, London, and Tweeney in “ The Admirable Crichton” at the Duke of York’s Theatre. This is Miss Willard’s first trip to the colonies, and she hopes it will not be_her last, as she enjoys playing to the audiences here so much. They are so appreciative and attentive. She thinks New Zealand a very beautiful place; she is particularly impressed with the lovely, graceful trees here. When Miss Willard returns to London she will play a very good part, which is being specially written for her by her London manager, Mr. Weedon Grossmith.

The MacMahon Dramatic Company is earning much praise in the goldfields district. The production of the exciting drama, “By Order of the Czar,” at Waihi caused much enthusiasm, there being a very large audience. It was followed by the four-act London drama, Led Astray.”

Writing of West’s Pictures and the Brescians my Christchurch correspondent says that business has been splendid ever since the first night. The pictures are kinematographic ones, but excellent of their kind, and, in fact, as good as any we have had here, if not better. The view of Vesuvius iri eruption is a magnificent. picture, full of smoke and steam effects. Nothing could be well more realistic, and next to “ doing” Vesuvius this picture will fill the bill for you, and at a considerably cheaper figure, too. The comic scenes are capital, the “ chase for a lost child” creating . screams of laughter. In fact all the pictures are good, some being

strikingly so. The Brescians are a very clever lot of musicians, male and fen.-tie, and they combine to keep the audi-m<e amused and interested throughout. Thev are fantastically dressed in garments of gorgeous hue, so that Solomon in all hisj glory was riot arrayed like one of these.' But the dress is picturesque enough. In Mr. Rudall Havward the company possesses a vocalist of quite exceptional ability. He sings “ Simon the Cellarer,” for example, as this scribe never heard it sung before. In fact, Mr. Hayward does not merelv sing the so-ig — he acts it as well. Miss Martinengo sings very prettily, and her sister plays the violin like an angel. But do angels play the violin ? I believe they are only harpists I Mr. Fred. Mills is the humorist of the company, and being so announced on the bills and the programmes of course he has to live iip to his reputation and be as funny as he can all the time. He certainly is a capable entertainer, and his vocal imitation of the bagpipes just brings down the house. I warmly commend it to the notice of Aucklandiers, who are sure to appreciate this delightful blend of living pictures and popular riiusical items.

In an appreciation of Sir Henry Irving appearing in the latest issue of London “ M.A.P.;” the writer, “ 8.P.,” states that Sir Henry would have become prominent iri any walk of life bv reason of his personality and individuality. Bound up heart and soul, says the writer, in the art and profession which he has so long elevated, ;he yet takes keen and enthusiastic interest in all current affairs; while his knowledge of details would be surprising to those who erroneously think

that a great artist can have no business capacity. Everything Irving attempts is achieved with the thoroughness and attention to detail which have helped to make his name famous.

Miss Nellie Power, who has made such a hit with Fuller’s Empire Comnany at the Opera House, is an Aucklander. Her coon song, “ Honey, Don’t Say We Must Part,” is a great favourite, while other items, such as “ Phoebe” and “ She’s My Love,” are heartily applauded.

Carl Hertz, who is at present playing an engagement at the Winter Garten, Berlin, has been having an exciting time of it in that city. The “ Berliner Tageblatt” made an attack upon him in reference to his bird-cage trick, and demanded the interference of the police authorities of the Society for the Prevention of Cruelty to Animals. The other papers followed suit, and in order to satisfy the authorities the illusions! invited the entire press of Berlin and the officers of the societv named to a special performance with the bird, which had been marked with the private stamp of the societv. ‘The little creature was returned entirely unharmed, and the journalists and members of the society satisfied that their accusations against Mr. Hertz were false. He has since received a certificate from the president, and a complimentary letter, stating that the officials of the S.P.C.A. were satisfied that the bird was not injured in the trick. The controversy has been a huge advertisement for Mr. Hertz, and seats at the Winter Garten are reported to be sold out every evening.

The Spencer Jones concert party will commence a season here on October 2.

The popular Westminster Company, with Mr. Branscombe at its head, is due in Auckland in November. * * * West’s Pictures and the Brescians commence a month’s season at His Majesty’s on September 4. * * * * Mme. Patti has been decorated in Paris with the Cross of the Legion of Honour. The famous singer travelled expressly from Wales in order to sing at a charity concert at the Gaite Theatre, and as a token of the French Government’s appreciation of her invaluable kindness, the Minister for Foreign Affairs, upon the proposition of M. Dujardin Beaumetz, the Under-Secretarv of State for Fine Arts, bestowed upon her the much-coveted honour. The nomination has caused considerable discontent in theatrical circles in Paris, because the Order has been systematically withheld from eminent French actresses and singers, including Mme. Sarah Bernhardt. It was announced that a question would be put in the French Chamber by a Deputy belonging to the Left, who is also a poet and author.

* * * * Writing from Svdney. Mr. George Tallis sends some'interesting notes: — There will be, to use a business paraphrase, considerable activity in exportation and importation with regard to Mr. J. C. Williamson’s respective companies during the ensuing fortnight. Miss Tittell Brune begins the movement with her departure from Melbourne for New Zea-

land to-day (Saturday, 10th inst.) and her example will be followed a few days later by Mr. Andrew Mack, who leaves Melbourne for Sydney on Friday ,the 16th inst. He will be succeeded bv Miss Nance O’Neil, who is now on her way from San Francisco. The next to move in Australia will be the Roval Comic Ouera Company, which, on June 15, takes the giant stride from Sydney to Perth, and eight days afterwards the KnightJeffries season in the former city closes, and the organisation makes room for the Gilbert and Sullivan Company from New Zealand, while, on the outskirts of it all, the Bio-Tableau flits from town to town in Tasmania. Altogether the circumstances are an interesting manifestation of the great extent of Mr. Williamson’s business and the enterprise he displays in covering the whole theatrical world of Australasia.

In June last year a writer in one of the Boston magazines referred to Miss Nance O’Neil’s visit to Boston as being the supreme dramatic event of the season, and referred to the unexpectedness, richness of development, and climax as being “ as good as a play.” Certainlv there was an element of romance about it such as one usually expects from the plots of novels. Miss O’Neil arrived in Boston almost unknown and unappreciated. She began courageously in a small and unfrequented theatre, and soon the exceptional talent she showed brought its own reward. The box office profits rose from £6 to £3OO per night, and her first engagement in Boston brought £BOOO profit to the manager. Three others of

his fraternity entered into successive contracts with her afterwards, and when she? had finished.with them all her record, wassurely. a . unique onel She had captured, a critical city, had commanded its admiration and appreciation in whatever role she appeared, and had left them With a memory which, as one enthuisast put it, will be years before it is effaced. For the three weeks’ season which commences in Sydney on o une 24, the Gilbert and Sullivan Company will revive “ The Mikado,” “ The Yeoman of the Guard,” and “ The Gondoliers,” the two latter of which are “ new” in the sense that the company has not played them beforeThe vacancy created by the lamented. / death of M. Leon Caron has been filled, by Mr. J. C. Williamson by the appointment of Mr. August Juncker, well known as a musician in Australia, especially for his sentimental ballad, “ I Was Dreaming.” Mr. Juncker has been for the last three or four years with various musical organisations in the United States, where his evmrience include engagements under Mr. .Charles Frohmann. The company open in Brisbane on July 17, and in Melbourne on August 5.

Mr. Andrew Mack made quite as conspicuous a success of “ Jack Shannon” when he produced it at Her Majesty’s Theatre. Melbourne, on Saturday last (the 3rd inst.) as any of his previous efforts. The part, which, bj vtie way, he declares to be his favourite, suited him down to the ground, and the combination of merriment and sentiment it contains was a particularly happy one. The comedy-drama will only be staged for a week, and the last five nights of the Melbourne season will be devoted to revivals of “ Tom Moore” and “ The Way to Kenmare.” The company leave on Friday next for Sydney, where they open on Saturday, the 17th inst.

The New Zealand tour of Miss Tittell Brune and her coinnanv commences at Wellington on Saturday next, June 17. To get there in time it will be necessary for the whole combination to leave Melbourne by the Sydney express to-day (Saturday, 10th) and catch the Sierra for Auckland on Monday. Mr. Garston Mervale remains behind to join the Nance O’Neil Company, and Mr. George Majaroni succeeds him in the dramatic company.

There will be a break in the “ acting nights” after the season of the KnightJeffries Company closes in Sydney on the 23rd inst. It was originally intended to visit Brisbane, but Mr. Knight’s illness necessitated a change of plan, and the combination will not resume work until the Adelaide season, opening on July 15. Mr. Knight, who is rapidly improving in health, will spend his weeks of convalescence in the same city, and confidently expects to be quite recovered for the initial performance there. * * * *

By this time the Royal Comic Opera Company should be well used to quick changes of location, and the prospective trip the whole breadth of Australia, from Sydney to Perth, is not likely to awe them, “ rushed” though it be. The last night of “The Cingalee” in Sydney is fixed for June 15, and immediately after the performance a special train with the whole of the huge organisation on board will leave Sydney direct for Adelaide, arriving there in time to catch the Australian steamer on Saturday. Miss Rose Musgrove, now seriously ill with typhoid, will be the only member of the company to be left behind. *"* * -

“Blind Man’s Buff.” which Mr. Musgrove’s Company produced on Saturday at His Majesty’s, was staged just prior to the last mail leaving Home by Miss Maxine Elliott at the Lyric Theatre under its original title of “ Her Own Way.” It is interesting, therefore, to know how it was viewed at Home. This is from the critic of the “ Licensed Victuallers’ Gazette”: —

“ Her Own Way” ran for two years in New York. It was the play of the season—or, rather, of two seasons. Though it is well that an opportunity be afforded English playgoers of visiting this play, we greatly doubt a n.etition of the two years’ run will be made on this side of the water. For ourselves we must admit that the play left us unimpressed. For one thing, the piece is altogether too hybrid ; indeed, it reminds one somewhat forcibly of Dr. Johnston’s leg of mutton. Again, neither the story nor the characters seem in the least bit lifelike. Yet it must be conceded that “ Her Own Way” is rightly built for financial success. It all goes so smoothly, containing no witty epigrams (over which one has to puzzle to discover the wit), no moralising, no puny problems. It is simply an unvarnished play of—to our mind impossible—American domestic life. We see the hapnv home: Mr. Carley, the husband, man of many dollars; the wife, woman of fashion ; “ the children playing by candlelight.” Yet we are not moved. Then we have the sister of Mr. Carley. Georgiana “ the angel of the hearth,”

who guides and guards the family fortunes of the Carley family. Even this does not greatly interest us. Mow Georgiana, though she loves Richard Coleman, is not married, for her lover is ordered off to the Philippines. Enter now the villain. Sam Coast, a multimillionaire, loves Georgiana, but Georgiana’s heart has, metaphorically, been alreadv disposed of. Thereupon Sam, by market manipulations, ruins the Carley family, trusting that by promising to restore their wealth he would get in return Georgiana’s love. Vain hope! Georgiana (of course) marries Richard Coleman, and the curtain descends upon a home of happiness and content. Miss Maxine Elliott as. Georgiana makes a welcome reappearance in London. Beautiful and charming as ever, her power as an actress merits a worthier piece. Yet with such an actress what matters the piece? Playgoers would go to see her play in a tenth-rate melodrama in a tumbledown barn. As Mrs. Stephen Carley Miss Nellie Thorne was quite successful, whilst Miss Fanny Addison Pitt and Miss Suzanne Perry lent adequate aid. As the villain Mr. James Carew was sufficiently hateful; whilst Mr. Charles Cherry played well the part of the conventional hero. The whole play reeked of American phrases, modes, manners, and methods. The audience apparently liked them hugely. * #

Of the members of the Nance O’Neil Company, now in Sydney, the two who, next to Miss O’Neil herself, who will attract the most attention are Messrs. John Glendenning and Charles Milward, both of whom have had much experience in the United States, and will be cast for leading parts out here. Mrs. Henry Bracy is also back again. Miss O’Neil’s stay in Australia will be a comparatively short one, for the reason that she has already established in America as an emotional actress of splendid parts, and naturally enough she is not anxious to allcw. the impression she has made on a somewhat fickle public to fade again. But for the visit she brings a varied choice of plays and her repertoire will be taken from the following:— The Fires of St. -John,” “ Medea,” “ Justice,” “ The Sorceress,” “ La Tosca,” “ Hedda Gabbler,” “ Magda and Elizabeth.” She opens in Melbourne on June 17, and seasons in Sydney and Brisbane follow in that •order. Subsequent arrangements have yet to be made, but it is unlikely that •other towns in Australia will be visited.

The play wherein, according to all accounts, Miss Nance O’Neil has reached the highest point, is Sudermann’s “ Fires of St. John,” a powerful and poetic study of two characters who rebel vainly against the conventions. Miss O’Neil in the part of Marie interprets a character which is like and yet unlike Magda, a free physical woman with strong passions and in-

tense affections. The character differs from Magda in that Marie is more of a passive nature, content to serve and love, taking the blame for whatever sin she is partner in. The piece was first staged in Boston in January last year, and the effect of Miss O’Neil’s acting was to fascinate the whole of that cultured city. Playgoers wrote to the press about it, the little unfashionable theatre in which she anneaied became the centre of Boston for the time being, and article after article appeared in the local papers enthusing over an actress whom the writers did not hesitate to place next Eleanora Duse. Since then her career has been in the nature of a triumphal progress from part to part, and everything she has since done has been welcomed by a cordially approving chorus.

On the subject of Miss Tittel Brune’s final production of “ The Second Mrs. Tanqueray” in Melbourne prior to leaving for this colony, “Punch” says: — If one may judge by the densely-crowded state of the Princess’ Theatre on Saturday night, and by the frequency and strength of the outbursts of applause, the modern problem play has not yet lost its hold upon the playgoing public—in Australia, at any rate. No doubt the desire to see that painstaking actress attempt a neiv role in emotional drama had something to do with the large attendance, but even Miss Tittell Brune could not fill the house with a known play unless the play itself was popular. There is no doubt that, so far as workmanship is con-

cerned, “ The Second Mrs. Tanqueray” is one of Pinero’s best. The dialogue is natural, smart and striking, and there is a considerable quantity of truth and human nature in the piece; but the truth is not of the pleasant kind, and the human nature is not of the most wholesome. The woman with a past can be made, and has been made, to play an interesting part upon the stage, and to point the moral, even if she does not adorn the tale. “ The Second Mrs. Tanqueray” is, however, one of those “ strong orders” that are colloquilly known as “ red-hot.” She has not only a past, but a considerable number of those unpleasant recollections. She is no sooner off with an old love than she is on with a new* one, and her complaisant affections, like comfort-ably-furnished apartments, are never long without a tenant. That a man like Aubrey Tanqueray, knowing of all these tenancies, should marry her must be regarded as a decided stretching to the ut-. most of dramatic licence. The climax of the piece is powerful, but none the less revolting. The discovery that the hero, who is engaged to be married to Mrs. Tanqueray’s stepdaughter, is one of Mrs. Tanqueray’s “pasts” is not a pleasurable one for her audience, nor does the suicide of Mrs. Tanqueray mend matters in the slightest. The result of this rash, but by no means unintelligible, action is to leave everybody more or less miserable and despairing, and to send the audience away “ with an unpleasant taste in the mouth,” as if they had only narrowly escaped listening to the details of what would have been, morally, an incestuous union.

Nevertheless, the audience seemed to enjoy the unsavoury fare, and it must be admitted that the piece was well acted and effectively placed upon the stage. Miss Tittell Brune gave an admirable rendering of the heavily-handicapped heroine. The actress certainly plays the part in a most natural manner, and to some extent idealises the capacity for honest love which the notorious woman displays for the man who is willing, out of his affection, to give her his name and suffer that social ostracism that must necessarily—and properly—follow his marriage. Had the second Mrs. Tanqueray been a woman who had loved not wisely but too well, her vain efforts to regain her respectability would command nity, but she is such an out-and-outer,’ such an “ everybody’s hero,” that sympathy w’ould only be -wasted upon her. Neither Miss Brune nor any other actress can win ovei’ the sympathy of the audience, but the present representative succeeds in getting very near to the desired impossibility. Perhaps Miss Brune’s best scenes are those in which Paula Tanqueray’s true passionate nature comes out in her outbursts to hex* husband and with hexstepdaughter, Ellean. These were rendered with force and impetuosity that completely carried away the audience.

Another effective and quietly powerful note was struck by the actress when, in the scene with the Orreyds, she realised what her former companions were and are. This awakening was finely shown in the tired, dull, apathetic manner in which she listens to the inanities of Lady Orrcvd, and sees the brainless a J d frivolous Mabel with Aubrey Tanqueray’s eyes. The rendering of the character wiU certainly tend to add to Miss Brune’s reputation. She was loudly recalled* at the close of each act, and—such are the eccentricities of genius—posed more and was less natural as Miss Brune than when she was acting the author’s part.

Writing of Miss Jessie Maclachlan, whose singing has aroused such enthusiasm in Australia, the “ Australian Star” says:—With the good fortune of the “ one singer in a thousand, Miss Maclachlan’s dramatic qualities are balanced by a very keen and a very lively sense of humour. This talent for tragedy and comedy, if it may be so described, is of immense help to the artist in giving variety to her programmes. She is an actress—and a clever one—into the bargain. If she left the concert platform to-morrow she could earn a handsome salary in elegant comedy.' In this regard her face would be her fortune.

Unlike Madame Melba, the lady who has come from Scotland with a smile and a song does not entirely depend for success upon the beauty or the brilliance of her voice. Nor does she set up a claim to recognition as a splendid example ot the science of singing, without the soul of song. If this sin ver has a secret two words should describe it—sympathy and sincerity. She is earnest and straigyitforward in everything she does. She sings from her soul—at least she so impresses vou —and her singing is honest, hearty, and healthy—persuasive and convincing.

The vocal equipment of Miss Maclachlan is ample without being extraordinary. For a mezzo-soprano she is happy in the possession of a sound middle and a most “ serviceable” lower register. The compass upward is not remarkable. Her voice is “ cut out” for ballads, and for descriptive songs which come within touching distance of the operatic region. It has the sonorous roundness of a contralto, with the warmth and “expansion” of a dramatic soprano, while the colour is rich and the tone large and generous throughout.

The opulence of the singer lies not so much in the voice itself as in her artistic uso of flic voice. In the best sense she is a temperamental singt , and refinement of method is admirably controlled by a high order of musical intelligence. Apparently as much by natural instinct as bv cultivated art Miss Maclachlan. always does the right thing in the right place. She is never violent, never vulgar never explosive, never erratic. In the employment of the “half voice” Miss Maclachlan may be held up as model to our young singers. Her best and most artistic effects are obtained in this manner. When she lets herself go as in “ Blue Bonnets” and “ Rule Britannia,’ and once in “ The Auld Scots Sangs,” last night, she does not forget that she is a singer. This is the charm of her declamation. It is never raw, raucous, or riotous. Yet these defects are by some considered to be test points of u real Scotch" singing.

Everybody who has read “ Romeo and Juliet” has seen himself or herself as either the noble, star-crossed Montague or the transcendantly beautiful daughter of the Capulets. We are all Romeos or Juliets in Shakespeare’s immortal love story. We see ourselves in Romeo’s becoming summer sittings, we lean over the balcony to watch Romeo depart, and we kill the fiery Tybalt with a deadly, grace-fully-delivered thrust. We are very, very much in love with the hero or heroine, according to the determination of our sex, and have idealised them in ourselves. Consequently it is safer, if we would retain our ideals, to enjoy our “ Romeo and Juliet” by our own fireside—to seek it in the theatre is so frequently to court disappointment and shattered illusions. I remember —but I won’t recall some of the Romeos I have seen—the v xercise is too painful. But when an opportunity occurs for witnessing a performance that conveys the very flavour of the romance; when you shall see a Romeo that increases one’s self-respect, and a Juliet who shall plunge one another seven fathoms deep In love; then the playgoer is ill advised

who does not seize upon it with gladness. Such a production is the one which is now being given at the Imperial Theatre, London (says the “ Licensed Victuallers’ Gazette”), such a Romeo is Mr. Lewis Waller; such a Juliet is Miss Evelyn Millard. We shall be told, perhaps, that Miss Millard is not Shakespeare’s Juliet; that the most credulous critic would believe her to be more than fifteen. The objection is techftiically defensible, but it is practically absurd. I was never in love with a young lady of fifteen in my life—l never knew anybody who was. Fifteen is not an attractive age. And again imagine, if vou can, the future that Romeo and Juliet would have had to face if their careers had not been suddenly cut off. Before Juliet had achieved 25 summers she would have been a fading, middle-aged woman, and the mother of half a dozen children, and by the time she became a grandmother Romeo would still be young enough to have a passionate “ affaire” with his grandchildren’s nursery governess. It does not bear thinking on ! Let us rather have for our Juliet a beautiful, tender, witching wo-man-like Miss Millard, and for our Ro.meo a man as handsome, graceful, and virile as Mr. Waller. Miss Millard fired our imagination by her beauty, and by the grace and passion of her acting she won our hearts. Romeo’s infatuation was inevitable as his ardour was irresistible. We listened with bated breath to his pleading beneath Juliet’s balcony; our fates were ; hanging upon the result of his poetic eloquence. In the Imperial verison of the play, the story is the chief thing. The drama is emphasised throughout. One is caught by the intrigue, and one’s attention is riveted upon the development of the plot. Neither the scenery, which is adequate and appronor the costumes, handsome and decorative as they are, are allowed to assume an undue importance to the detriment of the story—the production is worthy of the play, but it never degenerates into mere spectacle.. With these legitimate aids, and with Gounod’s music discreetly employed, the drama made an appeal to Saturday’s night audience which was responded to with enthusiastic applause. Mr. H. V. Esmond’s Mercutio was a greatly clever representation ; Mr. A. E. George played the Friar with dignity and good judgment- Mr. Thomas Kingston was an impetuous Tybalt; Mr. Arthur Lewis’ Peter did not lack in humour, or Miss Mary Rorke’s Nurse in personal attraction. But the lovers are, of course, the very pillars of the play, and Mr. Waller and Miss Millard dominated every scene, and enjoyed, quite rightlv the lion’s share of the popular tribute.

Writing of Sir Henry Irving’s great revival at Drury Lane of the late PoetLaureate’s “ Becket,” an English exchange says that though the great actor has found fame in many roles none seem to have suited his varied and great powers as an actor and his own personality as that of the martyred Archbishop of Canterbury. It is almost a truism to say that any play, however dull and mediocre, could not altogether fail with Irving in the cast, for to a great extent his genius consists in the power—rare nowadays among actors—of investing a weak and obvious part with strength and interest; for as manners maketh the man, so do actors make the play.

It is now more than a dozen years since “ Becket” was first produced at the Lyceum, when, with Sir Henry in the title role, it ran for more than one hundred nights; and many who had seen this play then, and now, were unanimous in declaring that though these twelve years have left their mark upon Irving the man, they have not diminished his powers of acting one whit. When—after the somewhat wordy prologue-—the curtain went up upon Becket and the King Henry seated at the chess board, and one saw the thin, emaciated figure of the former and the sturdy robust form of the latter, one felt instinctively that the best dramatic work of the late Lord Tennyson had not lost any of its charm or pathos. And so it proved. From beginning to the end. save from the attempted comic element in Act 11., the whole play held our attention. We pitied Henry, yet we loved the haughty Becket; we felt for Queen Eleanor in her loneliness, yet did not begrudge fair Rosamund the illicit love of a married king. But, of course, it was Irving’s Becket which was the cynosure of all eyes, and, as has already been intimated, it was a finely-acted and dignified one. As Chancellor of England and man of the world, as Archbishop of Canterbury, as humble monk following the rule of the Augustinians, and as the devoted servant of the Church in life and in death, Becket was presented to us as only Irving could present him.

Mr. Gerald Laurence made a dignified Henry 11.. though he was apt to gesticulate (after the approved fashion, of course) in a manner quite unkingly; and Mr. William Lugg was sufficiently impressive as Roger, Archbishop of York.

We must congratulate the young American Miss Maud Fealy, on her performance of Rosamund; not onlv did she look the part of the maiden who, to speak somewhat paradoxically, loved so purely with an impure love, but she also acted it. Mrs. Cecil Raleigh created a favourable impression as Queen Eleanor, though it is a pity that she pronounces her “ r’s” as “ w’s.” History does not lead us to believe that such pronunciation was in vogue in the twelfth century.

It seems almost unnecessary to add that the applause which greeted the conclusion of the play was tumultuous. Irving was called again and again, and in a graceful little speech spoke of himself as “ your grateful, loving servant, myself.”

The triumph of animal training is being exhibited at the Royal Italian Circus (London) by Signor Giovanni Vol"i in the person of “ Theresa,” a black pony whose musical and arithmetical accomplishments would put many a human being to the blush. Theresa seems to be endowed with almost human intelligence. Numbers called out by the audience she immediately indicates by tanning the ground with her foot, and in the same manner works out addition and multiplication sums on a blackboard. She can tell the value of coins displayed by members of the audience; but her exhibition of musical skill as evinced by the really excellent manner in which the pony plays “ Home, Sweet Home,” “ God Save the King,” on the bells arouses the applause and astonishment of the spectators. “ Jumbo, Junior,” the baby elephant, is said to be desirous of emulating Theresa’s musical skill, and at ro distant date the little elephant will play on various instruments in public.

Miss Billie Barlow’s husband (Mr. Menzies Stuart) died in London last month.

Notice of appeal has now been lodged by Mr. George Edwardes for a new trial of “ The Cingalee” case, which was recently heard before Mr. Justice Darling and a snecial jury. The grounds of appeal are that the verdict was against the weight of evidence; that there was no evidence to support the verdict, and that the judge improperly admitted as evidence a certain private letter which did not relate to any question in issue in the action; that the judge misdirected the jury on several important points; and, lastly, that the damages were unreasonable and excessive. The case will probabb* be beard early in the Easter sittings.

Mr. Walter Kirby has recently sung at several receptions given respectively by the Duchess of Somerset, Viscountess Gormanston, and Mrs. Clarke (late of Melbourne), and the Countess Aberdeen. He has also sung in “ Alexander’sFeast” for the Handel Society.

“ The Walls of Jericho” reached its200th performance in London recently. The piece will be produced here by th& Brough-Flemfiiing Company.

Fitzgeralds’ Circus left Sydney on an. extended tour pf the East on June 1. It comprises 53 performers, horses,, camels, elephants, etc., and will meet theshow which has been wintering at Batavia. Performances will be given at Thursday Island (June 9 and 10), Port Darwin (June 14), and Batavia (where the two shows will be combined) on June 24. Calcutta will be visited at Christmas, after which the company may go through. China before returning here. The contracts, however, have only been made out to Calcutta. Mr. Dan will remain behind here, and will devote his time to training animals for next season.

The following extract is taken from an. English paper:—“The members of theMaidenhead Orchestral Society gave an excellent concert in the Town Hall on February 28. Miss Ethel Sinclair, the Australian violinist, and Miss Gladys Haier. of the Roval College of Music, were the special artistes engaged. Miss Sinclair is a violinist of whom England as well as Australia may well feel proud. Each solo was rendered with a skill and expression and general perfection of execution as to make it a musical bonnebouche, such as the audience fully relished, and thev demanded her reappearance and further performances.” Miss Ethel Sinclair was the winner of the Sir William Clarke Scholarship, which entitled her to three years’ tuition at the Royal Academy of Music, London. On Janet Ladv Clarke’s visit to England she extended the scholarship for another year.

Miss Ethel Sinclair, the Clarke Musical Scholar (Victoria), who has been for some time the leader of the Alexandra House Orchestra, has been made the conductor also of the “ Cecilian Ladies’ String Sextette.” They have already performed succesfsully at many public places, and have numerous engagements for the season. Miss Sinclair recently nlaved Mendelssohn’s Concerto for violin in E Minor, at the Maidenhead. Philharmonic Society, and received very good.’ press notices.