AUSTRALIAN NOTES.

New Zealand Illustrated Sporting & Dramatic Review, Volume XIII, Issue 800, 6 July 1905, Page 19

AUSTRALIAN NOTES.

The last week of the Knight-Jeffries season in Sydney (which terminated on Friday, the 23rd inst.) was signalised by a somewhat novel experiment (writes Mr. George Tallis). “Monsieur Beancaire,” the play in which Mr. Julius Knight made such a hit, was staged for three nights with Mr. J. B. Al. Osborne (the husband of Miss Maud Jeffries) in the name part. ' Considering his short stage career and the fact that he had to follow so popular an exponent of the character, he did surprisingly well, and all the daily papers, in reviewing his effort, metaphorically patted him on the back for it. Of course it had its faults, due more to the lack of experience than of intelligence, but it also had so many good ■points that the theatre was well filled for each night of the revival. “ The Lady of Lyons,” with Mr. Harry Plimmer as Claude Melnotte, brought the season to an end, and the company are now resting preparatory to opening in Adelaide on July 15.

Mr. J. C. Williamson has decided to make “ The Darling of the Gods” one of the features of the forthcoming season of the Knight-Jeffries Company in Adelaide and the West, in neither of which quarters has the Japanese drama, yet been seen. The whole of the elaborate scenery which was so prominent a feature of the piece when it was first produced will be used, and as both Miss Maud Jeffries and Mr. Julius Knight will be available for their respective parts of Ko-san and Kara, nothing will be wanting in the success of the glay. In all probability the play will be added permanently to the company’s repertoire on future tours.

The Gilbert and Sullivan Company, fresh from their most successful tour of New Zealand, were most cordially welcomed back to the Sydney Theatre Royal last Saturday (June 24) in “ The Mikado.” “ The Yeomen of the Guard” and “ The Gondoliers” will be presented durin gthe three weeks’ season.

The popular appreciation both of Mr. Andrew Mack and “ Tom Moore” continued unabated throughout the whole run of that piece at Her Majesty’s Theatre, Sydney, and playgoers of that city have extended to him the same “ glad hand” (to borrow an Americanism be himself would use) as Melbourne did.

There was a veritable rush for seats when the box plan for the Royal Comic Opera Company opened in Perth a fortnight ago, and during the first day a total of no fewer than 3000 seats were booked, at which the tariff charged represented receipts to the tune of nearly £lOOO. That result broke all previous records, and as most of the seats booked were reserved for the first night, it can easily be understood that the company’s opening performance on the 16th inst. was a brilliantly successful one.

Miss Rose Musgrove, who has been suffering from a most severe attack of typhoid fever (she was delirious for th* first three weeks) has now happilv turned the corner, and is improving again. It will naturally be some weeks', however, before she is convalescent.

Mr. J. C. Williamson has received communications from New Zealand indicating that the reception accorded 1 Miss Tittell Brune and her company in Wellington was oh the most appreciative scale. So eager were the public to pay tribute to the talent of the young tragedienne, that “ L’Aiglon” was played for a whole week to crowded houses, resulting in box office returns which would certainly not have disgraced either Melbourne or Syd ney, places with ten times the population of Wellington and its environs.

Miss Nance O’Neil’s high histrionic art never had finer scope for development than it has in “ The Fires of St. John,” by Sundermann, which was produced for the first time in Australia at Her Majesty’s, Melbourne, last Saturday even(June 24). Her interpretation of the character of Marie is distinguished by intense and emotional power, a wide range of expression, and a restrained and natural method. Nd greater contrast could be imagined than that between the character of Marie and Magda, and Miss O’Neil accentuates that contrast most vividly. Even her own individuality seems changed from the masterful Magda to the submissive Marie, and in voice, gestures, and intonation, everything in fact, she is another woman. It was a finely conceived and admirably carried out performance, and Miss O’Neil deserves to be heartily congratulated for the great success she achieved in it.

Miss Ada Crossley’s wedding card consisted of a boomerang of cardboard, having on its outer cover the bushman’s call, “ Coo-ee,” in letters of gold.

The Australian rights of Mr. Charles Hannan’s melodrama, “The Whitechapel King,” originally produced in May, 1903, under the title of “ The World’s Way,” at the Pavilion Theatre, and now being played at the Hammersmith Lyric Theatre, have been secured on lease by Mr. J. C. Williamson.

Patti was to have made her only appearance this season on June 1 at the Albert Hall. Miss Ada Crossley (Mrs. F. Muecke) was to made her first appearance in public after her marriage at the same concert.

My Christchurch correspondent writes :• —Mr. P. R. Dix is providing the people of this flat metropolis with plenty of amusement just now, the present Dixian Company being about the best that P.R.D. has brought along here. There was a change of bill Wednesday, and the new programme is, if anything, an improvement on the former one. Hawthorne and Wilson contribute some new imitations of popular actors, and repeat some of their previous successes. Their’s is one of the very best “ turns” of the evening. The imitations of Fuller Golden, Bland Holt, and Sheridan are simply wonderful, the mimics having caught not only the voices, but the facial expression of the artistes imitated with astonishing fidelity. Mr. Warsaw, the possessor of a capital voice, obliges with new songs, but is at his best in “ Where the Swanee River Flows.” The Two Mascottes dance very prettily, and the Bicknells are as successful as ever in pleasing their audiences. Miss Beryl Lytton has a pleasing and sympathetic voice, but it is hardly strong enough for

a large theatre. In Paul Kinko the management have got hold of a performer difficult to beat in his line. As a juggler and balancer Kinko is simply first-rate, performing his very difficult feats with an ease and dexterity somewhat unusual even in professionals. The Ibson Family contribute a lot of popular musical items that are very much appreciated, and as for Tod Calloway, he gets about six recalls nightly. ‘ The Gaiety Six with the Bicknells dance delightfully. By the way, one of the “ Six” became Airs. Tod Calloway this week, and when Tod appeared the same night the orchestra struck up “ The Wedding March.” . The last item on the bill is contributed by the Alahers. . . The Fullers are giving a splendid bill at the Opera House this week. Amongst the star “ turns” are “ Alusical Aliller” and his quack orchestra, “ Ethel, the world’s greatest Muscular Posturer” (vide bills), Ward Lear, Celia Mavis, and George Stilwell, the illusionist. Many a frequenter of the Opera House would be glad to here John Fuller pcre, sing once more. John is very popular here. But then he is popular everywhere. My old friend Harold Ashton is once more with us, having come in advance of Miss Tittell Brune, whose season commences at the Royal on July 7.

“ The Tivoli has secured the latest recruit to the music hall stage, viz., Aliss Alice Hollander, who starts her engagement there next Monday, with Liza Lehmann (says the “ Era.) This beautiful and talented young lady possesses a voice of exceptional range and quality, and will be remembered for the fine rendering of her songs in ‘ Sergeant Brue,’ at the Strand Theatre just lately. Aliss Hollander is an Australian, having been born in Sydney. She has taken part in tours with Madame Melba, Mdme. Adelina Patti, Kubelik, and Gerardy, and should be a great acquisition to the variety stage.”

The very latest idea in America is a musical play without a chorus. Afany men, if asked to vote, would plump for the chorus without the musical play. • • ♦ •

Mr. and Mrs. Fred. W. Perman (Miss Florence Le Clerq) have arrived in London from Australia, after fulfilling a twelve months’ contract with Mr. J. C. Williamson.

Mr. George Alexander has been engaged to play lead in “ The Prodigal Son” at Drury Lane by Mr. Arthur Collins. Air. Alexander was to have gone on an extended tour in the autumn, but his engagement at the Lane has necessitated the cancelling of the dates already fixed.

The Corrick Family of Entertainers are now appearing in Hobart.

According to the “ Referee, ” Mr. William Anderson has disbanded his touring companies—both dramatic and pantomime—for the present.

Poor Charles Arnold was buried in the Crystal Palace Distr ict__Cemetery. The funeral started from the residence of the deceased in Copers Cope Road, Beckenham, and the hearse was covered with beautiful wreaths. The chief mourners were Airs. Arnold and Aliss Edna Arnold, Others present were Mrs. Thomas, an old friend who is acting in Mr. Edward Terry’s company ; Mr. Louis Joel, Mr. C. D. AVilcocks, Air. J. Laird. Mr. Sharp, Air. Leslie B. Cadell, a son of Miss Nelly Alortyne, a well-known Australian actress, who is also in Air. Terry’s company; and the members .of the Savage Club; Colonel Richardson Mr. Mostvn Pigott, Air. Walter Smith, Mr. T. Gurrin, Maitland Dicker, Mr. Gerald Fitz Gibbon. Air. Courtice Pounds. Mr. Fred. Grundy, Mr. John Stokes, Mr. Conrad Cooke, Air. Frank Thornton, Mr. C. K. Robinson. At the chapel in the cemetery the service was conducted by the Rev. A. N. Armstrong. The inscription on the coffin simply bore the name of the deceased, the date of his birth— Christmas day, 1854—and the date of his death. May 6, 1905.

Air. Howard Thurston, the famous illusionist and magician, passed through Auckland by the Sonoma en route to Sydney, where in all probability he will commence his colonial tour. New Zealand is to be visited at no distant date. Mr. R. B. Young informs me that most likely Mr. Geo. Musgrove will take over Air. Thurston’s management. Mr. Musgrove witnessed this clever illusionist’s performance in America, and was indeed quite enthusiastic about him, and pronounced his colonial season a theatrical triumph. Everything that Mr. Musgrove witnessed at the entertainment was new, from the rise to the fall of the curtain, the performance exhibited being far and away ahead of anything produced or attempted before colonial audiences, and was, in fact, entirely new to American and Continental theatre-goers. Mr. Thurston played to audiences totalling 60,000 for a six weeks’ season in ’Frisco prior to his departure for the colonies, this constituting a theatrical record. Mr. Thurston travels with a staff of 14 and 13 tons of material effects for the illusions, which are set upon a most gorgeous and elaborate scale. Mrs. Thurston and Air. Allen Shaw accompany the magician on his colonial tour.

Jan Kubelik, the famous violinist, will open his Australian tour in Melbourne in July next year.

A Sydney paper recently commented on “ Theatrical Maoriland” in the following terms: ‘ ‘ Maoriland is undoubtedly the theatrical goldfield of Australasia, and, like most goldfields, suffers from booms and slumps. At the end of 1902 it was rushed by Thespians till, on Boxing Night of that year, there were reckoned to be about 40 shows in the two islands. About a third of them (if as many) survived January, and the stranded mummer became so numerous that legislation had to be passed to try and keep him. from being stranded (at all events in M.L.) any more. Musgrove’s ‘ Fortune-teller’ Company was alleged to have lost £2OOO on a trip towards the end of 1903, and very few companies did moderately well. In 1904-5 things looked up, and more companies rushed the land; but in the last month or so things have become as bad that several have stranded.”

Commenting on this “ Pasquin” writes in the “ Otago Witness” as follows: — “ The sting—if sting it is—lies in the tail of the foregoing. “ . . • In the last month or so things have become so bad again that several companies have stranded.” That is a libel on the country which is known as the actor’s “ Tom Tiddler’s ground.” Now, Dunedin, with its reputation for “ sundry shows, should be a fair guide to the prospects of theatrical companies all over the colony for “ the past month or so.” Leaving out all save the pretentious shows, with big salary lists and other expenses in proportion, this allegedly “ Scotch city has during the last month or so paid into the respective coffers of the leading managers of Australasia something over £5OOO “ profit.” I do not speak of the “takings” during the various seasons, but of the money actually made over and above expenses. Going back over the past six months, Anderson’s Dramatic Company’s four weeks’ season of melodrama at the Princess Theatre realised a profit of close upon £2OOO. The seas on of high-class drama by the Knight-Jet-fries Company was likewise, a triumph from the treasurer’s standpoint. Without pretending to know the exact figures, they were colossal. The nightly rushing of the box office bore ample evidence of the business done. Musgrove’s company followed, and hot on the heels of the producers of “Sweet Nell” and Old, delberg” came direct from Edinburgh West’s Pictures and the Brescians Orchestra and Singers. The season of this talented company extended over four weeks, and the treasurer had to work « overtime” to overtake the rush of money, the profits panning out something approaching £2OOO. Rickards Vaudeville Company, headed by that prince of

raconteurs, George Fuller Golden, dropped in after the combination from Scotland had departed with its load of sheckels. When two “turns” in a show cost within a pound or two of £2oo—- — at the rate of £l2O per week and the other £6o...with other “turns” paid in proportion, the ticket-takers have to be overwhelmed and to run the risk of broken arms and legs in stopping the rush of people to see the show to make large profits at the box office. This is to say that while the fine company sent over by Mr. Rickards did splendid business throughout the Dunedin season, the expenses...£loo per night (£6OO per week) — were too great to allow of big profits being shown by the treasurer. Lastb* Gilbert and Sullivan Opera Opera Company, recently departed, struck this city severely in the pocket. The management desired to extend the season, but, owing to the theatre having been engaged, it was impossible to do so. In the foregoing I have not mentioned the financial success of Wirth’s Circus, etc., and Fuller’s Vaudeville Company, which is always with us. There is money in plenty for good shows in Maoriland, but the scratch company has to pledge its top hat and drop its ‘ props’ quietly out of the top storey.” The enormous business done by “ A Moorish Maid” in Auckland hardly looks like a theatrical slump.

The return to Melbou of Miss Nance O’Neil was a happy event in the theatrical world last Saturday night (says the “ Australasian” of June 24). She chose for her first play the one in which she secured instantaneous success on her former visit. “Magda” was her best effort; the exceptionally large audience who greeted her on her entry did so partly in anticipation of judging of her advance in her professional career, and thev were not disappointed. Although with a public rather given to frivolitv and sensation in dramatic works, it may

seem risky to produce plays which many

would consider over the heads of the average playgoer; yet the enthusiastic and intensely interested crowds who follow with rapt attention the unfoldings of Magda’s career give promise that there is a remnant —and a very large one—caring for the higher things of dramatic art. The story of Magda is pathetic, and, moreover, contains a sound moral, the disobedience of parents to their children. A father’s neglect to study his daughter’s wishes, carried to an almost incredible pitch of rebellion against filial requests, causes all the trouble in the Schwartze household. Colonel Schwartze, admirably impersc by Mr. McKee Rankin, is a detestable old martinet, a domestic tyrant of the worst kind, and, like most of his kind, he has devoted womenkind around him, an adoring wife and a devoted daughter. His elder daughter has been drivein from “ out the parent nest to forage for herself alone,” and, on her return, his unimaginative old wooden-head is astounded to find that she has become morally battered in the struggle for life. Schwartze has, before now, been praised for his high moral tone; but he is merely “a lath painted to look like iron,” and would willingly sacrifice Magda—who with all her faults is still his daughter—by forcing her into marriage with her old lover, the man who has treated her with such heartless cruelty, merely that he, Schwartze, may hold up his head again among his neighbours. The second act of “ Magda” is one of the test scenes of the modern theatre. The return of Magda to her father’s house has in it so many mingled elements of pathos, exquisite refinement of expression, and dramatic possibility, that the world’s greatest actresses vie with each other in rendering Magda’s entrance worthy of its value. Magda in those twelve years of absence has had a horribly, bad time. The iron of her early struggles has entered her soul. Now

she has conquered the world; it is at her feet, but through all the years she has kept in her heart the picture of Marie, her little sister, safe at home in the parental nest. “ Marie, at any rate, is happy.” This thought has comforted her and sustained her, for vicarious, happiness is as elevating sometimes as vicarious suffering. Magda is a mother by instinct, like Jeanie Deans and Gretchen. On entrance, she walks straight to Marie, takes her hands, devours her with her eyes. Signora Duse implies all the subsequent drama in her wonderful entrance. She simply—comes home. Mme. Bernhardt enters magnificently, like an empress, forcing the contrast between herself, the successful woliman of genius, and her provincial kinsfolk. Mrs. Patrick Campbell comes on, nervous and agitated, her whole soul shining in her mysterious eyes. Miss Nance O’Neil walks on rather stiffly and languidly, like a condescending neighbour paying a duty call on rather inferior new-comers. All through the first act she is petulant, cross, and irritable, filling in the pauses by swishing her silken train about, and giving the impression that Magda’s struggles have soured her temper, a wrong impression, which Miss O’Neil is at some pain to undo subsequently, for in her scenes with the pastor, with her old lover, with her sister, and with her father, she shows that she has strengthened her former performance at all points. Her beautiful voice, into which she can bring the tears at will, and her equally beautiful person, are as potent as ever. She brings out of the play its secret meaning, that the true woman, however erring, is never at heart faithless to “ the kindred points of heaven and home.”

The death is announced, at the age of 78, of Ernest Pauer, who was distinguished as pianist, composer, and writer on musical subjects.

Paderewski’s recent illness is said to have left him in a state of extreme nervous exhaustion, and he will need a long rest before he will be able to resume his public work.

Yet another infant prodigy has been astonishing the London public by her remarkable violin playing. Her name is Vivien Chartres, and she is nine years old, and a pupil of Seveik’s. The Times” critic says that her tone is surprising, her tecnique excellent, and that, above all, she has an innate sense of style extraordinary in so young a child.

A quaint performance of “ Romeo and Juliet” was given recently at the Royalty Theatre, London. The actors wore the costume of the period when the play was written. Juliet was in a hoop skirt and tall hat. There were nu scenes; a pair of curtains formed the background for most of the acts. The programmes were printed in old-fashion-ed type, with old spelling.

A new star has arisen in Germany in the person of Max Reger. He is only 32 years of age, but his opus numbers already reach 86. His organ compositions. which are very numerous, and.said to have made as great a revolution in that department of music as Wagner did in opera. Whilst obviously based upon a profound study of Bach, they take advantage of all the recently-developed improvements in organ construction. His favourite form appears to be the “ variation,” in which the critics are already placing him in the same rank as Beethoven and Brahms. He has written a large amount of chamber music, and his violin sonata in 0. (op. 72) and string quartet (op. 748) are claimed by his admirers to be the greatest things in music since Beethoven. He has not yet published anything for the orchestra, but is at present completing a symphony, to be performed by the Essen Gesellschaft.

According to the “ Australasian, “ the much-travelled” Mr. R. S. Smythe sailed for England by the Blue Anchor liner, the Geelong, on June 15. This is the first time he has gone by the way of South Africa, where before either gold or diamonds were discovered, he made an extensive tour. He was the first manager to cross the Orange River.

Kubelik played the Beethoven violin concerto in the Queen’s Hall, London, a few weeks ago, and the critics speak in the highest terms of his performance, and notice a marked increase in breadth of style and virility in his interpretation of the first movement.

Mr. Frank Bridge bias won the prize offered by Mark Hambourg to be competed for by English composers. His prize composition, a “ Caprice” for pianoforte, was played by Mr. Hambourg at the Queen’s Hall. The prize is to be offered annually.

Air. George Alexander has been engaged to play the leading part in Mr. Hall Caine's “ Prodigal Son” in its forthcoming production at Drury Lane, at the enormous salary of £250 a week.

Mr. Seymour Hicks has been disclosing some details of a Passion play, which he proposes to produce at some future time at the new Aldwych, which is being built for him in the thoroughfare of that name (says the “ Licensed Victuallers’ Gazette.”) The play will be in the form of a series of tableaux illustrating the life of Christ, no word will be spoken from the stage, but the printed story will be in the hands of the audience, and the representations will be accompanied by music. The performances will be given in aid of charity. How far the Examiner of Plays and the Lord Chamberlain are to be reckoned with in the novel project- says “ The Stage,” remains yet to be seen. If such a performance received their sanction there seems to be no reason why some of the oratorios, which readily lend themselves to it, should not be produced on the operatic stage. The grand dramatic possibilities of “ Elijah,” for instance, should at once appeal to operatic managers.

Apropos of Miss Ada Crossley’s recent wedding, the Musical Times for May has a special article on her artistic career, and an excellent full-page photograph of the lady. The “Musical Herald” is responsible for the following anecdote, which will interest Miss Crossley’s Australian friends: —

“At one of the West of England cathedrals, in which the famous Three Festivals are .held, a pewholder was demanding free admission to one of the afternoon recitals by virtue of his occupancy of a pew. ‘ No, sir,’ said the verger, ‘ I ’ave mv borders, and no one can pass in without a ticket.’

11 ‘But I tell you I am a pewholder,’ expostulated the irate citizen.

“‘Yessir, I knows; and your bein’ so admits you any other time but this. This is a special occasion. It baint the h’or’nary choir wot’s reciting, sir, it’s the Three Festivals Choir, and Miss Hada Crossley’s a-soloing. No one can’t get in without aticket.’

“‘Perhaps you’ll tell me next I shall require a ticket to enter the Kingdom of Heaven ?’ exclaimed the angry ‘ deadhead.’

“ ‘ Well, no, sir,’ replied the verger. ‘ But, then, you won’t ’ear Hada Crossley in ’Eaven !’ ”

A very big testimonial matinee was to have been given to Mr. Lionel Brough at His Majesty’s on Thursday, June 15. Concerning it a Home papei’ says:—At the head of the bill stands the name of Sir Henry Irving, who has promised to appear on the occasion, while Mr. Tree will be seen in something of a new and original character. Mr. John Hare revives “ A Quiet Rubber,” and Mr. George Alexander “ Scruples,” while Miss Winifred Emery and Mr. Cyril Maude are to play the screen scene from “ The School for Scandal.” Mr. Alfred Sutro’s duologue “ A Marraige has been Arranged” will be performed by Mr. Ar-

thur Bourchier and Miss Violet Vanbrugh, and “ The Reckoning,” an entirely new one-act piece, by Miss Edith Wynne Matthison and Mr. James Hearn. Among; those who are also to contribute are Madame Re jane, Miss Nancy Price, Mr. Lewis Waller, Mr. Ben Davies, Mr. Charles Warner, Mr. Rutland Barrington, Mr. George Grossmith, jun., and Mr. Seymour Hicks, supported by a chorus of Gibson Girls. With an array of names like that the audience must have had “a great night entirely!”

On the subject of Mr. Martin Harvey’s production of “ Hamlet” at the Lyric Theatre, a London writer says:—Though one can sympathise in the ambition every actor has of appearing as “ The Prince of Denmark,” one is at present inclined to ask whether this year’s craze for appearing in this role is not somewhat overdone. The tragedy of “ Hamlet” is, of course, a masterpiece, but even of masteruieces—as of lesser fry—one can become more than satiated. Though, as Dr. Johnson remarked to the Scotchman who plagued him about the dubious beauties of Scotland, “ comparisons are odious,” one cannot help but compare the two representations of this piece— Mr. H. B. Irving’s and Mr. Harvey’s—at present before the nublic. The former’s, to our mind, is certainly one of the best Hamlets we have seen for many years, whereas the latter’s will, we think, be accounted one of the worst. And for this reason. Mr. Irving made a natural Hamlet, whereas Mr. Harvey is a stagey personage, who gives one the impression of “ acting” the part rather than metamorphosing himself into Shakespeare’s great creation. This inability to make us believe that it is Hamlet and not Mr. Martin Harvey who is talking and doing, seems to be more the pity, seeing that physically, at any rate, Mr. Harvey makes an ideal Hamlet; with pale face and wan, and general air distraught and wandering, Mr. Harvey in this particular, it must be admitted, excels Mr. Irving’s impersonation.

In connection with the present “ Shakespearian movement” in London theatres, it is recalled that a similar movement was in progress when Sir Henry Irving first produced “ The Merchant of Venice” at the Lyceum, and on the same night “ Henry V.” was produced with great splendour at Drury Lane, with Mr. George Rignold, (t a handsome actor, with a robust style and a splendid voice,” in the part of the King.

“An Old Playgoer,” writing in a London paper on “The Humours of ‘Hamlet,’ ” says:—“Probably the most amusing presentation of ‘ Hamlet’ is that which took place in the reign of George 111. at the Kilkenny Theatre. Mr. Kearnes, the manager—a man evidently indisposed to allow his patrons to suffer under any sense of national grievance—announced the tragedy as ‘ written and composed by the celebrated Dan Hayes, of Limerick, and inserted in Shakespeare’s works.’ With a fine perception of the need of comic relief, Mr. Kearnes,, who played the Dane, performed between the acts ‘ several solos on the patent bagpipes, which play two tunes at the same time,’ and the Ophelia (Mrs. Prior) artistically wove into her impersonation, such eminently Danish ditties as ‘ The Lass of Richmond Hill,’ and ‘ Let’s Be Unhappy Together,’ from the ‘ Oddities, of Mr. Dibben.’ Polonius was advertised as ‘ a comical politician,’ and was. represented by ‘ a young gentleman.’ Beshrew me, the race of ‘ comical politicians’ is not yet extinct! The characters at the Kilkenny ‘ Royal’ were dressed in ‘ Roman shapes,’ which must have been intensely gratifying; but the parts of the King and Queen were omitted, ‘ by direction of the Rev. Father O’Callaghan,’ as ‘ being too immoral for any stage.’ Mr. Kearnes politely announced that tickets could be ‘taken out’ in ‘ candles, bacon, soap, butter, cheese, and potatoes.’ This naturally gave great point to the line. ‘A little more than kin—and less than kind.’ ”