THE STAGE

New Zealand Illustrated Sporting & Dramatic Review, Volume XIV, Issue 812, 28 September 1905, Page 18

THE STAGE

(By

“Footlight.”)

HIS MAJESTY'S THEATRE

WEST’S P’CTURES AND THE BRESCIANS.

The popularity of West’s Pictures and the Brescians continues unabated, and the theatre is packed to the door nightly, despite the fact of this being the fourth and last week of the season. A complete change of programme was introduced on Monday. The opening picture depicted the marriage of Princess Margaret of Connaught, and the departure of the bride from Buckingham Palace. Next come a fine series of the great fire at Toronto, which picture, although it has been seen before in Auckland, is nevertheless an exceedingly realistic reminder of the disastrous conflagration. Much interest centres in a series of scenes entitled “ Living London,” these being taken from a steamer plying down the Thames. The Houses of Parliament, the Tower and the various bridges, are clearly shown, as is the Bank of England and the King and Queen opening Parliament. “ Arab Dhows on the Nile” gives some suggestion of the amount of traffic on Egypt’s great river. From Christiana to the North Cape is another popular set, giving as it does an excellent idea of the beauty of the Norwegian fjiords. The comedy pictures are as numerous as ever, possibly the best being “The Nursemaid’s Revenge,” while “The Week’s Wages” also caused roars of laughter. In more serious vein are scenes from the lives of William Tell and Napoleon, “ Christmas Eve in Paris,” etc. The fault with these sort of pictures is that the chief characters are always so obviously acting a part for the benefit of the machine, and this to a large extent does away with any sense of realism. “ His Majesty the Baby” and the “ Japanese Conqueror” were both much appreciated. The Brescians commenced their programme with a selection from Balfe’s beautiful opera, “ The Bohemian Girl,” Mr. Rudall Hayward giving “ The FailLand of Poland” solo with good effect. Miss Domenica Martinengo was encored for a fine rendering of “ Alas, Those Chimes.” Miss Antonina Martinengo was hardly so successful in the “ Jewel Song” from “Faust.” Quite a storm of applause greeted Miss Adelina Martinengo for her clever playing of “ The Canary,” the violin accurately imitating the trills of the little yellow songster. Miss Sara Hendy gave a charming rendering of Somerville’s little gem, “Contrasts.” Mr. Fred Mills, who has won his way into the affections of the Auckland people, brought down the house with “Isn’t It a Funny Feeling?” “In a Case Like That Don’t Wait,” and “ The Irish Conversatione. ’ ’

The season will close next Saturday, when a short tour of the Waikato district will be undertaken, and residents in the country towns visited can be confidently recommended to go to see the pictures and hear the concert party. They will not regret it.

OPERA HOUSE.

FULLER’S ENTERTAINERS.

An overflowing house greeted the rise of the curtain at the Opera House on Saturday evening, when the usual weekly change of programme was presented. The opening chorus by the company went with a fine swing, and then that bright little favourite, Goldie Collins, led off with a serio and dance item, “ I Don’t Want to be a Honeysuckle,” her dancing being especially good. Mr. Chas. Moody, who is now a firm favourite, sang “ Pom-tiddly-om-Pom,” which caused much mirth, and on being recalled he sang most solemnly a song describing the rise and fall of a football referee, who was battered and injured on the most scientific portions of his anatomy. Miss Elsie Brown tripped lightly through a pretty little coon song, “ Whisper it, My Baby,” and Mr. Fred. Stanbridge’s fine baritone voice was heard to considerable advantage in “ When the Boys Come Marching Home.” Mr. Sam Wilson gave a mirth-provoking selection from his inexhaustible store of songs, gags, etc., his story about a pet dog fairly breaking up the house. The genial Sam was also the recipient of a vegetable

bouquet from the gods, which missile he commented lightly upon, to the joy of the audience. Miss Beatrice English sang “ Angus Macdonald,” her rendering of which called lor hearty applause. As an encore she sang “ Poor Wandering One.” The first portion of the programme concluded with a double song and dance item by the Valmore Sisters, whose turn was much appreciated. In the second half of the programme the Rollos (Charles and Laura) gave a dramatic sketch, entitled “ Trying a Lawyer.” During the course of this sketch Miss Laura Rollo, who is the possessor of a singularly sweet voice, sang a couple of songs which called for hearty applause. There was no need to look at the programme for the next item, for the house was fairly in a simmer of excitement when Mr. Leonard Nelson strolled on from the wings. His leading items, “ I Don’t Think It’s Quite in My Line,” “ The Gallant 42nd,” and “ Old Dickie Bird,” were greeted with the most vociferous applause. Indeed Mr. Nelson sways the house with the movement of a hand. He was encored and applauded until he must have felt glad when the

next turn relieved him from his arduous duties. Mr. Frank King, who is a great favourite, and Mr. Moody next presented a new and original vocal scena, entitled “The Outcast.” The songs connected with this item were well rendered, and Mr. King scored a complete success in his military song. Miss Beatrice English and Mr. John Fuller then sang the Miserere duet from “ Il Trovatore,” their efforts winning a fine round of applause, and the entertainment was concluded with a splendid exhibition of moving pictures by Rowland Chubb’s great biograph. Next week “ The Modern Milo ’ will make her first appearance before an Auckland audience, as also will Cruickshank, the black ar|d white caricaturist.

The Watkin Mills Concert Company will appear next Monday at His Majesty’s Theatre. I have so often written of the doings of this company that nothing more remains to be added. They have done so well throughout Australia and this colony that it would appear the music lovers of Auckland are in for a genuine treat. Already the booking has been very heavy.

When the Tittell Brune Company was in Auckland recently, I had a chat with Mr. George Hall, the talented musical director, who is one of Mr. Williamson’s most trusted lieutenants. During the conversation the question of producing “The Lady Typist” came under discussion. Mr. Hall expressed himself as having been favourably impressed with the music, which is both graceful and well written, while the melodies are very captivating. In fact, he thinks that the author has the gift of melody, the songs being of good class and in no way commonplace, while the choruses are introduced naturally and are well worked up. Mr. Hall was of opinion that the opera possessed all the essential qualifications which made for success, and he felt assured that it will become very popular. “ The Lady Typist” will probably be seen in Auckland next August.

Mr. Fred. Graham wires we that the opening production of “A Moorish Maid” in Wellington was a very great success. The popular comedian did loyal service on the production of the opera in Auckland, and he was specially engaged

to manage it in Wellington—a well-de-served compliment. Mr. Geo. Stephenson, owing to His Majesty’s Theatre not being otherwise available, is reluctantly obliged to limit the Auckland season of his new company of entertainers, headed by Professor Andrews, with the great Magic Kettle act, to two performances only, which will be given on Saturday, October 7, afternoon and evening.

My Christchurch correspondent thus: —ln the language of Mr. Mantilini, the weather has been “ demnition moist” since my last. The rain has been falling for about 48 hours on end, and promises to fall for another 48. Theatregoing under such conditions has its drawbacks. Nevertheless and notwithstanding the MacMahon-Fitzmaurice Gill Company has been doing splendid business, “The Girl of My Heart” having proved a trump card. Miss Fitzmaurice Gill plays the heroine magnificently and she is well supported by that popular actor, Mr. Charles Blake, and (Others. On Monday “ The French Spy” goes up,

and we are promised a succession of new pieces. 1 desire to tender my congratulations to the Messrs. MacMahon, under whose direction the performances are produced. They are both popular showmen and real good fellows. . . The “ star” turn at Fuller’s Opera House tonight (Saturday) will be given by “ Cleopatra,” the snake-charmer, reports of whose skill in handling boa constrictors, anacondas, crocodiles and alligators, etc., have preceded her. . . Jessie Maclachlan, the Scottish vocalist, opens her Christchurch season at Canterbury Hall, Thursday, September 28. She will only, give three concerts here. *

Some able physician has said somewhere, at some time, “ A good laugh is better than any six bottles of medicine.” If this is so, and we can truthfully assert that such is the case, then the Auckland Dramatic Society will be acting the parts of good physicians to the people of Auckland on October 23, 24, and 25, when, in His Majesty’s Theatre, they will produce W. Pinero’s screamingly funny comedy, “ The School Mistress.” From the rise of the curtain on Act I. to its lowering on Act 11. the audience, and in many instances the actors and actresses themselves, are kept in a state of merriment. It is undoubtedly the very funniest thing Pinero has ever done. Like the play called “ The Liars,” this comedy only shows how one lie must borrow another, and in the telling of the various “ Fairies” the author has used some most brilliant lines. The box plan opens on October 15 at Wildman, Lyell’s, and Areys.

On the 23rd inst. the Knight-Jeffries Company began a brief farewell season at the Princess Theatre, Melbourne, opening in “His Majesty’s Servant.” The play is described as a romantic costume drama, and draws its incidents from the exciting period of English history when the Commonwealth was in its last stage, and Royalists were plotting earnestly to secure the return of Charles 11. It is with one of these conspiracies that Geoffrey Mohun, an actor of the King’s Company is concerned, while Lady Lettice Fairfax plays a part in it, more personal than patriotic, or in other words as the lover of Mohun rather than as the faithful subject of Charles. The two characters give ample scope to Mr. Julius Knight and Miss Maud Jeffries respectively, while Mips Florence Hamer as Damarie works evil on both because of unrequited love. After the Melbourne season the company spend a few weeks altogether at Bendigo, Ballarat, and Hobart, leaving the last-named city en route for New Zealand. Their tour there will be the last undertaken by them, and at the end of the year they disband.

Now that Mr. J. C. Williamson’s wisdom in reviving the old Gilbert and Sullivan operas has been so abundantly confirmed in the popularity which has everywhere attended the performance of his Repertoire Company, considerable interest attached to the particulars of the long runs attained by the whole series at the London Savoy. Nothing quite lise the remarkable successes cl these operas can be found in stage history. The operas most frequently played were, according to the “ London Daily Express,” “ Pinafore,” “ Patience,” and “ The Mikado.” “ The Mikado” ran 672 nights from 1885 to 1887, 116 nights in 1888, 127 in 1895-6, and 228 in 1896-7: total 1143. “ Pinafore” ran 700 nights in 1878-9, 120 nights in 1887, and 174 in 1889: total 994. “Patience” ran 170 nights in 1881, 408 in 1881-2, and 150 in 1900-1: total 728. All of them had long initial runs, as may be judged from the foregoing figures and from the following: —“ The Gondoliers” 554 nights, “ The Yeomen of the Guard” 423, “ lolanthe” 398, an<J “ The Pirates of Penzance” 363. The same article from which these statistics are taken mentions that “ Veronique,” with 450 performances, was the longest “ unfinished” run in London at that time, while three others of Mr. Williamson's pieces are also “in the running,” namely “ The Catch of the Season,” 394 performances; “Lady Madcap,” 246; and “Leah Kleschna,” 108. All these latter totals are by this time, of course, substantially increased.

Jessie .. Maclachlan opened her New Zealand tour at Dunedin last Wednesday. The ■“ Otago Daily Times” writes: —With a wonderfully prepossessing stage presence and a fine dramatic soprano voice which she well knows how to use. Miss Maclachlan at once established a bond of sympathy between herself and her audience, who fairly revelled in her vocal renderings of numbers that had long ceased to need an introduction. Miss Maclachlan as a vocalist has that very desirable qualification—a telling personality—and in the attainment of her aim in what she is singing she does not hesitate to employ methods that would be worse than perilous for any ordinary singer. Happily, Miss Maclachlan achieves some astonishingly felicitous results. Her dramatic instinct is as prominent as its expression is apt and effective. Her adherence to the traditional is less remarkable than the fact that it is just what might be called her own personally inspired vocal touches that most swayed her audience to enthusiasm. Miss Maclachlan is as good an actress as she is a vocalist, her voice is sweet and of great range and power, equally true and melodious in soft cadence or stirring declamation, and her enunciation is an object lesson in itself. Miss Maclachlan all through the heavy demands of last evening’s programme showed herself a balladist of remarkable powers, and her visit to this city is an event not to be underestimated.

The Hill-Birch opera “ A Moorish Maid,” is running in Wellington to good business.

Priscilla Verne, when last heard from, was in Chicago.

Mrs. Maesmore Morris has been granted a divorce from her husband.

The Fitzmaurice Gill company have been playing, a season at Christchurch.

Mr. Watkin Mills, the well-known Eng lish basso, when in West Australia, had the unusual experience of giving a concert in the bpwels of the earth. He descended the Great Boulder gold mine, and inspected all its marvels. The miners clamoured for a song. “ Quite a concert did we give,” says Mr. Mills, “and a finer or more appreciative audience we never had.”

Miss Minnie Terry and Edmund Gwenn, here with the “Sherlock Holmes’ ” Company, were in the cast of a new play, “ What the Butler Saw,” by Judge Parry, at Wyndham’s Theatre. London, when the mail left.

Several artists well known in the colonies were in Frisco when the mail left. Miss Grace Palotta and Barron Berthold were still at the Tivoli; Miss Irene Out-

trim, with the Bishop Stock Company, at the Majestic Theatre; Miss Jannie Opie about to start on a vaudeville engagement. Daniel Frawley was at the Columbia Theatre.

Jessie Maclachlan, the Scottish prima donna, will make her initial appearance in Auckland at His Majesty’s Theatre on Monday, October 9.

Charles Carter, formerly with Pollard’s Opera Company, is now singing leading roles in grand opera with one of the Man-ners-Moody touring companies in England.

The Westminster Glee Singers will open at Dunedin on October 5.

Miss Nance O’Neil is due in Auckland about October 28.

Both socially and artistically Miss Tittell Brune has proved universally popular in Brisbane, and at a reception given in her honour in the Centennial Hall there was a large asemblage of the most pro minent members of society in the northern capital, while each evening the theatre was filled with enthusiastic audiences. At the end of this weeK (writes Mr George Tallis) Miss Brune commences the short holiday grantecLto her by Mr. J. C. 'Williamson, and sheKntends to spend it as the guest of Judge Noel on a Queensland station. The Judge's daughter, Miss Vivian Noel, after a career as an amateur actress, joined Miss Brune’s company a year or so ago, and is at present a promising member of the organisation. She and Miss Brune have been long the firmest of friends. The company return to Sydney shortly to prepare for the extended season at Her Majesty’s, where they open in “L’Aiglon” on October 14.

With its pre-eminent characteristics of dainty music and romantic plot, “Veronique,” now being rehearsed by the Royal Comic Opera Company, is by no means lacking in humour—which, after all, must naturally be a strong feature of any opera which aspires to be light. The names of those included in the cast are sufficient to prove this. Though it is rather a small one, characters have been assigned to Misses Clara Clifton and Evelyn Scott, Messrs George Lauri, Claude Bantock, W. S. Percy, and John Doran, a collection which practically exhausts the whole of the comedians in the company. Miss Margaret Thomas will play Veronique, a dainty girl part that should suit her down to the ground.

Mr. J. C. Williamson’s present intention is to send the Royal Comic Opera Company to Sydney for the Christmas attraction there. In all probability “ The Spring Chicken” will be the first piece staged. It is a musical comedy of a decidedly humorous nature, and has been one of the strongest attractions in London ever since it was first produced there by Mr. George Edwardes some few months ago.

The other day the “ Great Thurston” gave a theatrical matinee at the Melbourne Athenaeum Hall, and Mr. George Lauri, always on the lookout for new effects, forsaw in his performance the opportunity for a laughable burlesque. With Mr. Claude Bantock as his faithful henchman, he is now hard at work perfecting his “ illusions,” and when he feels sure of his ability to make Mr. Bantock disappear—no light task, as may be imagined—he will introduce the turn into “ The Cingalee.”

It will be the end of the year before Miss Eileen Castles joins Mr. J. C. Williamson’s Repertoire Company. She hoped to begin work earlier, but her mother was anxious for hei' to remain at home a little longer.

Alfred Dampier is .to play a short season at the Sydney Criterion after the Brough-Fleming Company vacate it. New Zealanders will be pleased to hear of the veteran’s complete recovery.

Mr. Douglas Gerrard, who has just arrived in Sydney to join Miss Tittell Brune’s company, is an Irishman, and has been on the stage about 15 years, joining Mr. Beerbohm Tree when quite a youth. His most important parts have been Kara, the Samurai prince, in “ The Darling of the Gods,” and Lancelot, in “Merely Mary Ann,” in which part he will open his Australian career. He is a brisk and vigorous young man, with the abounding liveliness of the Celt. « * » *

“ The Modern Milo” holds pride of place in the programme presented at His Majesty’s Theatre, Wellington (writes “Lorgnette.”) The exhibition given by the Milo is most unique and artistic, and prolonged applause from the crowded audience greets her efforts. The first pose of the Milo represents “Hebe Pouring out a Libation,” then follows “Sappho,” “Venus de Milo,” “Psyche.” “The Brown Venus,” and “Diana the Huntress.” Cruickshank, the caricaturist, is associated with the act, and during the interval when the Milo is adopting a new posture, draws sketches of local celebrities which are instantly recognised, and hearty applause is awarded the efforts of this artist.. The Auckland season commences on October 2.

Mr Edgar B. Payne, the new characteractor of the Brough-Flemming Company, which commences a tour of New Zealand at the Wellington Opera House on the 18th October, was educated at Beaumont College, Windsor, and was on the literary staff of the London issue of the “New York Herald” and the “Statist” before deciding to join the late Sarah Thorne’s dramatic school and stock company at the Margate Theatre Royal.

The Strand Comedy Company, headed by Mr J. J. Dallas and Miss Florence Lloyd, were greeted with interest and enthusiasm on making their first appearance in “The J.P.,” a three-act farce by Mr Fenton Mackay, at the Princess’ (says the “ Australasian.”). Laughter and applause greeted the progress of the piece, and the curtain was finally rung down upon the company in the midst of a garden of cut flowers. Therefore, “The J.P.” must be written down a success. Chief interest centres in the newcomer, Mr J. J. Dallas, who takes the principal part, Caesar Montague, a genial humbug, whose character and carer have been described any time these fifty years in the pages of the English comic press. Mr Dallas is essentially humorous in a style that flourished when Mr. E. L. Sothern and Mr. J. L .Toole were in their prime, a robust cachinnatory mode of mirth, in which even horse-play had its place. Humour has its fashions, even more than spring hats have. Who would consider Theodore Hooke to-day any other than a

bounding bore ? And as for the two Gobbos, we should be weary to hear them. The troubles of the J.P. arise from his pretending to be a teetotal saint when he is in reality a tippling sinner. He tumbles up against his nephew, who has his own troubles in the form of bills and a baby. His wife is Miss Florence Lloyd, disguised as a slim and gentlemanly Captain Rattler, makes love to all the girls, including Mrs. Noel (Miss Maud Chetwynd), and two or three fleet-

ing faces belonging to ladies whom either Rattler or Charlie Vivian (Florence’s husband) could, would, or should have married. They all chase each other in and out of numerous bedroom doors, flourish about various articles of wearing apparel, hand round the baby like refreshments, rush up and down stairs, kiss Susette, the pretty chambermaid, snub Robert the waiter, snatch pistols from an angry major, and so forth, and so on.

The two best things in the “J.P.” are the expression of complicated feelings with which Mr. Dallas drinks off his soda and milk, and the game of “Nap.” between the J.P., Miss Florence Lloyd, and Miss Maud Chetwynd, with Charlie (Mr. Aubrey Mallalien) under the table drinking his wife’s champagne, and packing his wife’s cards. Miss Chetwynd here gives a taste of her best quality by dancing and singing a lively cakewalk with Miss Florence Lloyd. If the play were musical comedy she could keep that quality all through, but the different schools of acting cause a want of cohesion. When the company play longer together they will, no doubt, better this, but at present Mr. Dallas plays good, sound, British low comedy, with conscientious byplay and expressive gestures; Miss Florence Lloyd plays gaiety musical comedy; Miss Chetwynd plays Royal Comic Opera musical comedy; Mr. Gregan MacMahon, the crushed tragedian; Mr. Aubrey Mallalien exhibits chastened mirth in genteel comedy tones; and the result is a little mixed. Miss Florence Lloyd makes a great point where, as the harassed mother, she becomes anxious about her baby’s bottle being warm enough. The spectacle of a graceful youth in evening dress showing maternal anxiety is very funny. “ The J.P.” ought to fill in the present short season most satisfactorily, for the farcical business is well worth a laugh. JeSsie Maclachlan was the first Highland singer summoned to sing before Royalty since the days of Edward 11., the reason for this Royal neglect being the well-known devotion of the Highland clans to the House of Stuart. • * * • The New Zealand tour of the BroughFlemming Company opens on October 18 at Wellington.

Will Van Allen, the musical tramp, is doing his dummy and bell turn at London pavilion.

Mr. Charles Frohman, in a recent interview, drew an amusing distinction between the London and New York playgoer. “In London people go to the theatre, buy their tickets, and demand their money’s worth. In New York, when a man separates himself from his wad at the box office, he simply says, ‘ Well, that’s gone,’ and if he gets any entertainment he looks upon it as so much in.”

An English writer has' been resurrecting some Jenny Lind stories. Bad singing was actually painful to the famous songstress. One day she lost patience whilst passing a house in which a girl, singing near an open window, was unable to find all the right notes. Jenny Lind listened a moment; then she leant over the garden gate opposite the window and sang the notes herself. The girl inside the house paused, looked out indignantly at the songstress, and then arose, shut the window, and resumed her song. Jenny Lind, in despair, resumed her walk.

Apropos of lengthy programmes—which does not always apply to amateur attractions—more than one person in Dunedin can recall a performance at the Queen’s Theatre in 1875, when a stock company staged a highly educational drama called “Companions of the Chain” writes “ Pasquin” in the “ Otago Witness.”) The complete cast is for the moment forgotten, but Alex. Ashton played the Indian, and the late Harry Stoneham impersonated a monkey. The late J. B. Steele was in the cast, and the “trouble” commenced at eight p.m. At the finish of each act another link in the chain was supposed to be completed, and the fifth act, it is said, was in full swing at 1.30 a.m., the principal having essayed a long string of aliases. The story goes that one of the press reports next day mentioned as a fact that at three a.m., when the printer’s “ devil” went for the beer, the luminants in the theatre were still burning brightly!

Yet another new depart >;• -; the Coliseum (says the “Licensed Victuallers’ Gazette.”) The management is about to produce an oratorio—“ Moses in Egypt” —and to produce it in a form akin to that which prevailed before oratorio had become differentiated from gland opera by the elimination of dramatic action from oratorio. There will be action in the Coliseum production, but the actors will not be the singers. While the music is being performed, a troop of actors will illustrate the incidents on the revolving stage by a series of tableaux. The idea is original, and will not offend the susceptibilities of those who might object to the dramatisation of passages from sacred historv.

A farcical comedy, by Judge Parry and Frederick Mouillot, entitled, “ What the Butler Saw,” was produced ia.sc month at Wyndham’s Theatre. This pieceunder the title of “ When the Cat's Away”—met with considerable success on its production in Dublin during the early part of the summer (says the Licensed Victuallers’ Gazette.”) Jack Barrington was passing a few weeks at a wellknown hydro, when we make his acquaintance where—though a married man—he was posing as a gay young bachelor. Unfortunately, however, his flirtations were disturbed by the appearance of his wife, who, being as good-natured as-she was good-looking, in order to save him from complete confusion, arranged to pose as Jack’s widowed sister. So far so good, but what did the butler see? The butler, a boy in buttons, saw Jack entering “ in the dark vast and middle of the night.” a lady’s bedroom, and being wise in his generation, sought to turn his knowledge into cash. Yet it was only into his wife’s room that Jack had wandered, and so the visions of scandal and hush-money that floated alluringly past the butler’s eyes were not to materialise. We have already remarked that Mrs. Barrington was good-looking: she was also young, and being—so the men at the hjdro. supposed—a widow, was fair game for conquest. It is unnecessary to relate the numerous farcical positions which such a state of affairs must, per se, give rise to. “What the Butler Saw” may not arouse the enthusiasm of the town (or the ire of Mr. Stead), but it certainly is a most amusing piece.

Despite all paragraphs upon the subject, Sir Henry Irving has no idea as yet of writing his reminiscences. Like a wise man he prefers to finish his public career before he sits down to describe it. He has, however, all the mai erial; and where his own memory or memoranda may fail there will be Mr. Bram Stoker to step in and supply the missing data. But an autobiography is the task of that tragic figure, the Superannuated Man, and Sir Henry still looks forward to nearly a couple of years’ work before he gives the man in the wings, for the last time, the “tag” for letting down the curtain—of late years generally the words, “ your very faithful, loving servant.” ' When that has been spoken, and not until then, will Sir Henry sit down to write the story of his extraordinarily dignified and romantic public life.

The plot of “ The Blue Moon,” produced last month at the Lyric Theatre, mainly turns on the adventures of an English singing girl in Upper Burma. This young lady, thanks to the machinations of a renegade Englishman, is about to be married to a Burmese prince. She, however, prefers an old lover in the person of a British officer, and how the course of true love eventually runs smooth is shown in the two acts. Miss Carrie Moore plays the heroine, other ladies in the cast being Misses Billie Burke, Nellie Souray, Rosie Berarnie, and Florence Smithson. Willie Edouin is the schemer who masquerades as a native of Tibet, Walter Passmore is a cockney drummer boy, and Courtice Pounds a major who is also an amateur musician. Mr. Robert Courtneidge is responsible for the production, which is beautifully staged, the second scene—an interior of a Burmese palace, by Stafford Hall—being a perfect picture.

Among the melodramas served up for the delectation of London’s public last month were pieces bearing the following titles:—“The Female Swindler,” “The Ugliest Woman on Earth,” “ D.T., or Lost by Drink,” “ Her One Great Sin,” and “A Disgrace to Her Sex;” while a few more such pieces now on the road are entitled “An Abandoned Woman,’’ “ The King of Crime,” “ A Wrecker of Men,” and “Fiends of London.” How differently melodramas used to be named in bygone days 1 “ The Green Bushes”— why, a poet might head a lyric with the words—“ The Colleen Bawn,” “ The Bells of Haslemere,” “ Dearer than Life,” “The Lights o’ London,” “ Deeds, not Words.” How far pleasanter an evening’s entertainment such titles as these seem to promise 1 No doubt the makers of melodrama know their own business, and the tastes of the public for whom they cater; but a contemporary finds it really hard to believe that any considerable section of British play-goers can find more attraction in a title that promises a night with Scotland Yard than they would in something a little more amiable.

The American Theatrical Trust has now found a champion in England in Mr. G. Bernard Shaw, who with characteristic energy supports a monopoly in the theatres. In the concluding paragraph to a long letter to the London “ Daily News” on the same subject, he argues that nothing can be more mischievous than “to encourage actors, authors, or managers to resist an inevitable and publicly beneficial development of theatrical industry from its present welter in the hands of petty adventurers, into something like national co-ordination in the hands of big and comparatively responsible ones.”

Socially as well as artistically, Madame Maggie Stirling, who will shortly begin an Australasian concert tour under the direction of Mr. John H. Tait, has been a great success in London (says the “ Referee”), and at very many of the largest and most fashionable “ at homes” in the West End she has been not only the most appreciated contributor to the musical programme, but also one of the most popular figures in the general evening’s enjoyment. Before leaving for Australia she was deluged with invitations to a long series of farewell functions, and at receptions given by Lord and Lady Brassey, Sir Malcolm and Lady McEachern, and other distinguished people— Australian and English—she was the guest of honour. Many of the leaders of society in London, whose houses are noteworthy as places where the best musical, literary, and artistic talent is always met, felt it incumbent upon them to mark their appreciation of Madame Stirling, not only as a singer, but also as a personal friend, before she embarked on her long trip to the Commonwealth.