OPERA HOUSE.

New Zealand Illustrated Sporting & Dramatic Review, Volume XIV, Issue 813, 5 October 1905, Page 18

OPERA HOUSE.

FULLER’S ENTERTAINERS. A packed house greeted the rise of the curtain at the Opera House on Monday evening. The opening chorus by the company, entitled At the Seaside,” went splendidly, and then'the Valmore Sisters led off with a double song and dance item), “ The Great Big Wheel,” which was well received. Mr. Fred. Stanbridge sang “ Go to Sea,” a good song splendidly rendered, for which he received an encore. Mr. Chas. Moody sang “I Didn’t Want Asking Twice,” to such good purpose that the audience recalled him vociferously, when he gave “ Knick, Knock,” in which the number and power of the knocks was fairly bewildering. For this he was again called out, when the “ referee” was once more subjected to a terrible gruelling, which pleased the audience immensely. Miss Beatrice English was heard to full advantage in “ A May Morning,” her fine

voice calling for loud applause. As an encore she sang “ Poor Wandering One,” a song in which she always scores heavily. Miss Elsie Brown, whose bright, attractive voice always wins the favour of the audiencet, sang another of her dainty little coon songs, for which she was loudly applauded. Our old friend Sam Wilson then proceeded to convulse the audience, he and Mr. Frank King keeping up a running fire of comicalities that livened up proceedings to some purpose. A newcomer in the person of Miss Viola Price, a trim little Scottish lassie, next sang a lively song and danced a fling that set everyone jigging from stalls to gallery, and she got a vociferous recall. The second half commenced with a song by Mr. Frank King, entitled “ Jolly Fine Company.” Mr. King’s voice was heard to good purpose in this, and the house demanded an encore. The next item consisted of what is probably one of the finest acts ever seen in Auckland. In this the Modern Milo posed as several of the best-known of the ancient goddesses, including that masterpiece of sculpture, the Venus de Milo, and the more recently-discovered Brown Venus. Apart from being a most unique series of tableaux, the separate poses of the figure constituted a most refined delineation of ancient art. Indeed, looking at the beautiful form of the Modern Milo one found it hard to believe that the statue itself was not standing before one, the only indication that such was not the case being the slight swaying of the figure inseparably connected in the mind of the art student with the life class of the art school. It would be indeed difficult; to pick out the best pose of those represented. That of Hebe was particularly fine, as was also the representation of the “ Venus de Milo” and “Brown Venus.” The latter pose especially showed that the Modern Milo has a figure quite as fine as anything that has ever been handed down to posterity by ancient sculptors. The Modern Milo should on no account be missed by lovers of the artistic and beautiful. During the intervals in this series of tableaux Cruickshank, the caricaturist, drew lightning sketches of several well-known Auckland men, whose portraits received quick recognition, and were the outcome of much amusement and applause. Another first appearance was that of Miss Malvena Moore, who danced and sang in a most sprightly and attractive manner. Leonard Nelson, who next appeared, came in for a great ovation, and was recalled times out of number. Following him the Rollos, in their original Irish musical comedy, “ The Hungry Visitor,” caused considerable amusement, and sent the house off in high good humour. Crowded houses have been the rule during the week.

West’s Pictures and the Brescians brought the four weeks’ season to a close on Saturday last, splendid business having been done right through. In fact, it is quite safe to assert that all records for the theatre have been broken in this respect. The company is now playing a round of the country towns, but will return to His Majesty’s on October 14, when, in addition to pictures not yet exhibited, new films of local subjects and views of Rotorua will also be shown.

Mr. and Mrs. Hamilton Hodges are giving a concert in the Choral Hall on Monday in, aid of the Orphan Home, Parnell. Many of our best-known artists are giving .their services in the good cause, and it is to be hoped the attendance will be large.

The Westminster Glee and Concert Party are due here on November 14. This company’s last tour round the world established a world’s record in respect to concert-giving. The party travelled 62,000 miles in 547 days, visited 219 towns, gave 390 performances, and made 18 sea journeys; their repertoire consisting of 19 pieces, all of which were performed from memory. It is two years since these singers were last in New Zealand, and their return will be awaited with much interest. The present combination left London in April of last year, and have just completed successful tours through South Africa, India, Burmah, and China.

Professor Andrews and the , Magic Kettle will only he seen., twice in Auckland, and the date is. next Saturday, afternoon and evening. ? Don’t .forget it. ■* . ", * * Mr. John . F. Sheridan, the inimitable “widow,”, and his musical Comedy Company, will commence a tour of the colony in December. .We still have exceedingly pleasing recollections of the last tour, and shall look forward to seeing the genial punter again.. The expedition will be under the direction of Mr. Allan Hamilton, and our old friend, Mr. George Buller, one of the most popular men on the line, will be in advance. From him I learn that the dates for the tour will be as follows:—lnvercargill, December 13 to 18; Dunedin, December 26, 1905, to January 20, 1906; Timaru, January 22, 23, 24; Ashburton, January 25 and 26; Christchurch, January 27 to February 8; Wellington, February 10 to March 10; Gisborne, March 14, 15, 16, 17; Napier, March 19 to 24; Masterton, March 26, 27, 28; Palmerston, March 29, 30, 31; Wanganui, April 2 to 7; Hawera, March 9; Stratford, March 10; New Plymouth, March 11 and 12; Auckland, April 14 (Easter Saturday) to May 12. * * * * My Taranaki correspondent writes (September 30): —The Watkin Mills’ quintette party appeared at New Plymouth on Friday night, and had a most enthusiastic reception. The programme was excellent throughout, encores being frequent. There is no doubt that Mr. Mills has hit the public taste in his concerts. Mr. Reginald Ford is going to start a lecturing tour through Australia and New Zealand. Mr. Edwin Geach will manage the tour, and Mr. Ford is to tell us, all about Antarctica. • * * * Mr. P. J. O’Brien, well-known through this colony, has severed his connection with theatrical affairs and accepted the position of Sydney representative for Messrs. Chandler and Co., American advertising agents.

The Auckland Dramatic Society will produce “ The Schoolmistress” on October 23, 24, and 25. The cast will be a very strong one.

The Auckland Orchestral Society have a concert on this evening at the Choral Hall, when Herr Wielaert will conduct. The programme to be submitted is a very good one.

It looks as if Auckland will be the only one of the big cities in New Zealand which has not tendered a public welcome to Miss Jessie Maclachlan.

Madame Sarah Bernhardt is going to play a-season in the Argentine Republic.

The following list, handed to me by Mr. Fuller, will give an idea of the magnitude of John Fuller and Sons’ New Zealand vaudeville circuit, and where the various artistes were playing on Saturday, September 23: —

Dunedin (Alhambra Theatre). — Florrie Ranger, Trevor, Cora, and Alton, Will Stevens, Tozillo and Lipman, Kitty Stanley, George Pagden, Stella Ranger, Ted Anderson, Jas. Opie, Stewart and Sterling, Bob Hall, Lillian Barrington, Ivy Leslie, Eileen Murray, Lavinia Tyson, Harry Marshall, John Fuller, jun. (manager): Christchurch (Opera House). —Cleopatra, Bonita and Carlos. Prince Olrac. Diamond Duo. Ward Lear. Gertie M'Leod, Ted Stanley. Cecile. Stephano. Fred Rivenhall, Alma Lyndon, Cissie Whitford, Mabel Lynne, Wallace Ascot, Stewart trio, Olive Fitzsimmons, Walter Fuller (manager). Wellington (His Majesty's).—'rhe Modern Milo. Cruickshank. Driscoll Brothers. Chas. Howard, Celia Mavis, Nellie Power, Bob Lloyd, Viola Price, Ivy Goodwill, Scott and Beresford, Flo Western Malvina Moore, Jeannie Johnstone, Ben . Fuller (general manager). Auckland (Opera. House). —The Rollos, Beatrice English, Elsie Brown, Leonard Nelson, Chubb’s Pictures, Charles Moody. Goldie Collins, Sam Wilson, Valmore Sistters Florrie Leigh, Fred. Stanbriduo. Frank Kirnr. Frank Crowther, John Fuller, sen. (manager).

The programmes are constantly changed and the artistes kept on the move. The item for travelling expenses alone last year totalled £2150.

Writes my Christchurch correspondent:—“ Heigho! hear the wild winds blow!” We unlucky dwellers in the City of the Plains have been hearing nothing else lately. It’s fine enough for theatre-going now, but what a time we’ve been having! Howling, tearing winds, and rain in sheets and cataracts. However, the Bros. Macmahon have no reason to grumble at the patronage extended to their show at the Theatre Royal. Packed houses have been the order of the night ever since the season started. The second production, “ The French Spy,” afforded Miss Fitzmaurice Gill some fine opportunities for showing what she can do, and she availed herself to the full of them. That good actor (and good fellow) Chas. Blake, has a telling part in this piece. On Thursday and Friday that soul-harrowing production, “ Uncle Tom’s Cabin,” was the attraction. This venerable drama divides the honours with “East Lynne” as an “emotional” piece, and when the salt tears are not chasing each other down the cheeks of the anguished audience over the woes of Uncle Tom and the departure for the Golden Shore of'Little Eva, their faces are irradiated with smiles at the funnyisms of Topsy or fierce with indignation at the brutality of Legree. I must say the Fitzmaurice Gill Company does this weepful drama with credit to themselves and golden results to the treasury. The season is panning out a very big success. . ~ “Cleopatra,” with her snakes and alligators, is proving a tremendous draw at the Opera House, and Bonita, the champion lady

rifle shot, is another special attraction. But the present bill is like a raised pie by a first-class chef—good all the way through. . . Jessie Maclachlan, who is only giving three concerts here, might have stopped a fortnight, and would probably have made money all the time. Rarely have the auld Scotch sangs been rendered here as she renders them.

Edna May, the young American girl who for the past few years has been one of ' the most popular actresses on the London stage,, has returned to New York. Miss May’s fathei- is a letter-carrier of Syracuse, N.Y. Seven years ago she was a chorus singer. While London failed to take “The Belle of New York” seriously, Edna May made such a tremendous hit that she appeared in it for 700 performances.

Miss Mabel Lane, who it will be remembered was brought from England by Mr. J. C. Williamson to create the parts of the Mother of Hur (“Ben Hur”), Madge Larabee (“Sherlock Holmes”), Hugete (“If I Were King”), and other important roles, has just terminated her contract with that gentleman, and is taking a well-earned rest.

Mr. Norman E. Aitken, of 4, Charlottestreet, Wellington, forwards me a batch of postcards showing the Modern Milo in many favourite poses. They are well got up, and have been selling like hot cakes.

A New York paper states that a German inventor has devised a theatre to insure safety in case of fire. According to a description of his plan the pit may be removed in bloc, with the boxes and the partition walls, by means of rollers underneath the floor running on jails continued “to a suitable length outside the theatre.” While this “removal” is being accomplished people in the balconies are to be liberated by exits through “window doors” opened automatically all at once, leading to suspended galleries lowered to the street by the same mechanism that actuates the movable pit. The inventor claims that by these means a theatre may be emptied in thirty seconds. But why go to all this wholly unnecessary expense? Surely there are any number of actors available who might be thoroughly relied upon to empty the most crowded theatre rapidly, and on quite reasonable terms, too.

Mr. Frank King and little Goldie Collins, who have been prime favourites at the Opera House for a long time past, left for the South on Tuesday afternoon bv the Mokoia.

In an age of records “ The Modern Milo.” of course, has a record. She has been photographed over 500 times. As she is still young and conservative of her splendid beauty and physique, the record is still a-making. As a set of “ Milo” postcards is the correct thing with collectors, one is safe in prophesying that “ The Milo” photograph will achieve a greater circulation than that of any heretofore popular beauty.

The following artists were at the Sydney Tivoli last week:—Les Brunin, Tom Dawson, Diamond and Beatrice (Charles. Diamond and Beatrice), Stave, Payen and Mdlle. Lucie, Little Olga Pennington, Bella Perman, Les Warton, Maud Faning, Maud Perman, Fanny Powers, Freida Niemann, Harry Rochefort, Harry Hart, Irving Sayles. The latest biograph pictures show the Australian cricketers in England and the surrender of Port Arthur.

Miss Decima Moore was married in London last month to Major Frederick Gordon Griggisberg, of the Royal Engineers. Sir A. Conan Doyle was best man.

Mr. Julius Knight and Miss Rose Musgrove had quite an affecting meeting in Melbourne last week (writes MrGeorge Tallis). When the former arrived from the West the first person he called upon was the latter, in order that they might enjoy the pleasure, of mutually comparing notes regarding their respective illnesses. It will be remembered that they both suffered a severe attack of typhoid when in Sydney some months ago, and even when in hospital touching little messages of commiseration passed from one to the other. As soon as they met both doffed the wigs that supplied the place of hair shorn from them in the days of fever, and entered upon a spirited argument as to which could show the better crop. That subject exhausted they turned to the details of their sick bed days, discussing such all-absorbing topics as weight-mak-ing, appetite, and the rest of it, to the exclusion of all other subjects. Altogether the interview was a protracted one, and it was some time before any other of his admirers had an opportunity of bidding Mr. Knight welcome to Melbourne.

One of those unforeseen but nevertheless awkward predicaments that seem unavoidable happened to the Gilbert and Sullivan Company on its way across from Adelaide to Fremantle. When well out to sea the awful discovery was made that the music box, with all the scores of band parts, had been left behind on the Adelaide wharf, and the life of the assistant stage manager, in whose care the box is always left, became forthwith a burden f"> him. All he could do was to creep about the unfrequented parts of the ship trusting that no members of the company would meet and abuse him. For an opera company without its music is just about as ill-equipped for action as a soldier without his cartridge box, and what was to be done when Perth was reached and rehearsals began was a problem. Fortunately Mr. Henry Bracy is a man of resource, and he contrived to get together a full enough score of “ The Gondoliers” to begin operations, and the wandering box arrived before it was necessary to change the programme. But it was an unpleasant, episode while it lasted, especially for the assistant stage, manager.

The last week of Miss Nance O’Neil's season finished on Friday last, 29th inst., and she and her company have arrived in this colony, where they are undertaking a short season in Wellington, Christchurch, and Auckland, stopping a fortnight in each place. During the Sydney season, box office returns show that the two most popular plays were “ Trilby” and “Marie Antoinette.” The latter, which she added to her repertoire during the Melbourne season, proved one of the most successful roles interpreted by her, and should suffice to carry her through the United States when she stars the part there next year.

The Royal Comic Opera Company are so well forward with their rehearsals of “ Veronique” that they may now be said to be word and note perfect in their parts, and it remains only to add the finishing touches. Meanwhile “ The Cingalee” shows no sign of failing in public favour, and the introduction of some additional humorous business by Miss Rose Musgrove, Messrs. George Lauri, Claude Bantock, and W. S. Percy last Saturday evening, added still further to its attractiveness.

A new set of films has arrived for Mr. J. C. Williamson’s biograph company, and as they are “ extra special,” some being in colours and others giving a representation of several scenes at Port Arthur actually taken on the spot, it has been decided to show them first in Sydney and Melbourne before taking them out on the long round usually covered by the enjoyable entertainment.

The Knight-Jeffries Company were accorded an enthusiastic welcome back to Melbourne when they opened at the Princess Theatre in “ His Majesty’s Servant.” Mr. Julius Knight was naturally the point round which the applause centred, his recent illness adding a touch of sympathy to the customary appreciation of that popular actor’s efforts. Miss Maud Jeffries, Miss Florence Hamer, Messrs. Harry Plimmer, Arthur Wontner, and the rest of the company, however, shared fully in the cordiality which marked the evening.

One of the successes of the Bernhardt season at the Coronet Theatre, London, last June was a new version written by the famous actress herself, of “ Adrienne Lecouvreur,” a play that has for the past twenty years been considered one of her most attractive interpretations. The Australasian rights in the original version which is by MM. Scribe and Legouve, are held by Mr. J. C. Williamson. Remembering how well Miss Tittell Brune acquitted herself in “ L’Aiglon”—a character that was essentially Madame Bernhardt’s, Mr. Williamson is considering the possibility of adding

“ Adrienne Lecouvreur” to the young American actress’ repertoire. The part is a fine one, and should suit Miss Brune’s temperament. Another Bernhardt character—“La Tosca”—will be seen by Sydney playgoers first in the course of Miss Brune’s season there, Mr. Williamson having postponed the piece which it was originally intended to produce in Brisbane, while “ The Second Mrs. Tanqueray” will also be done for the first time in Sydney by Miss Brune some time during the same season.

Miss Nance O’Neil’s New Zealand tour commences at the Wellington Opera House to-night. Only Wellington, Christchurch and Auckland will be visited.

Martin Harvey in July last gave his 1000th performance of “ The Only Way,” first produced at the Lyceum in 1899.

Mark Hambourg’s tour of South Africa was a great success in every .way. Packed audiences and enthusiasm were the rule everywhere, and as a result, it is likely the famous pianist will return to Africa. The farewell concert was given in Capetown on September 2.

Mr. Norman Partriege, who toured New Zealand with Mr. George Musgrove’s Shakesperian Company plays Neils Finsen in the Drury Lane production of Hall Caine’s drama “ The Prodigal Son.” Mr. Partreige is also understudy for Mr. George Alexander.

The Comedians de Mephisto are playing the very deuce with the audiences at Harry Rickards’ Melbourne Opera House (writes “ Peter Quince.”) Their entertainment is the most startling of the kind ever seen here. The company numbers three, and the diabolical triumvirate fairly astound their beholders, making their eyes the fools of the other senses. Mdlle. Talma is a money-spinner of an uncanny kind, although of decidedly prepossessing appearance. The sex has the reputation of making the money go, but Mdlle. Talma not only makes the coins fiy, but she causes them to appear in such extraordinary fashion that she may be said to coin the air. Messrs. Le Roy and Bosco are pastmasters of the black art. Coins are too trivial and too small for them. They deal with human beings, and with all kinds of live stock. Men and women are made to “ become air,” like the witches in “ Macbeth.” They come like shadows, so depart. They materialise out of the empty void, and “ return to the barren womb of nothing.” Fowls, rabbits, et hoc genus omne, are produced from no one knows where, and they increase and multiply until the stage is a seething mass of cackling live stock. And all through these mystic and unmistakably material manifestations there is a continuous current of fun pervading the whole performance, until the audience are left in a mixed state of amusement and amazement. Take Le Roy, Bosco and Talma for all in all, we have not looked upon their like before. Their performance is bewildering and indescribable.

The Steele-Payne Bellringers were at Bundaberg at latest advices. Of their performance the “ Bundaberg Mail” says:—Never did audience leave at the termination of an entertainment more genuinely delighted with the high and sustained merit of a performance than on that occasion. Throughout the evening encores were the unvarying rule, in fact, the third recall followed many numbers. Though primarily announced as bellringers, an element that enters largely into the programme submitted—and no one who has heard what delightful music the members are capable of extracting from the bells would wish to see the proportion reduced in the slightest degree—all the needed variety to make a most entertaining and delightful performance is introduced in the way of vocal and instrumental numbers.

The most effective scenes in the performance of “ Queen Elizabeth,” which will shortly be seen in Auckland, were the Throne Room of Act 111., and the signing of the warrant for the execution of Essex in Act IV. Miss Nance O’Neil, it must be confessed, sacrifices historical accuracy in order that she may show off her personal charms and her declamatory power in these scenes (writes “ The Don.”) Queen Elizabeth was well advanced in years when she boxed the man she loved on the ears with a “ God’s death! Go and be hanged!” That was in June, 1598, and while Burleigh was still alive. After the death of the Queen’s chief adviser in August, 1598, Essex was sent to Ireland. He was back at Court in September, 1599. A faint flicker of tenderness was still lingering in the bosom of the aged Queen —yet new hatred was strangely mixed with old love The downfall of the favourite was inevitable. The Queen, now close on seventy, and without a single true-loving creature in the world on whose bosom she might rest, her grey, old head, hesitated to strike at Essex. For more than eight months Elizabeth wavered between raicour and pity. Thrice she made mt the warrant for the committal of Essex to the Tower, and thrice she revoked it. It was not till the 9th of February, 1601, that the gates of the Tower were shut up in Essex. The day after the condemnation of the lover on whom her soul had once hung in raptures, Elizabeth signed the warrant for his execution. She signed it with a firm hand, putting an elaborate flourish around her name. Six days after the trial the Earl’s head was struck off. The official report of the execution of her favourite was brought to the Queen while she was playing the spinet. Elizabeth affected joyousness, and launched out into a merry tune. Following the bad example of the constructor of the play, Miss O’Neil presents the Queen in full vigour of health and passion at the time of Essex’s execution. The hair of the Sovereign is flaming red when she signs the death warrant, and there is nothing in look and manner to indicate that Elizabeth was then nearing the last milestone of her magnificent career. For all that the Throne Room scene was splendidly effective, from the dramatic standpoint, and the outburst on receiving the news of the Earl’s death was thrilling in its nervous force and emotional intensity. Although wholly at variance with the historical chronicles Elizabeth’s declaration of her love for Essex after his execution and the imperious dismissal of the courtiers who had plotted against the man “ whose shoes they were not fit to touch” were the finest features of the performance.

It is arranged that Miss Eileen Castles will join Mr J. C. Williamson’s Repertoire Company at the end of the year.

Of Madame Maggie Sterling, who commenced her Australian tour in Melbourne on September 21, a Melbourne exchange says that since leaving Melbourne six years ago she has applied herself wholeheartedly to her art, has spared no pains to equip herself thoroughly at all points, and has reaped a just reward in the flattering references invariably made to her by discerning critics in London and elsewhere. A brilliant future has already been prophesied for her by the “ Tinies” and other newspapers have consistently remarked upon her cultivated methods, her rich and full contralto, and her sympathetic treatment of all she undertakes. Judging by her work during the past season, nothing musical comes amiss to Miss Sterling. She has toured the United Kingdom with Madame Bluevelt’s concert party, creating quite a furore of enthusiasm in Scottish towns by her singing of old Border ballads. She has taken part in oratorio under the conductorship of the veteran Hans Richter, Sir Hubert Parry, Coleridge Taylor, and others. And, finally, she has done a great amount of general recital work, wherein her songs have ranged from examples of the old Italian School of Caccini and Scarlatti, to the ballads of modern composers, like Ellen Wright and Ethelbert Nevin, and taking in the heavy music of Gluck and Massenet, Schumann, Dvorak and Brahms. The Australasian party of which she is the head will be completed by Miss Ethel Sinclair, the winner of the Clarke Scholarship, and a brilliant young violinist, .and M. Adolphe Borachke, a solo pianist, trained in the same school as Mark Hambourg. and possessing extraordinarily well-de-veloped powers of execution.

“His Majesty’s Servant” has a charm for the English-speaking playgoer, in that it deals with the time of the Stuarts. Somehow or other the British race is fond of Charles the Second. He wasn’t a very good King, and there is no doubt that he was a highly immoral scamp, but in spite of his weaknesses and his vices, he is popular. I sometimes think (writes “Peter Quince”) that his posthumous popularity is due to that historical sentence which he is reported to have used upon his deathbed—“ Don’t let poor Nelly starve.” He was a rip, and Mistress Eleanor Gwynne was a demiren, but Charles thought of the orange girl when

he was dying, and his last words were for the woman—or, rather, one of the women —he had loved. In “His Majety’s Servant” the action of the piece opens with the escape of Charles the Second after the Battle of Worcester, and in that escape he is assisted by one Geoffrey Mohun, an actor of the King’s Company. The plot of the piece turns on one of the numerous conspiracies to set Charles Stuart on the English Throne. Geoffrey Mohun, the hero, is played by Mr. Julius Knight, and in Lady Lettice Fairfax Miss Maud Jeffries has a prominent and sympathetic part to portray. Miss Florence Hamer represents Damaris, the evil genius of the lovers. The play is in four acts, and is full of life and absorbing interest from beginning to end. * * * * Fitzgerald Bros.’ Circus is at present in China, and is due in Calcutta ‘at Christmas. Miss Maud Beatty is now in Manila. » * ► A The Tittell Brune Company open in Sydney on October 14. * * . . * . * Mr. George Lauri is working up for introduction into “ The Cingalee,” a burlesque of Thurston, the magician, in his principal tricks. Mr. C. Bantock is cast for the parts of all the disappearing ladies. * * * * Mr. George Stephenson’s Musical Comedy Company are appearing in Perth in “ The Chinese Honeymoon” and “ The Skirt Dancer.”

Mr Henry Arthur Jones, after a long silence, is engaged on a play, in four acts, which will be produced by Mr. Frohman at the Hudson Theatre, New York, early in October.

Les Brunin, a team of French trick billiardists now oppearing at the Sydney Tivoli, are the absolute originators of their acts, and the costumes and effects necessary to the portrayal of same are valued at 10,000 francs (equal to £400).

Mr. George Elton (son of “ Billy” Elton), who toured New Zealand with the notv disbanded Hawtrey Comedy Company, is in the cast of “ Lucky Miss Dean,” which is at present being played at the Criterion Theatre, London.

The Broughs made their first appearance in Australia in 1885 under the management of the triumvirate in “ lolanthe,” with the Royal Comic Opera Company. Brough was the Lord High Chancellor, and Mrs. B. played the Fairy Queen.

Kyrle Bellew was lately seen at the New Amsterdam Theatre, New York, in an all star revival of Oliver Goldsmith’s fine old English comedy of “ She Stoops to Conquer.” *

Miss Maud Jeffries considers Katusha in “Resurrection” and Marianne in “ Herod,” a poetic play by Stephen Phillips, produced in London by Beerbohm Tree, two of the finest acting parts she has ever had.

Henrietta Watson will shortly appear on the variety boards in a sketch written for her by Will Gourlay.

The house where Juliet lived in Verona, made famous in the plays of Shakespeare, was sold by auction just before the last mail left for £136.

The Frasettis, who recently toured New Zealand under the management of Mr. Harry Rickards, was appearing at the London Coliseum on August 19.

Balfe, in the public mind, is usually associated with “The Bohemian Girl” (says the “ Theatre”), but, as a matter of fact, he was the composer of over 40 operas, some of -which in these degenerate days of musical comedy would well bear revival. “ Satanella,” albeit by no means the strongest of his works, contains some lovely melodies, notably “The Power of Love” and “ The Glorious Vintage of Champagne,” but is handicapped by a libretto almost beneath criticism. This does not apply, however, to “ The Rose of Castille,” “ Falstaff,” “ The Siege of Rochelle,” “ The Enchantress,” “ The Bondman” and “Il Talismano,” of which two versions exist, one in Italian the other to English words, the title of the latter being “ The Knight of the Leopard.” Almost all these works would be new to an Australian audience, and such as have been heard here were given so long ago that they would be invested with the charm of novelty for most people.