OPERA HOUSE.

New Zealand Illustrated Sporting & Dramatic Review, Volume XIV, Issue 826, 4 January 1906, Page 18

OPERA HOUSE.

THE RICKARDS VAUDEVILLE COMPANY. Everyone visiting the Opera House during the present season must adm’t that Mr. Ful er has played a trump card in introducing the R ckards Company to Auckland audiences. Packed and enthusiastic houses have been the rule every night, which ’s in itself sufficient guarantee of the excellence of the programme submitted. On Tuesday evening the Opera House was filled to overflowing, standing room being at a premium long before e’ght o’clock. A ful. orchestra, under the able conductorship of Mr. Frank Crowther,. played the curta’n up with a stirring overture, when the company gave a good opening chorus that went with a swing. Mr. Wallace Ascot then sang “Doreen,” being heartily applauded. He was followed by M'ss Mabel Lynne, who gave an exceptiona'ly br’ght serio and dance item. “ Down by the Old Bull and. Bush.” She was loudly recalled for this, giving a semi-patriotic song as an encore that was well received. Mr. George Bentley gave a very good comic song, entitled “ I Burst Out

Laugh ng,” wh ch caused much amusement and He was followed by the two Colliers, who appeared in a mo& attract ve double song and dance, “ Hallelujah Sisters,” which gained them hearty applause. Mr. Victor Kel'.y, who keeps the audience n a s’mmer of amusement from the rise of the curtain up to the time he takes the boards, gave a comic song and eccentric dance that fairly brought down the house. Kelly’s extraordinary tumbling fa rly astounded the audience, who burst into a storm of applause at the conclusion of his turn. Miss Nita Leete, who next appeared, sang a

ballad most attractive y, and was warmly applauded. She was followed by the ' iiree G bson g rls, whose triple song and dance item, “ Mandy,” proved a fine feature of the evening. The three danced most daintily, and received hearty applause and a peremptory recall. The first ha f of the programme concluded with a farce by Kelly, Bentley, and Wallace Ascot.

The second half was opened with a dainty song and dance tern by the Coller Sisters, who appeared in Ch’nese costumes. They were followed by Miss Nita Leete, who scored a complete success in her i lustrated songs, “ The Man wth the Ladder and the Hose” being especially good. The next item, that given by Le Roy, Talma, and Bosco, scored another tr'umph for these mysterious magicians, who succeeded in mystify’ng the audience completely. Bosco kept the fun gtx’ng from start to finish, h’s disappearing dog causing great amusement. His trick w th the rooster and the duck was also highly astounding and diverting. Le Roy, Talma, and Bosco next placed a large box on a table on the stage, the interior of the box being fi led w’th a great variety of costumes. The audience were then called upon to name any country they pleased, and upon Japan being demanded a lady in full Japanese costume sprang from the box. Equally bewildering was the act ent’tled “ The Garden of Sleep,” in which Madame Taima was made to vanish into thin air. Finally the three appeared amid the audience, producing endless packets of cards, handfuls of halfcrowns, and all manner of art’cles from the pockets of the unsuspecting and astounded onlookers.. The three undoubtedly give a very fine exh'bition of the r powers, and should on no account be missed during their short season : n Auck and. Miss Fanny Powers gave some very good imitat’ons of different v r ety artistes, and was well received. She was followed by Kelly and Agnes, who gave a most amusing sketch. Kelly, who gives a small taste of his capabilities

in the first half of the programme, does some wonderful tumbx.ng, and appears to be able to balance h mself on any corner of his anatomy with the greatest ease. Appearing unexpectedly throughout the turn, he kept the house in roars of laughter from atart to finish. The three Gibson girls, who next appeared, danced most charmingly, and won hearty applause for the’r turn. The programme concluded w th a series of biograph pictures lately i ported from London, and the curtain fell on an evening’s entertainment that speaks voiumes for the enterprise of Mr. John Fuller in h's successful catering to Auckland audiences. At the end of the week the Opera House is to be closed for a fortn’ght, when an entire y new .company will appear. On January 20th Czerny, the magician, is billed to appear in a sensational programme. wh. s. on February the 7th the great Thurston, who has been mystifying Australian audiences for some t me past, makes his appearance at the Opera House.

Miss Ne lie Stewart passed through Auckland on Friday last by the mail steamer Sierra, bound for San Francisco. By the same steamer Messrs. George and Harry Musgrove and the “ Sweet Nell” Company were passengers. Everyone in the colonies will wish the company every success during their tour of the States.

Mr. Harold Ashton left for America on Friday. Rumour has it that he is on a roving commission for nove ties.

Mr. J. C. Williamson has every reason to be gratified at the results of the past year’s work in the var’ous operatic and dramatic combinat ons under his control (writes Mr. George Tallis). As might have been expected, the first places in these divisions were gained by the Brune Company and the Royal Comic Opera Company respective y. The former “ went big” wherever they appeared, and the popularity c- the young American actress has now extended through the length and breadth of Australasia. The New Zealand tour tn particular was a remarkable one, and the returns showed a substantial increase above those of any former company sent to that colony by Mr. Williamson. The Royal Comic Opera Company was also entirely successful throughout the year, especially in the really phenomenal season they had in West Australia. The ch ef pieces essayed by them during the year were “ The Cingalee,” “ The Orchid,” and “ Veronique,” the first-named holding the week’s record for any theatre in Australia. The Knight-Jeffries Company experienced their accustomary satisfactory conditions of appreciation until the illness of Mr. Julius Knight interfered with the r plans, but matters resumed the’r usual course when he returned to duty. The short seasons of the Gilbert and Sullivan Company throughout Australasia were productive of excellent receptions everywhere, and the approval with which the ta ented company were greeted has persuaded Mr. Williamson to manta’n it as a permanent combination even after the present popularity pf the Gilbert and Sullivan revivals has waned. Among the visiting companies, that headed by Mr. Andrew Mack was easily first, and an uninterrupted career of prosperity accompanied . his representations of Irish comedy from Melbourne, where he commenced it, to Auckland, where he ended it.

The production of “ Pinafore” by the Gilbert and Sullivan Company at the Pr ncess Theatre, Melbourne, on December 23 was welcomedby a large and enthusiastic audience. : The five years’ interval which has elapsed since the opera was last staged in Melbourne has dulled remembrance, so that the piece was almost like a new one, an effect increased by several ’ncidental numbers :ntroduced in the second act, chief among which was a graceful juvenile ballet. “Princess Ida” will follow “ Pinafore” as the first of the four operas added to the company’s repertoire s nee it was last seen in Me- - It has already been played in Sydney, where it was exceptionally well received, and Mr. Henry Bracy, who was in the original cast at the Savoy Theatre, London, and has seen every production in Australia, speaks of it as the best allround performance of the opera that has been staged in this country. Later on, probably on January 13, “Utopia, Limited,” which is to be “the” feature of the season. w»'H be put on.

The universal popularity which Miss Tittell Brune enjoys in the eyes of Melbourne playgoers was well exemplified in the demonstrative reception she was accorded -when , she made her < entrance in “Merey Mary Ann” before a packed, house at Her Majesty’s, Melbourne, on Boxing night. Her.. season there w’ll be an extended one, and Mr. Williamson will in all probability take the opppr-, tunity of adding one or more new p ; eces

to her repertoire, besides giving her admirers further chances of seeing her in roles which already rank among her successes. “Leah Kleschna” will, of course, be the next new piece staged, though a revival or two may intervene between that event and the end of the run of “Merely Mary Ann.”

The Royal Comic Opera Company, after a long and successful run in Melbourne, went back to Sydney last week, opening with “The Gir from Kays” at Her Majesty’s Theatre on Boxing night. It s perhaps needless to add that the welcome accorded to the individual members was of the nyost entirely cordial description, and that the enthusiasm d splayed was, if anything, greater than that which has attended any previous light. • * * »

Mr. J. C. Williamson’s generosity on behalf of the Theatrical Charities’ Fund is wel known, but the latest instance of it J’s perhaps the most striking. To curtail the season of two most extremely popular companies by several days and thereby obvjously to reduce the box office receipts’by the amount which would have been received, on. the idle days, is. an example of philanthropy that even Mr. W l iamson has seldqm bettered.. He had his. reward., however, in an unqualified success which attended the open air fete at .Princes’J Court oii December 21, at which it is computed that 16,000 persons were present.

Mr. J. C. Williamson has been fortunate to secure the services of Mr. Gferald Coventry, who for the past few years has been recognised as one of the most able stage mangers in the United States, where he has been engaged in the various interests of Messrs. Schubert Bros. Mr. Coventry w 11 be remembered out here as the manager of “The Belle of New York, ’ “The Casino Girl,” and other mus cal comedies. He will arrive here very shortly, and brings with him the latest impress ons of “ The Spring Chicken,” The Little Michus,” “ Veronique,” “ The Blue Moon.” “ The Catch of the Season,” “My Lady Madcap,” and others of Mr. Williamson’s latest acquisitions, all of which he took the opportun ty of seeing in London before he left for Australia.

Mr. R. G. Knowles leaves Capetown today (January 4) for his Australasian tour under engagement to Mr. J. C. Will’am•son. The bright little entertainment “Trifles that Trouble the Traveler” will be seen first m Melbourne early in February.

Mr. Edmund Payne, the London Lra ety comedian, had the unhappy exP e ’’’ enc ,°, the other n 'g ht of beink hissed every time he appeared on the hisser” gave as his reason that Mr. Payne reminded him of someone ho d’d not Fke.”

Mr. Weedon Grossmith says the London public wants legs, not brains.

A theatrical expert in a London papei’ has given it as his opinion that what the pubic want . nowadays is “something with a stojy in it.” Having regard to the number of stories constantly told behind the scenes, there should be no difficu ty whatever in supplying this requirement to the full.

Accord’ng to the “ British Australasian,” the sweet Miss Winchester, who made a fortune on the Paris sugar market, is shortly to appear in London. She has the largest reperto : re of “ dresses” of any artist, and as for jewels—well, even the heels of her boots are studded with d amonds.

The editor of the Russian paper was threatened with death by an actor, who thought himself insulted by an editorial cr’tic’sm. Next issue the editor wrote: —“ I have received a communication from the celebrated actor, M. Dalsky, in which he categorically declares his intents’on of kiP’ng me. I beg M. Dalsky for the one favour of fixing the day upon which his punishing hand shall strike me, so that I may have time to settle my and to prepare’ myself properly for the journey to the best ,of all worlds, where there are no d'seases, no newspapers, and no, famous actors.”

M is stated that as soon as the leases of the four shops adjacent to the Rotunda Building in Bourke-street, Melbourne, expire, which is very shortly, a new and up-to-date theatre will be erected on the ground occupied by the old building and shops. There can be no doubt that if the statement is correct, the theatre would pay from its opening date, for another theatre in Melbourne is badly wanted. Many managers at present have to pass this city by or book the Bijou, and in the latter case it is generally a losing game. “It is cheaper," as a well-known manager recently expressed himself, “to lay your company up for a time than to pay the £6O per week rent at the Bijou, with its unsavoury approaches and wretched surroundings.*’

A lively campaign has been going on in Rome. A body of young men have made it their business to go constantly to the theatres, and when there to remonstrate with ladies whose large hats, however beautiful in themselves, effectually prevent their neighbours from enjoying the play. The public, which has been much tried of late by the want of consideration shown by some ladies, was almost universally on the side of the grumblers. At last their efforts have been crowned with success. The Perfect of Rome has issued an order to the attendants at theatres to allow only ladies without hats in the stalls, the drees circle, and the pit.

Mr Edmund Payne, who is playing in “The Spring Chicken’’ at the London Gaiety, was naturally considerably impressed at a recent performance by the fact that some man in the upper circle hissed him every time he appeared. The stranger was politely shown the door, and was then asked the reason for his conduct, when he explained that it was because Mr Payne had reminded him of a man he didn’t like. In amused comment on this circumstance, in a letter to the “Daily Express,’’ Mr Payne remarks: —“Such an argument opens up a wide field for the Hissing Brigade. The next time I am hissed at I shouldn’t be surprised to hear from the hisser that it was because I wore the same size in boots as a man who owed him money and wouldn’t pay.’’

Since the demolition of the Lyceum as the headquarters of the British drama Mr Beerbohm Tree has been regarded as the metropolitan of the theatrical profession in this country (says the “ Licensed Victuallers’ Gazette), and by his election as president of the Theatrical Managers’ Association in succession to' the late Sir Henry Irving he has been installed as the official “chief’’ by the unanimous voice of the London and provincial executive. It was universally recognised that no other choice was possible, and it was a significant fact that no other name was submitted to the meeting of the Association held recently. After Sir Henry Irving no other actor in England hast done more than Mr Tree for dramatic art (coupled with the name of Shakespeare), for the actor, and for the playgoer. During a long but not unsurpassed period of responsible management he has never faltered in his high sense of his duty as a custodian of art. He has had his failures, but he never produced anything that was intrinsically unworthy of success. He has risked his commercial solvency on behalf of the home drama, and on one occasion when the seriousness of his risks were urged upon him he made the historic reply in defence of his decision: “ But what a splendid play it is to go bankrupt over!’’ In this spirit, backed by unequalled power of imagination and a thorough knowledge of the technique of his medium, he has made Shakespeare the daily food of human nature, and has taught the public that poetic drama is a thing to be desired. And his influence in the behind-the-scenes part of the theatre has been no less important, if less apparent, than what he has effected in the sight of the public. His Majesty’s has always been the best school of acting and the most successful class for dramatists in London. He has taken in writers

for the stage and turned out playwrights; he has engaged the raw histrionic material and fashioned it into the proved and workmanlike article. The public have long since recognised Mr Tree’s work at its proper value, and if you talk of the players who have served under his banner and the dramatists who have been through his hands, you will understand why the profession could have no other head than the manager of His Majesty’s Theatre.

A recent item on the programme at the St. George’s Hall, London, was “The Artist’s Dream,’’ written by the late Mel. B. Spurr.

It is stated in well-informed circles that Mr Harry Rickards has secured a half-interest in the Cremorne Gardens. Perth, W.A.i

“It is quite possible,’’ says a London exchange, “that the biography of the late Sir Henry Irving will be written by his two sons, Messrs H. B. and Lawrence Irving. The compiling of such a work could not be in better hands, if they decide to carry it but.’’

Keith Kennedy, a talented young Australian violinist of fouteeen years of age, is to tour New Zealand shortly. He has successfully toured Australia, and during his coming visit to this colony will be supported by a company of artists.

Mrs Israel Zangwill, wife of the wellknown author and playwright, has entered the literary world, and has published a novel entitled “The First Mrs Mollivar.’’ It is said to be full of dramatic incident, and it is understood that it will shortly bo adapted for the stage.

The “Municipal Journal,” speaking of municipal theatres in Germany, says that no town caring for its reputation is without one ; the promotion of dramatic art is part of the duty of the public authority. Municipalities lend the theatres to lessees, rarely charging rent, but dividing profits ; the town’s percentage rarely covers interest, and a subsidy is frequently added to maintain the house. Cologne maintains an old theatre, as well as a new opera house; the latter cost—building £122,600, stage equipment £27,000, decorations and costumes £29,000. The restaurant attached cost £19,600. The object being to popularise theatrical performances as a counter-at-traction to beer-gardens, the charges, arranged in three grades according to the length of the run, are fixed so as to give all classes an opportunity of seeing the same piece. Most towns have several Shakespearian performances every season. Plays by leading contemporary dramatists are produced as soon as possible.

The remaining New Zealand dates of the Knight-Jeffries Company are:—Wellington, December 26th to January 13th, 1906; Masterton, J anuary 15th; Palmerston North, January 16th and 17th; Wanganui, January 18th and 19th; Hastings, January 20th; Napier, January 22nd and 23rd; Gisborne, January 24th, 25th, and 26th; Auckland, January 29th to February 17th. The company sails for Sydney on February 19th.

Mr R. G. Knowles, who will visit the colonies under Mr Williamson’s management next year, is appearing with much success in South Africa. His own performance includes music, dancing and anecdote, while he is assisted by Mrs Knowles, who plays the accompaniments and does wonderful things on the banjo, and some fine pictures shown by Mr B. C. Coates with the biograph.

A new play by Stephen Phillips, in which Nero will be the central figure, is likely to be produced in London early m this year. The paragraphs published on the subject make it appear that the dramatist has set himself to whitewash in some degree the character of the infamous Emperor. Mr Phillips has set forth his theme in a prologue and three acts, and he would certainly (the London "Daily Telegraph” observes) be the first to acknowledge the material assistance he has received in the construction of his drama from Mr Tree, who. having steeped himself in the atmosphere of the period, has throughout worked hand in hand with the author. The three leading characters in the play have been assigned as follows Nero, Mr Tree: Poppoee, Miss Constance Collier and Agrappina, Mrs Tree. In drawing the character of the Roman Emperor, Mr Phillips has been at pains to bring into relief the wonderful versatility of the man, who was at once artist, poet, musician, and ruler. On the other hand, he has been careful to relegate to the background the more cruel aspect of his hero’s disposition. In other words, Mr Phillips strives to show that Nero was a murderer by accident rather than design.

Judging by large houses and unvarying applause, "The Girl from Kay’s” achieved substantial popularity in Melbourne, and leaves behind many pleasant impressions (says the "Australasian”). Mies Florence Young, as the bright, bustling young milliner who fascinated the impressionable millionaire, Hoggenheimer, has added another effective character to her repertoire. She played the part with much dramatic spirit and humour, while her tuneful songs were rendered with artistic finish and cheerful abandon. Her melodious description of the "customers at Kay’s” was a very sprightly sketch. "Love at the Door” and “Mrs Hoggenheimer” were also delightful vocal efforts. Miss Margaret Thomas, as Norah Chalmers, made an enduring impression. There was never a more dainty bride, and her sweet voice gave charm to the musical numbers allotted to her. Miss Rose Musgrove was promptly made a favourite. Her impersonation of the pert lady’s maid was an embodiment of archness and good humour. Her dancing was graceful and exhilarating, her comic songs droll and entirely entertaining. Mr Haigh Jackson, as the bridegroom, was notably good in song and dialogue, and Mr Percy made much out of little in his delineation of the vague, drawling young man, Fitzthistle. Mr George Lauri, as Hoggenheimer, inevitably suggested comparison with the earlier Hoggenheimer. Mr Huntley’s presentment of the vulgar millionaire was specially good in the matter of German accent. Mr Lauri, however, never fails to amuse, and he is such an indefatigable artist that he will probably yet grapple successfully with the German-English dialect. The "Maxixe” dance, by Mr Fred. Leslie and Miss Tilly Woodlock, was a strikingly successful sensation. Mr Leslie’s. eccentric gyrations provided a very fanciful interlude in the prosaic duties oi a hall porter in a fashionable hotel, and Miss Woodlock’s exuberant movements were delightfully unconventional.

At the King’s Theatre, Hammersmith (London) recently, where “It’s Never Too Late to Mend’* was being performed, the fireproof curtain, which weighs ten tons.

could not be drawn up, and the audience waited patiently for three-quarters of an hour while strenuous, but hopeless efforts were made to raise it, the house finally being emptied and money returned at the doors. No doubt many among the disappointed audience had the title of the piece in their minds as they returned to their homes.