OPERA HOUSE.

New Zealand Illustrated Sporting & Dramatic Review, Volume XIV, Issue 831, 8 February 1906, Page 18

OPERA HOUSE.

THE CHARLES HOLLOWAY COMPANY.

A short season at the Opera House will be commenced by the Charles Holloway Company next Tuesday evening, when there will be staged G. R. Sims and Arthur Shirley’s fine play, “ Two Little Vagabonds.” In the cast will be Miss Beatrice Holloway, Miss Mabel Russell, Miss Ethel Appleton, Miss Alice Deorwyn, Miss Cora Clavery, Miss Pattie Gourlay, Miss Hilda Fraser, Messrs. Robert Inman, Godfrey Cass, jefferson'Taite, J. P. O’Neill, J. Hesford, Wilton Welsh, Franklyn Kenny, George Heather, S. Leonard, Harry Brownless, Max Strathmore, and Crosbie Ward. i'he play is in five acts, and is one of very human interest which on its former production in Auckland drew big audiences. Some very effective scenery has been painted for the piece, which will be produced under the personal supervision of Mr. Charles Holloway. “ Two Little Vagabonds” will be followed by “ Rogues of the Turf” and “ Shall We Forgive Her?”

Mr. James Hendy arrived in Auckland from Sydney on Sunday in advance of the Charles Holloway Dramatic Company, which opens a season next week in Auckland.

Czerny met with great success in his tour of the Waikato, packed houses being the rule. • By the way, on the opening night at Hamilton tne luggage, instead of arriving by the one o’clock train, came to hand in the evening. This meant getting a hustle on and no time for dinner. The curtain rose half an hour late, but “ the gate” was a “ boomer.”

A matter that has puzzled nine out of ten people who went to see “ The Darling of the Gods’ was way tne piay was given its title, and who was the darling of the gods. Manifestly it could not be Yosan or Kara, the much-persecuted hero and heroine, neither could the cruel Zakkuri fill the bill. I have heard many discussions on the point, but in no case was the right answer hit on, namely, that it was the butterfly inadvertently killed by Yosan in the first act.

The next dramatic company to visit us will be that headed by Mr. Charles Holloway, which commences a season on the 13th inst. under the management of Mr. Edwin Geach.

Miss Florence Hamer, whose portrait forms the subject of our frontispiece this week, is well known to Auckland audiences, having been here previously with “ The Marriage of Kitty” Company. In that comedy and in the others played by the company, M’ss Hamer proved beyond

doubt that she is possessed of exceptional ability, her success being very great, so much so that it seems a pity she is not given greater opportunities with the present organisation, the Knight- Jewries Company. Miss Hamer’s two years’ engagement really terminated when the New Zealand tour commenced, but she likes the colony and its people so much that the trip through the island was undertaken. After the season ar His Majesty’s, Miss Hamer will pay a flying visit to the Hot Lakes, and then leave for Sydney, where she will join the R.M.S. Orient, which sails for London on March 10. The popular actress states that her two years* experience in Australia and New Zealand has been a particularly happy one.

“ British Australasian,” just to hand, says: “ Mr. J. C. Williamson was wont to say that Miss Carrie Moore was the cleverest child who had ever come under his banner. Her rise to first place was phenomenal and deserved. In London, under Mr. George Edwardes, she fully justified the reputattion w’hich gained her a leading, place ,in his companies, at Daly’s and elsewhere. At the Grand, Glasgow, in Mr. Robert Courteidge’s production of ‘ Aladdin,’ she opened as principal boy on the 30th ult., and achieved instantaneous success. On the first night the gallery, like Oliver Twist, called for “ Moore.’ ”

My Christchurch dramatic correspondent writes: —The rival shows, at the Roya. and at the Opera House, have both done splendid business since my last. John F. Sheridan and Co. opened at the former on Monday in “ The Earl and the Girl,” one of the latest London successes. The piece is of the up-to-date “ musical comedy” order, and consequently hasn’t any plot worth mentioning. It is nearly all “ variety” turns, but they are bright and amusing, and of the land the jaded city man, full of business cares, likes to see and hear, alth< ugh he wouldn’t give a twopenny stamp to see “ Hamlet” or “ Othello.” Alas for the degeneracy of the age and “ the decay of the public taste !” But to return to pur muttons. In “ Jim Cheese” Johnny Sheridan (describtd in the bill as “ a dog-trainer,” but whose make-up is more suggestive of a street acrobat with a dash of the professional running man) has a part that suits him well enough (although it is in burlesque female characters that John F. chiefly excels). But as the bogus earl John is certainly very funny. Miss Heba Bar ow, as a coster girl, is good, although she has evidently not studied the female coster “in her habits as she lives” on her native heath—i.e., the East End of London, say down Whitechapel way. Nevertheless and notwithstanding Miss Bar’ow is certainly clever, and must be set down as a very popular member of the company. Mr. Avalon CoTard, as Dick Wargrave, acts with the ease of the old stager, and sings most agreeably. Miss Flo. Fanning (a sifter of Charles of that ilk) is capital as “the strong woman,” and the remaining parts are a’so more or less filled. On Thursday “ Mrs. Dooley’s Joke” went on, and being well remembered here drew another big house. In this piece, and in the name part ,J.F.S. is seen at his best. His “ frocks” are gorgeous creations in the very latest style, the race dress being whan! lady enthusiasts call “ a dream.” What with attractive songs (interpolated and otherwise), beautiful dresses, bright and spark’ing music, and any amount of fun (including a burlesque of Le Roy, Talma, and Bosco, the Rickards Company’s stars), the piece “ goes with a bang.” Last night the panto, of “ Dick Whittington” formed the attraction. Of this popular production more anon. . . . Tremendous houses have been the order of the night at the Opera House since my last. Most people have found it exped ent to book seats in advance. The bright particular stars of the show are Le Roy, Talma, and Bosco, and Victor Kelly. The former trio contributed a turn to the second programme quite as good as that they opened in. Nothing batter, smarter, or more bewi’dering of its kind has ever been seen here. Their “ levitation act,” in which Ta’nrn is placed on a long table and covered with a pieca of drapery, and then slowly rises, cover and all, into mid-air, whi’e Le Roy passes a hoop beneath the table to show that no hiddan ropes or wires exists., is marveTous. And when the drapery is pulled aside and Talma is discovared to have vanished utter 7 y the wonder of the audience knows no bounds. The Rickards Company’s season closes to-night (Saturday). One word concerning Victor Kelly (who deserves half a column). This wonderful dancer and acrobat is a genuine art'ist, . whose equal has not often been seen in Naw Zealand. . . . To-night (Satur-

day) Fuller’s Entertainers make th air reappearance at the Opera House, when our o’d friand John Fuller (sure of a great reception) will contribute “ The Garden of the Sea” and “ Geraldine,” and a host of naw artistes will make their bow. and several o’d favourites are billed to appear.

Sir Chas. Wyndham, in the Christmas “Pearson’s Magazine,” tells the following Irving story:—“ Irving was, of course, the very essence of dignity and self-respect. At the Queen’s Theatre in one room were dressing five or six of us, including Irving, Lions’. Brough, and myself. One man got into the fatal habit of calling us all by our Christian names. But Irving did not like it. and hit upon a, very good idea to stifle our affectionate comrade. ‘ I vote,’ he said, ‘we fine each other half-a-crown every time we address each other by our Christian names.’ Our erring friend took ths hint, but in two days’ time we were ourselves forgetting it. Brough cried out ‘Char’ie’ when addressing me, to which Irving reprovingly retorted, ‘Half-a-crown, Lal!’ and I colltcted the money.”

After a successful season of five weeks at Her Majesty’s Theatre, Melbourne, “ Merely Mary Ann” was withdrawn on Friday night last (writes Mr. George Tallis), and on Saturday Miss Tittell Brune appeared once more in Melbourne in “ L’Aiglon,” the stirring Napoleonic drama in which she was so instantaneously and triumphantly successful when it was first produced in Australia. The piece was exceedingly well received by a large audience, who cheered the talented young actress again and again for her powerful and emotional interpretation of the title role, and called her before the curtain at the end of every act to receive the applause she had so deservedly earned. “ L’Aiglon” will only be repeated during the week and to-night (Saturday, February 3). There will be a revival of “ Sunday,” the piece in which Miss Brune made her Australian de but and which has always been one of the most popular plays in her extensive repertoire. Afterwards Sardou’s tragedy of “La Tosca” will be done by Miss Tittell Brune for the first time in Australia, and her assumption of the hapless heroine is being eagerly anticipated with very considerable interest by playgoers.

The Wilcannia, which reached Melbourne from South Africa in the early part of the week, had on board Mr. R. G. Knowles, who is under engagement to Mr. J. C. Williamson for an Australasian tour as a monologue entertainer. He is accompanied by his wife, herself a banjo player of no mean order, who assisted materially in the entertainment with which Mr. Knowles has been so very successful in South Africa and elsewhere. They both proceeded in the steamer to Sydney, where Mr. Knowles opens at the Palace Theatre on the 10th inst. in “ Trifles that Trouble the Traveller,” and “ Songs and Stories of the Stage.” As the theatre is wanted a fortnight later for the farewell season of the Knight-Jeffries Company Mr. Knowles will be on tour before the end of the month, and it is probable that he will begin his Melbourne visit at the Athenaeum somewhere about Eastertime.

Mr. George Edwardes produced “ The Little Cherub,” a musical comedy by Owen Hall and Ivan Caryll at the Prince of Wales’ Theatre, London, about a fortnight ago, and Mr. J. C. Williamson has already received a cable from his London agent stating that an enormous success had been made by the play. He is now waiting fuller particulars by mail, and if these indicate that the character of the piece insures its acceptance by Australian audiences, he will, of course, secure the Australasian rights in it.

There can be no possible doubt that “ Utopia, Limited,” as played by the Gilbert and Sullivan Company, has achieved already a most gratifying popularity, and that the taste of the theatregoing public is still strongly in favour of comic opera of the high standard maintained by the famous collaborators. From the opening performance the piece has been received with undiminished enthusiasm, and both its " book” and its music have won ungrudging ap plause from large audiences. Last week there was a change in the cast owing to Miss Dolly Castles feeling the strain of such an arduous year of preparation and playing as she has had. She is now taking a deserved rest, and her part of Princess Zara has been undertaken in a finished manner by Miss Olive Godwin, who combines the acceptable attributes of a graceful stage presence, a welltrained voice, and a spirit of genuine comedy in her acting. Miss Godwin it will be remembered, played the part of Josephine Zaccary in “ The Orchid,” while Miss Florence Young was absent in America, and received universal praise for her singing and acting. She should prove a decided acquisition to the company.

It is not generally known (writes “ Pasquin”) that a Programme Trust has been formed in connection with the theatres in New Zealand. From the theatre proprietors* view-point the venture may be a good one, but from that of the proprietor of the touring company it may not be altogether desirable. Further developments in connection therewith will be interesting.

The death is reported in Melbourne of Mr. Dan Fitzgerald, the well-known circus proprietor. There were few more familiar figures throughout the colonies than poor Dan, who will be greatly missed from the circus ring. He had been ailing for some time, and the news of his death was not, therefore, quite unexpected.

Arrangements have been completed by Messrs. Meynell and Gunn for the early production in Australia of the American melodrama, “ The Fatal Wedding,” by Theodore Kremer. This play has achieved great success in America, and later on in England. Messrs. Meynell and Gunn have secured the Theatre Royal, Melbourne, from Mr. Bland Holt, ana in that city “ The Fatal Wedding” will be first played in Australia, under the supervision of Mr. Clyde Meynell. A new company has been engaged, and will tour Australia with this play.

There was a great sale or Irving relics at Christie’s, London, recently. The collection offered, valued by the prosaic experts at £5OO, realised £2558. The sale began with the ivory crucifix which always used to hang above Sir Henry’s bed, and ended with Onslow Ford’s telling figure of the great actor as Hamlet. Mr. Albert Jackson, a prominent buyer of Shakespearian quartos, bought both —the crucifix for 26 guineas and the Hamlet for 310 guineas, the highest price of the day. Amongst the collection was a Malacca cane, once owned by David Garrick, and afterwards by Edmund Kean —this was sold for 40 guineas; a gold ring which belonged to Garrick, and presented to Irving by Edwin Booth, sold for 41 guineas; snuffboxes which were owned by Grimaldi and Fechter; Edmund Kean’s green silk purse and the knife which he always used as Shylock; the Flaxman shield given by the citizens of Edinburgh to. John Philip Kemble; a cane once owned by Thomas King, the original of Sir Peter Teazle, and a number of stage properties associated with Irving himself. Amongst the buyers were Mr. Seymour Hicks, Mr. Bram Stoker, and other members of the theatrical profession.

Miss Maud Jeffries is not likely to be wholly grateful for the latest role her popularity has called upon her to play. An article in the London “ Daily Mail” a few weeks ago on the gruesome topic of graveyard memorials, announced that the largest dealers in that class of work had taken a suggestion from a photograph of her as Mercia in “ The sign of the Cross,” and that her sculptured effigy —“ quite a recognisable likeness" — now stands at the head of a grave in the flowing robes and with the cross and lantern of the character. Even the newspaper’s assertion that the new cemetery fashion thus unconsciously set by Miss Jeffries is in pursuance of “ a desire for something less gloomy but still dignified,” and that her representation “ makes an excellent memorial statue,” will hardly reconcile Miss Jeffries to her unsought, and in this case unpleasant, publicity.

The reception of “ Veronique” at Her Majesty’s Theatre, Sydney, on Saturday, January 27, was even more flattering than the Melbourne one, and Messager’s dainty opera evoked an unequivocal enthusiasm from the rise of the curtain on the first act to its final fall. All the principals shared in the honours of the evening, while the chorus showed the result of Mr. Coventry’s training. Mr. Williamson, it is worthy of note, has decided to add the opera to the repertoire of the Gilbert and Sullivan Company, who indeed have already begun rehearsing it with the intention of making it as well as “ Utopia, Limited,” a feature of their approaching New Zealand tour. This is the first step in a new plan completed some time ago by Mr. Williamson, who intends to confine the Royal Comic Opera Company more to the larger towns in future, while ne keeps the Repertoire Company—as the Gilbert and Sullivan Company should now be called —on tour with all the latest musical successes, thus giving playgoers all over Australia an opportunity of keeping thoroughly up to date.

Our old friends, the Steele-Payne Bellringers, were in Adelaide at last advices. The “ Register” says of them that the Exhibition Building /as crowded on Sunday night, when i a Steele-Payne bellringers gave a sacred concert. An excellent programme, which extended over an jar, was presented, and frequent enures were demanded. The bellringwas much enjoyed, and additional items of this character would have been appreciated. Miss Lorraine uisley, Miss Maud Payne, and Mr. Steele contributed songs, Miss Hilda Whidburn gave recitations, and Miss Lizzie Payne rendered selections on the sleigh bells.

A Melbourne publisher is negotiating with Roy Redgrave for the publication of a book which he has just completed.

At the close of the Wellington season of the George Stephenson Musical Comedy Company, an overland tour will be undertaken en route to Auckland. The following are the towns to be visited and the dates:—Napier, February 15, 16, 17, and 19; Gisborne, February 21, 22, 23, and 24; Auckland, February 26 to March 17; New Plymouth, March 19 and 20; Hawera, March 21; Wanganui, March 22, 23, and 24; Marton, March 26; Masterton, March 27, 28, and 29.

The following are the bookings of MacMahon’s Dramatic Company: — Theatre Royal, Christchurch, February 17 to March 3; His Majesty’s Theatre, Auckland, March 19 to April 12; Theatre Royal, Christchurch, Easter Monday, April 14 to April 28; Opera House, Wellington, May 5 (four weeks).

Fred. Graham and Miss Nellie Dent made a great success of their comedy sketch, “ Packing Up,” at the Sydney Tivoli (says “ Punch.”) Every movement was watched with amused interest by a crowded house, and when the missing collar-stud was found, after a series of cleverly-de-signed accidents and. delays, the pair of fun-makers were recalled. The sketch is one of the best things in the much-ado-about-nothing class that we have had on the Sydney stage for quite a number of years. It is a “ regulation” farce, compressed, by smart acting, into about a quarter of the time usually taken up with this sort of funny business. The comedian does all the work, yet he contrives that his " assistant” comes in for a full share of the applause and laughter.

A comedy,, entitled “ The Man from Mexico,” is announced to be introduced to Sydney audiences at the Criterion Theatre ear.y in May. The principals are Messrs. George Willoughby and Hugh Ward and Miss Grace Palotta. After the Australian season a tour of this colony will be undertaken.

Mr. R. G. Knowles, the genial humorist, will open his season at the Palace Theatre on February 10, under the direction of Mr. J. W. Williamson. A prince of comedians, his career is without parallel on the stage to-day. Deserting the world of vaudeville for that of monologue entertainer, at one bound he has placed himself in a line with the greatest entertainers extant, and in England, and recently in South Africa, was attracting enormous business. Mr. Knowles engages his audience in a humorous conversation on various subjects, and during his “ conversation,” if the audience are not' in paroxysms of laughter, the celebrated R.G. is not to blame—Mr. Knowles is essentially famous for his original witticisms and quaint conceits. In an evening he introduces his hearers in a new and novel manner to the “ Trifles that Trouble the Traveller,’’ as he has seen them during his tour round the world. The trip takes two hours “co describe, and the audience is shown the funny side of life in many of the cities and thoroughfares of the world. During the entertainment he will introduce some of the songs and dances for which he is famous. . Mrs. R. G. Knowles, a delightful banjo performer, will assist; and to create an atmosphere of realism, special biograph pictures will be shown of various places Mr. Knowles describes. Mr. Bert Royle has just booked a comprehensive tour of New Zealand for Mr. Knowles.

When the last mall left Nance O’Neil was in her third week at tne Grand Opera House, San Francisco.

The Melbourne season of the Gilbert and Sullivan Repertoire Company has been extended to eight weeks. Then they will proceed to charm the Tasmanians, and subsequently visit Bendigo, Ballarat, and Newcastle. Another New Zealand season will open in Wellington at Easter.

Sarah Bernhardt made her debut at the Theatre Francaise as Iphigenie on August 11, 1862. One newspaper t the time describes her as “ pretty and elegant,” and her enunciation as “ nearly perfect.” She won her first distinction in “ Ruy Blas” and in a translation of “King Gear.”

George Washington Smith, a wellknown manager, who startea with Wilson Barrett, is now in South Africa, associated with the Wheelers, he talks of paying a visit to Australia at an early date.

At the termination of the season in Christchurch on February 8 of the John F. Sheridan Company, a move will be made by the musical comedy charmers to Wellington, where a month will be put in prior to doing the small towns of the North Island -n route to Auckland, where the New Zealand tour will be cunciudea on May 11. The following are the bookings:—Christchurch, January 29 to February 8; Wellington, February 10 to March 10; Gisborne, March 14 to 17; Napier, March 19 to 24; Masterton, March 26 to 28; Palmerston North, March 29 to 31; Wanganui, April 2 to 7; Hawera, April 9; Stratford, April 10; New Plymouth, April 11 and 12; Auckland, April 14 to May 11.

The length of some of R. G. Knowles’ exceptional runs in England is the best evidence of his great popularity. He figured in the programme of the Tivoli Theatre, London, for two years and ten months; he appeared at the Trocadero for sixty-eight weeks; at the Empire he put up a record, running for fortyseven weeks, being thirty-six weeks longer than anyone has ever done before. His recent African tour was a record of records. What will be the result over here?

According to Melbourne “ Punch,” Mr. J. Nevin Tait, who is at present in London, has sent out what should prove a most interesting entertainment. Living London is the title.

It is an enormous moving picture of tremendous length, being absolutely the longest picture ever taken, and will be shown at the Town Hall for a short season, commencing on Saturday evening next. This picture shows all the London streets, and commences by showing Hyde Park, takes you along past the Duke of Wellington’s monument, Buckingham Palace, the Houses of Parliament, the Thames, Threadneedle-street, The Strand, Regent and Fleet Streets, Down the Embankment, the Tower Bridge, London Bridge, and hundreds of other interesting and humorous scenes of the great metropolis. This great picture takes over an hour itself to be shown, and the Interest isn’t allowed to fall for one instant. It should appeal specially to those who have visited London, and also all those who have not had that good fortune, and likewise all who are interested in any form with the word marvellous London.

Miss Dorothy Grimston (Mr. and Mrs. Kendal’s daughter), is reported to be making a big success in Miss Olga Nethersole’s company in New York.

Miss Nellie Stewart has commenced her American tour. According to a cable from Mr. George Mus grove, “ Sweet Nell” was “ a sensational success, and the press notices were highly eulogistic.”

An interesting innovation was made at the Aldwych Theatre, London, on the first night of the new version of “ Bluebell in Fairyland.” Camp stools were served out to all that portion of the audience waiting for admission to the unreserved parts of the house.

The English adaptation of the comic opera, “La Petite Boheme, will be produced by Mr. Charles Frohman in London at Easter next in all probability at either Wyndham’s Theatre or the Shaftesbury, the character of the production requiring a larger playhouse than Mr. Frohman has at present under his, control over there. The production will possess many novel features, apart from its attractive character as real comic opera, which has been rarely seen in London of late years. t will be elaborately staged, and in order to preserve the French atmosphere of the play, negotiations are now being concluded for several notable French players to taxe part in the London production. The chief characters are to be represented by two actresses, one of whom will be Miss Claude Laselle, the well-known theatrical motorist.

Some interesting particulars concerning the scope and object of the dramatic school founded by Mr. Beerbohm Tree are published in the “ Era.” According to that journal, Mr. Tree started this school with the view of giving young actors and actresses some sort of technical education before they essayed parts on the stage. It has been, so far as the work is concerned, a great success; and the attendance, since its inception, has averaged 85 students. Its pupils are in no sense rivals of the ordinary actor and actress. Those students who have been drafted into His Majesty’s Theatre have always received salaries suitable to the parts played by them; and there is, therefore, no unfair competition with the dramatic artist trained in the usual way. There has never been any thought on Mr. Tree’s part of getting

either direct or indirect financial profit from the school. It has been his object to make a success of it by his individual efforts —and such enterprises are only undertaken by individuals —so that, when it shall have vindicated its usefulness, it may be handed over to a larger and more representative body. The school has, naturally, not been hitherto a source of profit, for, the moment It became a success, Mr. Tree reduced the fees to one-half, i.e., six guineas a term; so that those who were not over-bur-dened with this world’s goods might yet be able to affard the schooling. In order that this might be done, Mr. Tree made a donation of £5OO to the school. For the year ending March 31, 1905, there was a profit, including this donation, of £335 6s. With the fees at half the former rate, Mr. Tree’s monetary loss on the school is inevitable. Between £6OO and £7OO was expended in acquiring and furnishing premises at 62, Gower-street, apart from some £2OO for preliminary expenses.

The takings at the subventioned Opera-Comique in Paris amounted to £lO,lBl during last month, when 35 performances were given, making an average of £3OO 15s. The operas that realised the most money were “ Carmen,” “ Manon,” and the newwork “ Miarka.”

Mr. George Le Brunn, composer of some 10,000 music-hall songs, died just before the mail left London. He was born at Worthing 43 years ago, and his thousands of compositions included some of the most noteworthy successes sung by the late Charles Godfrey, and Miss Bessie Wentworth, as well as most of the successful ballads sung by Miss Marie Lloyd.

Sarah Bernhardt’s week in Chicago was the most successful ever Known. Eight thousand six hundred pounds were taken.

In an article on the “ Decline of the Stage,” Valentine Day, writing in the “ Newsletter,” refers to one aspect of it thus:—An even worse development of the modern stage, perhaps, is the musical comedy—so called because it contains little music and less comedy. In these miserable offspring of an unholy alliance between burlesque and vaudeville the weakest and thinnest of plots is concealed in a farrago of feebly funny and occasionally suggestive dialogue, interlarded with songs which usually have nothing to do with the case, are often vulgar, occasionally indecent, and invariably stupid. As for the music, it is either of the circus, and highly circusy, or of the drawing-room, very drawing-roomy. In the former case, it is all biff-bang-biz-z-z, with trumpet, drum and cymbals. In the latter case, you get airs of the twinkly-inkly-tweet-sweet sort, with a good deal of flute and a little pizzicato thrown in. This stage-load of trash is spiced with a good deal of vulgar pantomime clowning, repugnant alike to the eye and the ear of good taste. And the whole burden is carried off by a lavish expenditure on gaudy scenery, gilt upholstery, gorgeous costumes, coloured lights, ana a hold display of feminine charms. These socalled musical comedies are apparently losing vogue, but there appears to be no corresponding renaiscence of high-class light opera. Therefore one asks, aghast: “ Into what lower theatrical hell are we likely to descend?” Something wrong with the writer’s liver, I should imagine.

Sir Edward Elgar delivered a sweeping condemnation of English conductors ’ and English actors —he described the latter as, for the most part, dressed-up dolls and dummies—in his third lecture as Professor of Music at the Birmingham University in November last. Of conductors he said that England had produced so far only one —Mr. Henry J. Wood — who was a giant. There were, he declared, many composer-conductors, and the mere pedantic, mechanical, respectable man, who would he equally successful as a schoolmaster, or, if he must keep time for others, would figure more usefully as a timekeeper in a factory yard. These he said, were the men who treated orchestral music as if it were a problem in Euclid, and thrashed it out without sympathy or love or hate. The dramatic instinct also was wanting, and he accounted for this by the fact that there was no real dramatic stage art in England. In the whole ranks of the theatrical profession, said Sir Edward, there were gooa enough actors and actresses to cast one drama properly, and no more. They were mostly dressed-up dolls and dummies who filled the stage. Englishmen were content to have one good actor and actress in a play, and as to the rest the less said the better. Sir Edward said that English orchestral players were the best in the world, but English soloists did not shine on stringed instruments. There were some real artists as pianoforte solo-

ists, but he had no sympathy with the “ fireworks” soloist. All that was done in the way of mere execution was done better by mechanical instruments. England, he said, had still too many brainless singers, and teaching in the schools had been unable to raise the standard.