THE STAGE

New Zealand Illustrated Sporting & Dramatic Review, Volume XIV, Issue 835, 8 March 1906, Page 18

THE STAGE

(By

“Footlight.”)

HIS MAJESTY’S THEATRE.

“THE SKIRT DANCER.”

Mr. George Stephenson’s English Musical Comedy Company is still winning golden opinions at His Majesty’s. After a very successful run “Bill Adams” was withdrawn on Saturday, night to make room for “The Skirt Dancer,” another o r those whimsical absurdities which, with the flimsiest of all plots and an almost total absence of anything like a connected story, abound, in all sorts of comical situations and. lead to uproarious bursts of merriment which are repeated again and again as the comedy proceeds. Bright di esses, merry and eccentric dances, wittv, even epigrammatic sayings, and humorpus incidents which convulse the audience are even more characteristic of “The skirt Dancer” than they were of “Bill Adams,” and a veritable night of enjoyment is thus ensured to the crowd which nightly fills His Majesty’s. The music is catchy and pretty, and the orchestra is so well under control that the sparkling libretto of the many solos and choruses is never lost. Mr. Alfred Hill is, indeed, to be heartily congratulated upon the general excellence of his orchestra. The. honours of the evening are shared by Miss May Beattie and Mr. Lauri, the former as the skirt dancer, and the latter as Sir Benjamin Mapleton, the famous pillmaker. The charming vivacity of the •one is admirably balanced by the irrepressible moods of the latter, who is a comedian of the very first rank, with an evident genius for devising eccentric dances. Mr. Lauri was equally at home in advertising his pills ate in flirting with the ladies, first at Captain Bunting’s mansion on the Thames, and later in the conservatory of the Grand Hotel at Nice. He was at hib best, however, in the very remarkable cat-and-bird duet upon which the curtain falls in the closing scene of the play, simulating both in movement and voice the domesticated animal at play on the housetops. His patter songs were also very much appreciated. Miss Beatty, as the irrepressible music-hall singer and dancer, left nothing to be desired. Her flirtations with Captain Bunting and Teddy (lhe captain’s “Tiger”), were as diverting as the similar passages with Lord Harry Parkton and Sir Benjamin proved to be. She sang sweetly and well, and was heard tc much advantage in the gondolier song and in “I Love You.” Miss May Garstang was quite at home in the character of Mabel (Sir Benjamin’s daughter), and Miss Roland Watts-Phillips as the severe and repellent Lady Parkton (Captain Bunt= ing’s sister) was also good. Mr. Charles McNaughton as Lord Harry and Mr. Will. Bovis as Teddy by their clever acting and singing established themselves high in popular favour. The eccentric, not to say simple, nobleman proved highly diverting in his consistently quaint mannerisms and sayings and in his eccentric dances, while the “Tiger” in his irrepressible moods was comical to a degree. His laughing song in the second act was simply irresistible and convulsed the audience again and again. It certainly ranked amongst the successes of the evening. Mr. Harold Reeves sang and acted well as Lieutenant Mildmay, and Mr. Charles Bovis as Captain Mildmay, a sad sea-dog, whose peccadilloes in former days kept him in mortal fear of his austere sister, was also good. Miss Alice Pollard should also be mentioned for her effective impersonation of the character of Lady Charlotte Dene, and Miss Kitty Golwick, Miss Addie Williams, Miss Eva Bedford, Miss Rose White, Mr. Arthur Lissant, Mr. Charles Albert and Mr. Fred Sinclair in the minor parts all helped to add to the effectiveness of the representation. The •comedy was very prettily staged, the scenic effects, especially the lighting in the second, act, being really admirable. “The Rose of Riviera” is to be produced to-night.

On, Thursday Mr. Stephenson will stage the ever r popular musical comedy, “The Rose of Riviera/’ A host of novelties will be introduced/ while all the old favourite numbers wilt- be retained. “Th® Rose” will be produced for four; nights; On Tuesday next the Hill-Birch comic opera, “‘A Moorish Maid;” wil- be produced' for the first time by this company. The cast

will be exceptionally strong, and will include two new faces in Miss Rosina Buckmann, dramatic soprano, and Mr. Leslie ..i.l, tenor. A great deal of interest is attached to this production by local play-

OPERA HOUSE.

l-'ULLER’S ENTERTAINERS.

There was a good attendance at the Opera House on Monday evening to witness the usual weekly change of programme. Mr. Frank Crowther’s orchestra opened proceedings with a lively “Irish two-step,” “A Bit of Blarney,” and the curtain went up on a fine new first-part scene. The scene, which represented the fore-deck of a steamer, was excellently done, and Mr. Hutchison deserves much praise for its faithfulness .to detail. With its boats, bridge-deck, wheel, mast-head light and side lights, the good ship Opera House” looked trim and seaworthy enough for the most critical nautical eye. When lhe company opened out with a seafaring chorus and indulged lightly in hornpipes rind other marine evolutions, the picture was complete. Miss Nellie Power then took the quarter-deck with a bright little serio turn, “My Phillipina Queen,” which went well, and she was heartily applauded and recalled. She was followed by Mr. Will Stevens, who kept the house rippling with laughter while he held the deck, his song “Mr. Dooley” being specially good. Miss Dorothy L’Estrange then sang. “Call Me. Back,” and in answer to a vociferous recall gave “Barney O’Hea,” and that old favourite “Cornin’ Thro’ the Rye. The last two songs were, very good indeed, and called for hearty applause. Mr. Will Stevens, who once more appeared on deck.

went through quite a lengthy budget of songs, gags and parodies, and caused much amusement and applause. He was followed by Miss Gertie Maisie, whose serio turn, “Isn’t It Lovely to be on the Stage,” earned hearty applause and a recall. Mr. Lal Logie, who is a most energetic corner

man, sang “Do As You Like,” for which „ he was recalled, and after answering two more demands from the audience he was allowed time, to breathe quietly again. Lal Logie has a go about his turn that is fairly irresistible. Miss Viola Price gave something new in a Dutch song and dance, entitled “Kattarina.” There is a freshness about Miss Price’s work that should ensure her success on the variety stage, and she has the knack of acting her songs most naturally. The brothers Driscoll finished the first half of the programme with

a rollicking double song and dance item, their dancing especially being excellent. The second half of the programme com-

menced with a couple of beautifully-illus-trated songs by Mr. Chas. Howard, who is possessed of a fine voice and knows how to use it too. The. pictures were very clear, and earned the complete approval of the audience, who applauded Mr. Howard heartily. Little Charlie Hayes, whose contortionist act is doubly interesting on account of the size of the performer, went through a very clever performance with lhe assistance of Miss Gertrude Emery. The latter’s clever feat of balancing a glassful- of, water on her forehead: whilst passing- through a number of hoops , was very good, and earned hearty applause. Miss Florrie Ranger, who has a very convincing way ; abbpt her,. Bits o! Lace,” for which...sfc&. W's applauded and recalled; “Hiram ’Gteeri” and “The Barmaid” followed in response to vociffe-

rous encores before she was allowed to leave the stage. Clyde Cook, whose clever dancing established him firmly in the favour of Opera House audiences during his last visit to this city, gave an excellent turn in his club-swinging clog dance. His last eccentric turn was also very clever, and earned hearty and well-deserved app.ause. Mr. Fred Rivenhall once more, delighted the audience with his songs, and was recalled to further orders. In his case, the audience is always most exacting, and can never have enough of him and his clever turns. Miss Stella Ranger again charmed the house with her singing, and was encored several times. The Driscolls, in their eccentric sketch, “Brannigan’s Band,” fairly caught on with the audience, and were applauded to the echo, (.'lever dancers and singers, too, the Driscolls cannot fail to please with their turn, and they sent the audience away on Monday night in high good humour. Mr. Fuller has just had a new floor built into the stage at the Opera House, and the effect of this improvement was very noticeable on Monday evening, and must have proved most acceptable to the dancers.

I have received from the author, Mr. \V. W. Boyes, a song dedicated to the “All Black” football team. The song, which is set to music by H. E. Light, F.G.0., London, forms a most appropriate welcome, and has a go about it that is certain to gain it wide popularity. It was originally intended to have it sung at the banquet tendered to our boys on their return, and for this purpose the services of Mr. Abel Rowe, well known in Auckland musical circles, had been secured. This arrangement, however, was upset at ihe last moment by the interference of

another party who wanted something of their own sung, and the original intention had to be abandoned. We are glad to hear on later information that the song is to be sung at a private function to Gallaher at Ponsonbv.

Instead of sending the Strand Comedy Company to America within the next few days, Messrs. Meynell and Gunn have decided to extend the Australian season, playing “The J.P.” and “There and Back,” a new London farcical comedy, for a brief period in each of the States. The company wil re-open at the Princess’ Theatre on March 17, when “There and Back” will be produced, with Mr. J. J. Dalas and Miss Florence Lloyd in the principal parts.

Miss Violet Mount, one of the leading concert sopranos of Sydney, who recently visited Auckland, is at present in Melbourne, on her way to England, where she is intending to complete her musical studies. She is a Victorian by birth, says the “Australasian,” and resided here until some six years ago, when she went to Paris to study voice-production, and subsequently settled in the sister State. She possesses a brilliant high soprano voice, which has been well cultivated, and she has sung with uniform success both in opera and oratorio during the last two or three years. She hopes to give a con'V'ft. in Melbourne before sailing for Europe.

There seems, to be a wonderful supply of mute inglorious, variety artists in Australia, . says a Melbourne paper. Every week. Mr. Frank Clark augments his Folly Company at the Gaiety Theatre with some new star, and nearly all of them reveal-

qualities quite equal to those of the mass of. imported performers. Last Saturday Miss Addie Wright, a pleasing young lady, who dances with ease and grace, made a successful appearance, and an interesting programme was provided. Octavia and Warne, Miss Lulu Eugene, Messrs. Elliot and Hayward, and Miss Amy Blackie were among those whose contributions were most favourably received.

'lhe present production of “La Tosca” in Melbourne is remarkable as being the first piece of work. Miss Tittell Brune has given to Australia. With the exception of a slight —very slight —tendency to sound the note of strenuous tragedy too loudly, it is difficult to discern a fault in her portrayal of the part, says the “Australasian.” Her love-making is superb. Strenuous tragedy is a thing that most people have to take for granted. Few have an opportunitv of meeting it in real life, and those who do are invariably commonplace persons, who cannot recognise any dramatic features about their actions. But love-making is a matter about which everybody knows something, though very few can depict it naturally on the stage. The subtle artistry of Miss Brune is a revelation. Her sudden pouts of jealousy, and her returns —just as speedy—to full confidence in Cavaradossi are delightful. She lectures her lover, charges him with being unfaithful, and when he proves his innocence, silences his rebukes by the indisputable logic of kisses. The fiery passion of La Tosca is apparent in every embrace; but there is not a suspicion of vulgarity about one of them. In the less pleasant phases of La Tosca’s nature, Miss Brune is equaly convincing—terror and anguish as she listens to Cavaradossi’s groans beneath the torture ; hate and disgust slowly focussing before Scarpia’s overtures, to nerve her for the death-blow; horror, as she looks into the eyes of the corpse ; and, finally, utter collapse, when she finds Mario dead. In management of her voice, facial expression and movements Miss Brjme’s La Tosca ranks with the finest tragic performances seen in Melbourne.

The most striking feature about the revival of “The Mikado,” with which the Melbourne season of the Gilbert and Sullivan Opera Company closed, was the splendid performance of Mr. Kenningham as Nanki-Poo. His voice, which has been steadily improving during the past few weeks, had never been heard to better advantage, and his acting, especially in the mock-heroic and mock-pathetic passages scattered through the play, could not be surpassed. Mr. Vernon played Ko-Ko as he has been playing it for a score of years ; no greater compliment is possible. Mr. Frank Wilson made an excelent Mikado; Mr. Ernest Fitts’ Poo-Bah was an acceptable piece of work, on more or less original lines, and Mr. Crane was a passable Pish lush. Among the ladies, Miss Ghiloni’s Katisha was far and away the best contribution. The conscientiousness and intcligence of her acting were fully displayed in the long, but interesting, finale to the first act. The music for the part of Yum Yum seemed a trifle too difficult at times for the still-convalescent voice of Miss Castles, whose attendants, Miss Thorn and Miss De Loitte, were bright and winsome. The choruses were good and the stage management perfect.

Professor Cormack, who dives from ■ height of 50ft. into a small tank at Prince’s Court, Melbourne, is an accomplished actor as well as an athlete. His actions on the platform before he makes his plunge into space are such as make the most callous spectators shudder, says an exchange. He steps forward, looks downward apprehensively, baulks, and finally puts off his look of terror for one of grim determination before he casts himself over. The turn is excellently arranged, and most fearsomely dramatic is his last dive in a blazing sack. Prince’s Court is developing into a perfect Coney Island. Not only are the amusements which have gladdened visitors since the opening of the season continuing to be presented, but the cafe chantant is becoming a. veritable musichall, and a menagerie of performing wild animals was added on W~ ’ day.

My Christchurch correspondent writes: Joe and Charlie MacMahon and Co. conclude one of the most successful melodramatic seasons ever given in Christchurch this (Saturday) evening. There have been constant changes of bill “Saturday Night in London” being succeeded by “The Kelly ■Gang” (splendidly advertised by the management), “On Active Service,” a military drama full of gore and gunpowder, ip which Chas. Blake and the other principal covered themselves with glory, and "“Called Back,” a stage version of poor Hugh Connay’s well-known shocker. Mr. Blake was very good indeed as the blind man, Gilbert Vaughan, and contrived to counterfeit very cleverly the peculiar vacant gaze of the blind. But the honours of the performance largely fell to the share of Mr. C. Berkeley, who gave a really masterly rendering of the part of the Italian spy, Macari. Praise is also due to Mr. Wilton Power for his Arthur Kenyon. After playing the (stage) villain so often Mr. Power must have found the change to a virtuous part quite refreshing. Mr. Lambert’s Dr. Ceneri was rather ‘stagey,” but Miss Maie Nelson’s Pauline March was excellent. The season closes to-night with “The Painted Woman,” an alluring title sure to attract yet another big house. The company plays a return season here ere very long, and is sure of a warm welcome on making its re-appearance....... ....... On Monday next, March 5, Czerny the Magician opens at the Theatre Royal for six. night?, and if all, I hear about him is true, he ought to do well here. It is long since we had a show of this kind in Christchurch worth speaking about. Poor “Dante” was the last “star” magician to perform here,, and he has. been sleeping in Waverley Cemetery at Sydney for some years now. Mr. Michael Joseph is busy

preparing for the Czerny season, having arrived in Christchurch some days since. . . . Fuller’s Opera House show continues to draw big houses, notable turns being contributed to the present programme by the Volteens, Sam. Wilson, Will Lochrane, and a heap of others.

Messrs. Willoughby and Ward, under the direction of Mr. Edwin Geach, open a theatrical season in Sydney at the Criterion on May 12 with a company sailing ft cm London by the Sophocles. Included i.i the company are Mr. Edward Bonfield, Mr. Reginald Wykeham, Mr Warburton Gamble, Mr. Arthur Cornell, Miss Olive Wilton, and Miss Gillian Scaife. Miss Grace Palotta, who is also a member of the company, is a passenger by the R.M.S. India. “The Man from Mexico” will be the chief attraction.

Speaking of Miss Nellie Stewart on her first appearance in “Sweet Nell of Old Drury” at San Francisco, the “ ’Frisco Bulletin” says:—“Out at the Majestic Theatre last night a big, critical audience roared and stormed while a dimpling, winsome face, emerging from an immense wreath, and belonging to a petite figure that was wholly hidden by a mass of floral pieces, bowed and smiled acknowledgement of the ovation after the curtain wentdown on the last act of ‘Sweet Nell of Old Drury.’ The face belonged to Miss Nellie Stewart, and the meaning of the scene was that San Francisco had taken to its heart ‘the Bernhardt of Australia’ at first sight.

“The reason for that title must be sought in the British love of a label. As a matter of fact, this young woman does

not need to be tagged the anything of anywhere. She is making a name of her own that should suffice without comparisons, more especially such as are not in point. ”

Bland Holt as an actor and a producer is an artist. In “The Prodigal Son” Mr. Holt has beaten all his records—has reached his climax. The play is fine, the scenery and effects rich to a degree, and the acting all-round good. The company has risen above tfieir general level, for, of course, the play is that, and in the various tableaux and situations the result is well nigh perfect. “The Prodigal Son” is Mr. Holt’s triumph. All Melbourne ought t<. pack the Theatre Royal for weeks. Ihe show, in addition to being dramatic, interesting and well written, holds a fine lesson and a whole string of morals.— “Melbourne Punch.”

“The Little Cherub,” about the success of which Mr. J. C. Williamson’s London agent cabled so confidently a few weeks ago, seems to be all that he then implied it, to judge by the letters and criticisms he forwarded by the last English mail (writes Mr. Geo. Tallis). It was produced by Mr. George Edwardes at the Prince of Wales Theatre while London was in the throes of a general election, but in spite of this strong counter-attrac-tion it was most cordially received by Press and public alike, and it seems a foregone conclusion that it will settle down to a run which will rival many of the record-breakers of the past decade. Mr. Owen Hall has taken the theme of Decore, a Parisian success, for his libretto, and while eliminating the vulgarity has

preserved and even added to the fun, while the music, is in the very best style of Ivan Caryll, than whom few composers of musical comedy are better known or more widely appreciated. Everywhere, indeed, his melodies are hailed as the strongest feature of the piece, its Frenchiness and its delicacy being dwelt on by almost every reviewer, while its catchiness is vouched for by the fact that before the piece had finished its first week its songs were being whistled all London. There is every probability of Mr. Williamson acquiring the Australasian rights of the production.

La Tosca, Sardou’s intensely tragic heroine, must be added to the steadilygrowing gallery of Miss. Tittell Brune’s triumphs, if the reception of the play by Melbourne theatre-goers is to be taken as a criterion. Throughout the fortnight devoted to it at Her Majesty’s Theatre, the audience demonstrated a consistent appreciation of the talented young actress’ reproduction. The subtle character study was treated in a thoroughly sympathetic style, and outbursts of genuine aplause greeted each emotional passage. To-night (March 3rd) “Leah Kleschna” will be produced for the first time in Melbourne, the occasion marking the third new role assumed by Miss Brune during her present Melbourne season. The piece itself and her interpretation received cordial, encomiums in Sydney when it was played there a; the end of last year, while in New York and London it was undoubtedly the chief dramatic success of 1905. Mr. C. M. S. McLellan, its author, to whose credit there also stands “The Belle of New York,” has dealt with a strong situation in a number of powerful scenes, depicting the uplifting of a woman from crime to

well-doing through the influence of a broad-minded man who believes in the innate goodness of human nature.

In view of the length of run attained by “Leah Kleschna” in Sydney, as well as in New York and London, there would seem absolutely no necessity to anticipate a change for some considerable time. But even with this certainty, Mr. J. C. Wil liamson has already issued instructions fo. the Tittell Brune Company to commence the work of rehearsing “Dorothy Vernon of Ha’ddon Hall,” which he contemplates producing some time during the present season. The dramatisation of Charles Major’s novel requires a big cast, and the principal part offers Miss Brune herself many opportunities.

The Gilbert and Sullivan Company experienced a most successful season at Launceston last week, the enthusiasm which greeted the series of five operas produced remaining at the same gratifying high level from first to last. Their Hobart visit was no less popular, and, indeed, its first day’s booking for it eclipsed all previous records in that town, while the approval with which the old favourites were received was unbounded. * * * *

At the Palace Theatre, Sydney, last Saturday evening (February 24th) the Knight-Jeffries Company began their three weeks’ season of absolute farewell in the presence of a crowded house, which received the plays (“Comedy and Tragedy’ and “David Garrick”) and the players with every demonstration of cordiality. Neither of the pieces had been done by the company before in Sydney, and the efforts of Miss Maud Jeffries and Mr. Julius Knight in their respective parts won marked favour. The company’s long tour in New Zealand, just concluded, was every bit as successful as any of their previous, visits to that colony, although at the beginning o f it the general election detracted somewhat from the attention which Maorilanders in their more peaceful moments accord the theatres. As soon as things political settled down, however, that attention was devoted to the favourite dramatic combination, and the Auckland season which brought the tour to a conclusion ranks as the best the company ever played in that city. They go to Brisbane in about a fortnight’s time and thence, after a brief visit to Newcastle, to Adelaide, where they are due on Easter Saturday, and where they will finally disband. * * * *

Messager’s dainty comic opera, “Veronique,’’completed a very successful run at Her Majesty’s Theatre, Sydney, on Friday (March 2nd), and to-night (3rd inst.) the Royal Comic Opera Company will appear for the first time in Australia in “The Shop Girl,” a piece of the same calibre as “The Girl from Kays,” which

they played to such excellent business for the first five weeks of their Sydney season. At the same time it has remained one of the best examples of the new order of things then initiated. It possesses a well-defined story with a distinct flavour of real romance about it, and—a most important feature —the cast is made of characters which fit the different members of the company almost as if they had been written for them. Finally, Miss Florence Young, who will appear in the principal role, brings to it valuable previous experience gained by her when she played the part through South Africa with George Edwardes’ company a few years ago.

Outside the door of 87 Newgate-street, London, has been affixed a bronze tablet with the following inscription:— Sir Henry Irving served his time as a publisher’s clerk on these premises, leaving in 1856. The inscription is Tn raised capital letters, and there is a laurel wreath above it with two laurel wreaths below. The premises are at present used as a refreshment and tea shop.

Miss Irma Foldi, who plays Blanche d’Hervas in “A Royal Divorce at the Scala, London, is an Australian girl, a former member of Mr. J. C. Williamson s opera company.

Miss Marie Lloyd, who always exhibits a nice discriminating taste in the matter of the titles of her songs, has, says the “Pelican,” just secured a new one of which she hopes much, called “It Isn’t What You See—lt’s What You Think.” * * * *

Actors have played in many queer places, but it has remained for Madame Bernhardt to beat the record by appearing in an arena devoted to the noble art of self-defence. Realism being the order of the day, the descent of the act-drop should, have been irdicated bv the cry of “Time!”

The Modern Milo and Cruickshank have left Perth for London. In a parting note they tell “The Referee” their Westralian season was a great success.

Mr. George Wirth writes to “The Referee” from Perth that the circus has been doing immense business in West Australia. The combination open in Sydney on March 24, and Mr. Wirth promises some ‘splendid attractions, including a herd of eight elephants.”

“The seats should be a good distance apart, leaving plenty of room for the inevitable late-comers to pass in without disturbing the people who have the good sense and politeness to arrive punctually.” —Mr. Charles Hawtrey on “The Ideal Theatre” in “London Opinion.”

West’s Pictures and the Brescians, after many postponements, are shortly due at the Sydney Palace under the direction of Mr. Edwin Geach. They are at present in the midst of a highly successful season in Tasmania, and will open in Sydney immediately upon the termination of the Knight-jeffries season. Mr. West, the chief partner, is due from London, with a series of fresh and up-to-date attractions.

Mr. J. T. Grein, in an address to the members of the Amateur Players’ Association, London, interpolated a pungent and characteristic epigram : “The actor manager who had one eye on his duty and the other on the till should not be blamed. Art and the till should be brothers, but not Siamese twins.”

Mr. Willard, in an English exchange, says that commercialism, when associated with the stage, is only a bad habit. It is a habit, nevertheless, which quite a number of otherwise respectable people cultivate, and an equal number would display no marked objection to following in if thev had the chance.

An enthusiastic welcome awaited Mr. Cyril Maude when he inaugurated his season at the Whldorf with Mi. Sydney Bowkett’s new comedy, “The Superior Miss Pellender” (says the London “L.V. Gazette”). The entertainment certainly did not damp the enthusiasm which prevailed; although it cannot be said to have increased it. “The Superior Miss Pellender' is a very amusing trifle constructed around a slender plot; it contains much that is brilliant and little that is tedious; it is just a homely comedy, light enough to be termed slight, and as innocuous as a mother’s meeting. The play presents a very life-like picture of mid-dle-class domesticity replete with those little deceptions and unseemly bickerings of children which frequently help to make home life interesting if sometimes a little uncomfortable. The dialogue is often brilliant and seldom commonplace, some of the lines are genuinely humorous, and the purpose of the play, to be nothing more than entertaining, is achieved. Mrs. Pellender is a widow with four encumbrances and an attractive little home on the margin of the Thames.

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The greatest of the encumbrances is Miss Pellender; the others are Edith, who is addicted to ill-health and tearfulness, and Nancy and Noel who just romp. Noel does a little more than romp, he eats. While the children are away on a holiday Mrs. Pellender becomes engaged to Mr. Tister, a timid vapid creature, and dreads to break the news to her family on their return; the dread is understandable, especially as far as the eldest daughter is concerned. This girl has inherited her awful superiority from her father, who has been lucky enough to die before the inheritance has become pronounced. Miss Pellender is the kind of girl a man would propose to by proxy, if at all; she says what she means in a heavy style suggestive of Dr. Johnson, and carries a mania for putting everyone and everything in order to a ludicrous extreme. She has decided opinions on the immorality of second marriages, and thinks children who consent to such alliances more guilty than those who enter into them. It Isn’t surprising in the circumstances that throughout the first act Mrs. Pellender gets no nearer breaking the tidings than a hesitating mention of Mr. Tister’s name brings to her. The most advisable policy seems to be to propitiate the difficult Miss Pellender, and Mr. Tister’s attempt to do this leads her to imagine that he is seeking to make her his wife with her mother’s help and approbation, and she tells him what she thinks of his aspirations without waiting to hear him declare them. The manifestations of her superiority are infinite. We candidly admit that this Mr. Tister is an idiot, but mere idiocy would not lend him to seek such an alliance. However, the girl thinks otherwise, and the mother and the lover are consequently placed in a worse quandary than before. Should they find courage enough to tell the story of their love after this people will conclude that Tister, scorned by the daughter, has found consolation with the mother, so they just leave a note for the children and elope; it’s really the only course possible. The strangest thing is the willingness of Mr. Tister to continue the pursuit of the widow after his encounter with the encumbrances; it suggests foolhardiness any way, and one would not associate that with Tister. Everything that good acting can do for a play is done for “The Superior Miss Pellender.” The play contains no strong parts, but each character is a distinct study of a living type. Miss Winifred Emery makes the utmost of the widow’s part, her acting invests the character with intense realism, and we are made to understand and to sympathise with Mrs. Pellender s difficulties from the beginning until their solution. As Miss Pellender Miss Beatrice Ferrar gives a finely conceived study of a girl mistaking absence of humour and tact, combined with superficial erudition, for superior strength of Miss Dagmar Wiehe is very good as the fretful Edith, and the Nancy of Miss Madge Titheradge is also praiseworthy. As Noel Mr. Robert Bottomley eats and acts with considerable vigour, his portrayal of a romping teasing boy is excellent.. Mr.

Cyril Maude takes the part of Mr. Tister, and his acting is as clever as it usually is; perhaps he has a slight tendency to overdraw the character occasionally, but we cannot imagine it in more capable hands, and we would rather not think of it entrusted to a less able interpreter.