ROYAL ALBERT HALL.

New Zealand Illustrated Sporting & Dramatic Review, Volume XV, Issue 863, 20 September 1906, Page 16

ROYAL ALBERT HALL.

PROFESSOR POTTER’S ATHLETIC DISPLAY. That Auckland possesses a man of no mean strength in Franich was evidenced by a series of weight-lifting feats performed by this youthful Hercules at an athletic display given by the pupils of Professor Potter in the Royal Albert Hall last Thursday evening. Franich in a number of poses showed the audience the high standard to which the various muscles of his body were developed. With one hand he lifted a 7glb. bar-bell, then a 1501 b. bell, and after that a bell weighing iBolbs. The last-named weight he supported on his neck and shoulders with a boy hanging on each end and one behind. The feature of the evening was the great motor car act in which Franich allowed a car (weighing 22cwt) to be driven over his chest while he supported it with his hands and legs. During the evening exhibitions of tumbling, wrestling, fencing, lance exercises, pyramids, and parallel bar exercises were given by some of the pupils, and the capable manner in which they were executed reflects great credit on the instructor, Professor Potter. A fire club solo performed by Professor Potter, accompanied by Mr W. Purcell on the piano, came in for a good round of applause. Vado, the magical monarch, created much amusement with his card, flag, and other tricks, and Mr J. Smithson’s whistling solo was well received. Songs were rendered by Messrs R. Aulsebrook and J. Smithson, which contributed largely to the success of the evening.

An Australian artist who went to America to try his luck, writes to a friend, describing some of the vexat.ous delays and disappointments -that be.all the aspirant for fame in that country. “Any man who thinks that he is going to land here from the colonies and walk right into ‘shop’ is making a mistake, ” he writes. “Only that I had two or three of J. C. Williamson’s programmes with my name thereon, and a note from that gentleman I' never would have got in to see a manager. They- are very hard to see, and I know it The moment 1 sent in and said I had been J.C.W. they admitted me. His name is good here; and lucky for rhe it was. . I had the biggest job in the world to get a position. I was out every day, up sixteen stories sometimes and always the same tale: “Call again!” They don’t know you, and don’t want to know you, and as regards being an Australian —a vaudeville performer is a fool to even mention Australia. What I am telling you is a fact; and if any Australian is coming here, he wants enough money to keep him sx months, and he wants to get the American accen't, then go to the halls, and, as they say here, “get wise to their style,” for if he thinks he is going to give them the same business he gave in the colonies, he is making a big mistake. In the East, in New York, they will stand an English performer, but ‘then, he has to be very careful what he gives them. “Straight” singers are here by the ton. I know beautiful baritones and tenors whose smging is simply superb, but they can’t get places. The firm I have fixed with, I went to see the first week in June, and was told to call oh the ist of July. I suited the stage manager, and then was told to see the manager and fix salary the next day. I called every day for a week, and one day waited from 11.30 a.m. to 5 P- m , and then was told that he would not see anvbody. Called for two more days, and found that the part allotted been given some one else. Eventually I got placed, but that is my little experience in looking for work in New York. . If any Australian artist is thinking of coming here, I should advise him to have some money by; come straight to New York; have a look round and get an idea what the people want. They are the easiest people in the world to amuse if you give them what they want.” * * * * Mr George Titheradge has gone to America. He was specially cabled for by Mr E. H. Sothern to support the American tragedian in a Shakespearean repertoire on a lengthy tour, which will occupy the greater part of next season. The Colonial favourite has become very popular in the States, and as American managers know a clever artist when they see one the Engl : sh stage is not likely to know Mr Titheradge for a long time to come.

Harry Rickards is sending a company to New Zealand, which includes Brinn, Seymour and Dupre, Kelly and Agnes, Mss Nellie Kilburn, Little Cliff, Baby Watson and the Biograph. The new organisation will sail from Sydney on the 3rd October and remain in Auckland on October 8, Christchurch, Wellington, and Duhedin being the only other towns to be vis.ted The Tittell Brune Company are meeting with great success in Welling.on. “Dorothy Vernon” was a great success. It was followed by M. S. McLellan’s drama “Leah Kleschna.” Next came Zangwill’s comedy “Merely Mary Ann.” To-night and to-morrow will be devoted to a very welcome revival of “Sunday,” when the season will close. * * * * Mr George Marlow, Sydney representative for John Fuller and Sons, has despatched for a tour of the circuit, the Lewis Sisters and the American sketch team, Credge and Gibson Linden and Ida Berridge leave in a fortnight. * « « * The Tittell Brune Company and Mr Harry Rickards Vaudeville Company are bo.h booked to open in Auckland on the Bth October. » * * Up to the present the tour of Mdlle. Dolores in Australia has been one series of triumphs, and Messrs J. and N. Tait state that up to now the Australian tour greatly exceeds Dolores’ great tour of 1902, when it will be remembered, that the popular singer, folowing closely after Melba, took the public by storm. Four concerts have so far been given in Sydney, two in Brisbane and the season in Melbourne was up to the time of latest advices, in progress. It was estimated that nearly 4000 people paid for admission to each of her recitals in Sydney, and at the last concert several hundreds had to be refused admission from sheer lack of accommodation; and the same result is being achieved in Melbourne. The Australian newspaper criics accord the singer the most flattering notices, and the universal opinion is that Mdlle; Dolores is a greater artist than when she was last here In Sydney and Melbourne the utmost enthusiasm has prevailed at the concerts, and it is stated that at her opening concert in Melbourne on the ist September, quite 50 floral tributes were handed up. There is a' prospect of the tour in New Zealand taking place a little earlier than orig nally intended. The prima donna is desirous of returning to Europe bn Suez, and if arrangements can be made her visit to West Austraha will be deferred till after her tour in New Zealand. Whenever she comes, Dolores can rely on a great reception. I understand efforts are being made for Mdlle. Dolores to sing in the concert hall of the Exhibition on the opening date.

The Besses o’ th’ Barn Band, which is at present touring Amer.ca with very great success, arrives at the Christchurch Exhibition early in January next and will tour New Zealand and Australia under the directiqn of Messrs J. and N. Tait There is no more famous band in Europe than the Besses. It is nearly 100 years since the Band was originally formed, and its career has been a most remarkable one culminating in their winning two years ago, the one thousand gu nea trophy competed for in London. The Besses o’ th’ Barn hold the record in England and in France for big audiences. In Great Britain it is quite a common occurrence for them to break all records even at the biggest seaside resorts where all the leading entertainments and attractions are included and in France ihe crowds who heard them in Paris and Marseilles numbered 100,000 people at single performances. Messrs J. and N. Tait are advised by this week’s mail that the departure of the Band from England on the 25th July for America en route to Australia was something that would not be quickly 1 forgotten. It is estimated that nearly 10,000 people crowded their way on to a railway station in Manchester, and the people lined the track (not only the stations) for nearly six miles en route to the terminus. The enthusiasm in England over the tour is stated to have been unparalleled. The band consists of 33 performers all told and their visit to Australia is certain to create widespread interest. For a fortnight’s engagement at the New Zealand Exhibition is being paid * * * • Miss Camile Clifford, whose face is in the window of every seller of picture postcards is announced to be engaged to Lieutenant the Hon Henry Bruce, eldest son of Lord Aberdare, . the largest col-liery-owner in Wales. Camille Clifford is an American of two years’ residence in London. “According to theatrical historians,” says the “New York World,” “few women on the stage have won success in such a short time. * * * * A unique ceremony took place in St. Briene, Brittany, recently, when the Druids of Wales and France held a reunion in honour of the entente cordiale. The Breton and Welsh dialects proved so similar that both branches of the Celtic race were able to converse, and the Celtic play performed in the open a : r, in the presence of 25,000 persons, was followed with rapt interest The Archdruids of the respective countries delivered a series .of impassioned addresses, and, in a scene of delirious enthusiasm, united the two fragments of the broken Celtic sword. * ♦ * * The John F. Sheridan Company has been coining money in Queensland with “The Earl and the Girl.”

Mr Alfred Dampier has been interviewed by the “British-Australasian.” “I do not consider that my life’s work is over, not by any means,” remarked the favourite actor-manager. “I shall stay in England for a few months to rest and. look about me, and it may be that I shall be back in Australia at Christmas. I do not know whether I shall re-enter management. I have former no plans. But one ‘thing is certain ; though 1 have found in London that warm welcome which is characteristic ot a people who never forget an old friend, I have ho other wish but to return to the land where I have spent all the best years of my life. To paraphrase a famous sentence, England has my body, but my heart is in Australia.” * * * * King Sisowath of Cambodia fairly dazzled Paris by the magnificence of his dancers at a fete at the Bois du Bologne. Each of the 69 girls wore costumes of gold wire, studded with precious stones, and the head-dress alone of the premier denseuse was valued at The dance was followed by Greek and French ballets by local girls from the Operahouse, and King Sisowa.h was inconsolable when President Fall.eres declined to accept 20 agile Cambodians for the same number of Parisian dancers Accord.ng to the “Referee,” Mr Leopold Fletcher, the monologue-actor, who describes himself as “An American-New - Zealander,” leaves London this month for Australia where he will appear in •that terrible little pla.let, “Heard at the Telephone,” in which London was thrilled two years ago by Mr Charles Wagner, from whom he has obta.ned the rights A corner in dramatic talent is now being formed in London by the enterprising American manager, Mr Charles Frohman. He has already secured Mr Tree, Mr Alexander, SY Charles Wyndham, Mr Fred Terry, and Mr Arthur Bourchier —all of whom are leading managers themselves —and among others with world-wide reputations who are under contract to him are Mr John Hare, Mr Seymour Hicks, Miss E laline Terris, Miss Marie Tempesr, Mr Courtice Pounds Miss Louis Pounds, Mr Huntley Wright, Mr Cyril Maude, and Mr D. F. Boucicault. Mr Frohman runs three London theatres, and has 25 companies, comprising 600 performers, in England. On the American side, his own theatres number 13, and he is interested in over 100, wh le he controls 40 companies, in which 2000 actors and actresses are employed. Mr Frohman’s staff of play-readers alone —which considers on an average 25 plays weekly—costs him £2OOO a year

By the Orohtes which left London on the 7th-ms.., Miss Olive Morell sailed to fulfil her Australian engagement under Mr J. C. Williamson. She will arrive there some weeks before “The Spring Chicken” is’ staged at Cup time, and Mr J; C. Williamson has therefore arranged that she shall play the part of Dulcie,, in which she appeared with much success in the London production of the musical comedy. A season that is in its last nights is the visit of Mr J. C Willmmson’s new’ dramatic company to Adelaide, where they” have been’ meeting with excellent public support in ‘ The Squaw Man. To-riight (September 15th) they will put on “The Virginian” for two nights and close their season with “The Christian” on Tuesday. Next Saturday ((22nd September) they begin a long season of eleven weeks at Her Majesty’s Theatre, Sydney, during which, in addition to the pieces already mentioned, a fourth drama will in all probability be* done. * Mr Rapley Holmes, who plays the part of the big warm-hearted cowboy in “The Squaw Man,” has made himself popular with audiences ever since he made his Australian debut is evidently the. same cheery character as he makes Big Bill even in private life, for all the members of the company ignoring his aristocratic name just call him Bill for short and when a man is fitted with a nickname it is a sure sign he is a favourite. The revival of “La Mascotte” by the Royal Comic Opera Company, recalls the fact- that Verdi was the very first Pippo in -the original production of Audran’s opera some twenty-five years ago. Since then Knight Ashton, Charles. Ryley, and Wallace Brownlow have all made successes of the part, while among the more famous Bettinas of the past, the names of both Miss Maggie Moore and Miss Nellie Stewart are prominent. * A great amount of playgo’ng interest is being aroused by the production of ‘‘La Mascotte,” which the Royal Comic Opera Company will revive for the first time in twelve years at Her Majesty’s Theatre, Melbourne, this evening (writes Mr George Tallis). Mr J. C Williamson, with the vocal resources at his command, has been able to put together a good singing cast. At the head of the principals are, of course, Miss Florence Young the Bettina, and Mr John Ralston as Pippo. Mr Ralston will be most favourably remembered for the excellent work he did with the Gilbert and Sullivan Company a few months ago. Mr Reginald Roberts, though he will be new to Australians in the character of Fritollini, has played it hundreds of times in America. As a matter of fact, the cast, with the exception of Mr George

Lauri as the King, will be entirely new to Melbourne Chorus and orchestra alike have never been so exceptionally well balanced as they are at present, and as the dressing and mounting generally have been specially prepared for the occasion, the production should be a success from every point of v'ew.

Her Majesty’s Theatre, Melbourne, had a new record, for its holding capacity put up by a children’s performance of ‘‘La Poupee” organised by Miss Brenan on the sth September. On the day the plan opened all the stalls and dress circle seats were engaged, the balcony followed suit the day after leaving only the gallery for the holders of cheaper tickets, and if there had been none of the latter the gallery would have gone the way of the rest. Some : dea of the attendance may be gauged from the fact that a net profit of £305 was returned to the charitable institutions for which the entertainment was given.

An entirely new turn has been taken in American, and incidentally in British theatrical affairs, by the organisation of a new syndicate for the production of plays. It is called the ‘‘lnterstate Amusement Company,” and its capitalisation is .£750,000. The membership include most of the successful theatre owners in America and the European business of the syndic? V — ill be in charge of Mr George B. M'Lellan, who has long been identified with the Shubert interests. The new organisation comprises many men and firms who in the past have been in the combination usually referred to as the “syndicate,” and identified in the public mind with Mr Charles Frohman, its most conspicuous member This combination is undoubtedly the largest of .he kind ever known. It represents substant'ally every section of the United States, and its membe’s own collectively several hundred theatres. The new company is organised to “produce plays,” not merely to rent

theatres to theatrical companies quite independent of the houses in question. The meaning of this will be apparent to all playwrights and all European producers of plays. The man who has a play- to sell will find Lhe best possible customer in the Interstate Company, for it can assure the most extended production. The new company will operate very largely in Europe.

Robin Hood will be the central figure in a new musical play to be produced in London by Mr Lewis Waller about- October 15. The British Museum and Nottingham Castle have been ransacked for their records by the authors, Messrs Henry Hamilton and William Devereux, in order that the mediaeval atmosphere of the period may be established The scenes are laid in and about Sherwood Forest and Nottingham Castle. The main theme of the p e e is, of course, the love story of Rob n and Maid Marian, and for the underplot there is the ancient rivalry of ‘‘Lackland”—the Prince John of the play—and Coeur de Lion. It is the time of Richard’s imprisonment in Austr : a, and the very song which Blondel is supposed to have sung outside his prison wall is put into the mouth of one of the characters.

The chorus girl’s lot is not a happy one at present (says ‘‘Punch”). The chorus was once the happy, happy hunt-ing-ground of the maiden looking for a rich husband. Opportunity made the thief, and to see a row of fe ching girleens on view dressed in the most ravishing to'lettes went and put matrimony into the heads of the admiring Gussies. The chorus was really a matrimonial bureau but now the whole thing is a blue duck of the deepes. dye, and “really, aftet learning elocution, singing, fencing; physical culture, how to dress oneself, and how to fresco one’s face, it is (as a chorus-girl remarked dolefully) very rotten luck if one can’t get married for a whole rotten year!”

“To every word addressed to his guests' generally everyone listened with rapt attention. No matter what his subject might be, great or small, Irving made it, as it were, supreme. Why? The explanation, I think, lies in the fact that he never spoke a single syllable lightly. He did not study his expressions, which were slow; • but he studied his thoughts, which were deliberate and always earnest. Every word he spoke Irving felt, and, therefore, we too were moved. He was a regal embodiment of great and sincere intellect.” —Mortimer Mempes in his Irving monograph.