THE STAGE

New Zealand Illustrated Sporting & Dramatic Review, Volume XV, Issue 879, 10 January 1907, Page 16

THE STAGE

(By

“Footlight.”)

THE OPERA HOUSE.

FULLER’S ENTERTAINERS. This week has seen no change in the programme of artists at the Opera House, but the company is such a strong one that it has easily held its own. One of the biggest draws throughout the present season has been Apollo Belvidere, whose posing in living bronze statuary is really clever. With the aid of beautiful lighting effects this artist, possessed of a figure of exquisite proportions, throws himself into positions representative of some of the best-known themes of the sculptor’s art. His posing as “Grief” wai> wonderfully realistic, and the figure was one representative of poignant grief and utter desolation. Wild Friday is this week again electrifying the audiences with a demonstration of his hairraising prowess with the bowie knife. He is assisted by a charming flower of the prairie in Wild Rose, who must possess a nerve of iron. Standing with her back to a board, and hidden behind a large sheet of brown paper Wild Rose stands unflinchingly while her companion, at a distance of several paces, hurts knives all round her. Rex, the human conundrum,

continues to mystify his audience with wonderful contortions. A youthful artist to merit much attention is Master Freddy Byron, and his songs are listened to with pleasure. “In the Green Fields of Virginia” was a song which suited the voice of the gifted young Australian vocalist, and called for considerable applause from the audience. The Lewis Sisters are decidedly popular, and their dancing which is really clever, always earns for them a hearty encore. The Rollos are hardly s»s good this week. “Shattered Hopes” is anything but a “charming sketch,” and their talent might be displayed to better advantage in more suitable pieces. Other artists in Miss Pearl Lovell, Miss Amy Blackie, Miss Lucy Lavinia, Miss Phyllis Fay, Miss Kitty Delavale, and Messrs. Frank King, Sam Wilson, and Arthur Taucher, assist in making up an excellent programme. Next Saturday marks a considerable change in the programme. Several old favourites will disappear, and amongst the new-comers will be Slade Murray, the great English vocal comedian, Lesso and Roberts, the novelty comedy jugglers, Miss Eileen McLeod, serio and dancer, Miss Florrie Leigh, serio-comic, and Mr. A. L. Cropp, the eminent basso.

HIS MAJESTY’S THEATRE.

THE BROUGH-FLEMMING CO. The Brough-Flemming Company have been giving Aucklanders plenty of variety during the week. “Mrs. Gorringe’s Necklace,” followed “Dr. Wake’s Patient,” and proved just as popular; Miss Day and Mrs. Brough both scoring heavily, as did Miss Gair, while Mr. Flemming also had a very telling part. It drew excellent houses for three nights, and was replaced on Saturday by Gilbert Dayle’s three-act play, “What Would a Gentleman Do?” This deals with the affairs of a young Australian, who, inheriting a large fortune, goes to England, where he attempts to enter English society. He has the opportunity of showing what a generous good-hearted young fellow can do even if he is not what society might consider a gentleman. It ends with him winning the love of a bright and

amiable girl, while he does much to further the happiness of the other. Mr. Gregan McMahon made the most of his opportunities as Dickie Hook, the man from Australia, and he soon became a prime favourite with the audience. Miss Beatrice Day had not much chance in the comparatively small part of Madge Kederby. Mrs. Brough did splendidly as Agatha Kederby, the seemingly acrid but really warm-hearted aunt. With the exception of Mr. Paulton, who was rather lost in the role of Hartley Quaine, a solicitor, all the other parts were very adequately filled, while a special word must be given to Mr. John Forde, whose Sergeant Rodd was a capital piece of character-act-ing. The play hardly gives the company much of a chance, and cannot be considered as the best in the repertoire.

Yesterday afternoon that quaint old work “Quality Street,” was produced, Mr. J. M. Barrie’s dainty comedy being also given in the evening. To-night and to-morrow evening Sutro’s masterpiece “The Walls of Jericho,” will be staged, and this is certain to be a popular revival, for it is perhaps the strongest card in the pack. On Saturday Sydney Grundy’s well-known play “A Village Priest,” will go up; a play recalling the old Brough and Boucicault days. The season will be brought to a close on Monday evening, when “The Passport” will be given, preceded by “In Honour Bound” as a curtain-raiser. These really fine.plays should attract crowded houses during the remainder of the season.

“THE LITTLE STRANGER.

Meynell, Gunn, and Varna’s new English Comedy Company will make their appearance here on the 18th in Michael Morton’s farcical comedy “The 1 ittle Stranger,’’ the name part being saken by Master Willie Parke, generally spoken of as “the child wonder,” who comes di.tct from the Criterion Theatre, London. The comedy is a skit on societies ’> at affect to deal with the supernatural, and tells how the members of a society 1 newn as “Soul Hunters” are hoodwinked, an active participant in the little plot I ting Tom Pennyman “The Little Stranger,” who is a child supposed to possess the soul of a dead man. The piece reminds one of Anstey’s “Vice Versa,” although it is not on precisely the same lines as that. The ways of this man-child are past finding out,- and the author has

spared no pains in the effort to produce remarkable and laughter-moving situations. Master Parke’s reputation is well deserved. He acts with ability and naturalness, and enters thoroughly into the spirit of the piece. The company is said to be one of all round excellence.

The supplementary concert by Miss Marie Narelle at the Choral Hall cn Tuesday was a huge success. Every available seat was occupied, numbers had to stand, while dozens of people were turned away. Every item on the 1 1 ogramme was encored, and despite the -intense heat the audience were very lotn to depart at the close. It is to be hoped the company will revisit Auckland at an • arly date, for they may be sure of a warm welcome.

Writing from Dunedin, Mr Alec Verne, advance manager for the Charles Holloway Company, says that since the opening on Boxing Night business has been splendid. The repertoire consists of “Two Little Vagabonds,” “The Coal King,” “The Wages of Sin,” and “The Shadows of a Great City. ” The dates for the New Zealand tour are as follows:— Finish Dunedin January 15; January 16, 17, 18, Timaru ; January 23, 24, 25, Gisborne ; January 28, 29, 30, Napier ; January 31 ,February 1, Hastings; February 2, Dannevirke; February 4, Marton; February 5 and 6, Feilding (Show dates) ; February 8 and 9, Stratiord; February 11 and 12, New Plymouth; February 13 and 14, Hawera (Race dates); February 15 and 16, Wanganui ; February 18 and 19, Palmerston; February 20, 21, 22, Masterton (Show dates) ; February 24, Wellington (four weeks); Easter Monday, H.M. Theatre, Auckland.

A gifted young artist is Master Fred Byron, the Australian boy vocalist, at present appearing at the Opera House, Auckland, under engagement to Mr John Fuller. This youthful performer, who is touring New Zealand, possesses a voice of considerable richness and purity, and the future should hold forth bright prospects for so promising a singer. He was born at Hawthorn, Melbourne, Victoria, and in private life is Master Fred Mituer.

OMITH

JZ»ANKS,

A benefit fo Miss Gertie Campion will take place at His Majesty’s Theatre on January 17. A very high-class programme is to be given, and it is hoped that the proceeds will enable Miss Campion, who is almost completely restored to health, to start in business.

Mr. John Fuller, jun. , leaves for England in February, going by way of America. He will be away for six months.

Mr. Ben Fuller wires me “A Happy New Year to yourself and the boys.” The compliments are reciprocated.

Mr. Will Stevens has been eight years under the Fuller banner. He leaves for Australia very shortly.

Mr. A. G. Mabee is acting as hon. secretary of the Gertie Campion benefit.

My Christchurch dramatic corraspjndent writes: —“The Squaw Man’’ alter drawing all Christchurch to see him, has now retired to his wig-wam, which is my figurative way of intimating that there is at last a change of bill at the old T.K. “The Christian” is the new attraction, and Mr Chas. Waldron and Miss Ola Humphrey certainly deserve all the nice things that are being said and written about them. Mr Waldron is admitted, on all hands, to be one of the finest artsiPS of his class we have ever had in this dustcursed city, and he makes an ideal “John Storm.” It has been the lot of this scribe to see John Storm’s more suggestive cf the Rev. Sparerib in “The Private Secretary,” than the fine, manly, if erratic, parson depicted so powerfully by Hall Caine. But Mr Waldron does credit to the great novelist’s conception, and if Miss Humphrey is just a little cold as the famous “Glory Quayle,” her acting is nevertheless very striking and more than once on the opening night ..of the n: v. bill the house testified in the most unmistakable manner its appreciation of the leading lady’s pourtrayal of a very exacting part. The season closes to-night (Saturday), when “The Christian” wil’ be repeated. . . The Circus is still with us, but to mourn its place will know it no more—at all events for the present. The season has been a huge success, as per usual. . . Fuller’s Opera House is crammed nightly—a gratifying proof of managerial tact <’rd ability. “Find out what your public wants,” said the immortal Barnam, ' and give it to them.” The Fullers follow this plan and it works like a charm.

Mrs Henry Bracey, at latest accounts, was playing in the United States. She appeared in a sketch, arranged by herself, called “A Cure for Love.” Mr Phil Bracey is with George Edwardes at the Gaiety London, and Mr Sydney Bracey is on the American stage.

Miss Florence Lloyd is playing the Queen of Hearts and the White Queen in the pantomime “Alice in Wonderland,” at the Prince of Wales’s Theatre, London.

Mr J. J. Dallas, who toured New Zealand with the “J.P.” Company, is in the cast of the new musical play “Nelly Nell,” which has been produced at the Aldwych Theatre, London.

The Bovis Bros. (Will and Chas.) have entered into management on their own account, and have taken over the National Amphitheatre in Sydney and opened it as a vaudeville house. The place has recently undergone extensive alterations, and has been brought up to date. Accommodation has been provided for 4000 persons.

A meeting of members of the theatrical profession was held in London on December 18, to consider the question of commemorating the name of the late Sir Henry Irving. It was resolved to erect a statue of the eminent actor, and managers, actors, actresses, and dramatic authors of the United Kingdom and America are to be invited to participate in the movement. Miss Ellen Terry, who was for so long associated with Sir Henry Irving, is promoting a national memorial in the form of a museum, library, and picture gallery.

The latest sensation of the London music hall stage is “Juno,” otherwise Miss Jennie May, a young lady 6ft 2in high and iBst in weight, who claims to be the champion woman wrestler in the world. Trained by Antonio Pierri, the Greek . wrestler, who brought out Madralli, the “Terrible Turk,” Juno, who is described as an extremely handsome girl, with nothing coarse or excessively muscular about her form, challenges the female world to a match for in the Graeco-Roman style. Miss May, whose father is said to be a man of independent means in South Africa, has so far found nobody to accept her challenge, and she is giving exhibitions on the music hall stage.

In America Mr Wallace Brownlow has made a hit in “Madame Butterfly, ’ Miss Hilda Spong is “starring” in “John Hudson’s Wife,” and Mr Tyrone Power, wi’h his wife (Miss Edith Crane), has created a good impression in “The Plainsman,” the rights of which have been acquired by Mr Williamson. Miss Nellie Mprtyne is playing with one of Mr Nat Goodwin’s companies in America. In England, Miss Clare Manifield (daughter of Meta Pelham, now Mrs Poole) is with er busband’s (Mr Chas. Windermere) company in “Facing the Music.” Mr W. F. Grant and Miss Jessie Rignold are “leading” in “Leah Kleschna,” Miss Sophie Harriss has taken out her own company with “The Prince of Pilsen, ” and Miss Eve Titheradge is on a suburban circuit of “The Fascinating Mr Vanderfeldt.”

Miss Carrie Moore continues to meet with marked success in England. At present she is playing principal boy in the pantomime, “The Babes in the Wood,” at Manchester.

George Edwardes pays £lO,OOO per week in salaries and fees among his numerous musical comedy companies.

The termination of the run of “A Midsummer Night’s Dream,” at the Adelphi Theatre, London, will close the long engagement of Mr. Oscar Asche and his wife, Miss Lily Brayton, at that theatre. They will then tour the provinces, and later on will visit Australia. Miss Brayton has achieved a high place in the English dramatic world as an exponent of Shakesperean and romantic characters; whilst Mr. Asche, who was born in Geelong 34 years ago, and educated at the Melbourne Grammar School, has steadily advanced in Shakesperean and the higher drama, until he is now regarded as one of the leading actors in London.

Miss Julia Marlowe, one of America’s leading tragediennes, and Mr. E. H. Sothern (son of the famous creator of “Lord Dundreary”), have now concluded their long-pending arrangements for their visit to Australia next year. Their repertoire will be a remarkable one introducing celebrated plays which resident Australians have never seen. In addition to a series of Shakesperean tragedies, it includes Hauptmanns “Sunken Bell,” “Jeanne D’Arc,” Maeterlinck’s “Joizelle,” D’Annnunzio’s “Francesca Da Rimini” and others. In all these important leading parts are assigned to Mr. George Titheradge.

Nothing in the modern English theatre (says London “Evening Standard”) is more dangerous than the excessive development of gorgeous stage scenery and costumes. Beginning in the melodrama houses, where real lamp-posts and real fireengines are used to bolster up shoddy expressions of sham emotions by sawdust puppets, it has now become the fashion to demand for every play an elaboration of ornament that is both unnecessary and ineffective.

“The Village Blacksmith,” which is being played by Mr. Anderson’s company at the Melbourne Theatre Royal, is doing splendid business.

Miss Emily Soldene’s benefit in London recently resulted in £BOO for seats, and £l5O made up of the sale of flowers, photographs, programmes, and the like.

La Belle Otero has once more loomed up very large in the public eye in Paris. She was to have gone to Russia to dance at £44 a performance.

Moreover she was to have taken a male dancer along with her. But the “Belle” one, disliking the present stab" of the country, decided not to go. ' Wherefore her was-to-have been assistant is suing her for breach of contract.

One of the most attractive novelties in the “Mother Goose” pantomime in Melbourne, is the “Swing Song,” in which a row of girls seated on ropes of electric light are swung right out from the stage over the orchestra and auditorium by their “boy” partners to the refrain of a tuneful song.

Though the audience at Her Majesty’s Theatre, Melbourne, were abundantly satisfied with the four hours to which the performance of the pantomime extended, they were not half so greedy in “getting their money’s worth” as the London audience which witnessed the first production of “Mother Goose” at Drury Lane. On that occasion Queen and Le Brun went on for their speciality at 2.15 a.m. with the harlequinade still to follow, and even then the house was just as large and enthusiastic as it was at the beginning of the evening.

Nothing was lacking in the production of “Mother Goose” at Her Majesty’s Theatre, Melbourne to make the performance a notable success (writes Mr George Tallis), and to stamp the pantomime as one of the very best that Mr J. C. Williamson has ever put on. With excellent foundations in the shape of a book that tells a connected story in a really humorous way, a superstructure has been built up that displays all the best characteristics of its type —excellent specialities, artistic novelties, gorgeous dressing and mounting, a strong singing cast, dashing dances, much fine comedy work, and a generally finished stage management which reflected the greatest credit on Mr Gerard Coventry. Some of the novelties, notably the very effective Swing Song, in which the chorus swing out over the orchestra on long lines lit by multicoloured electric lights, were cheered to the echo by a delighted house, while others, and especially the ludicrous imitations of a horse and donkey by Messrs Queen and Le Brun, evoked inextinguishable laughter the first entrance of the asinine pair, when they were run down by a motor car, keeping the house in a roar of merriment for many minutes. Mr Harry Phydora in the dame part more than fully realised the high expectations formed of him as a comedian. Miss Florence Young’s principal boy was an instant success, the enthusiasm for her impersonation growing steadily as the evening proceeded. Miss Olive Morrell was dainty and charming as the principal girl, and Mr Harry Shine was intensely funny in a part that suited him down to the ground, and Mr Victor scored heavily all along the line as a typical Scotch comedian. The singing and dancing

were strong attractions, the Moon Dear ballad of Miss Young making a specially big hit, while the scenery, the dressing, and mounting generally were on an exceptionally high level of excellence.

When the Royal Comic Opera _ Company' takes wing, it always supplies an instance of the large amounts which Mr J. C. Williamson pays out, as a matter of course, for travelling expenses. Their present trip to New Zealand, a company of 90, will cost for the round trip from Melbourne to Wellington through that coloiiy 'and back to Sydney considerably over Jn fares alone, without reckoning -Tflp?fie expenditure on freight by steam and rail for scenery and baggage. It is safe to say that no other manager in the world would have to spend such, a large slim for the sake of sending a single company for a three months tour .of a country boasting less than a million inhabitants: The company opened in Wellington in “The Orchid,” as the forerunner of a repertoire which includes such favourites as “The Country Girl,” “The Cingalee” and “La Mascotte.”

Mr Julius Knight now en route for Australia via the United States, spent a fortnight or so in New York, looking round and paying particular attention to the manner in which the American stage managers produce their plays. While .there he had an opportunity of seeing Mr Kyrle Bellew starring in “The Exploits of Brigadier Gerard,” one of the four new plays Mr Knight brings with him to Australia. In two of the others —“Robin Hood” and Raffles. —Mr Knight has already seen Mr Lewis Waller and Mr Gerald du Maurier in the leading characters, so that he has been able to compare his prospective interpretations of the part with those of players already familiar with them, and such a comparison is always a valuable aid to an actor.

Nothing that has hitherto been staged in Australia has approached in wealth of scenic effect and artistic mounting the production of “Parsifal,” by Mr J. C. Williamson at Her Majesty’s Theatre, Sydney (says Mr Tallis), and the crowded audience who lavishes unstinted applause upon one beautiful spectacular effect after another, evidently fully recognised the extraordinary pains that had been taken to make the interpretation of the nobly conceived play complete at all points. It was a notable triumph for Australian dramatic enterprise, and Mr Williamson was most cordially congratulated on all hands for the perfect success he had made of it. Not only was the mounting so noteworthy but the acting generally was

well worthy of the setting. Miss Tittell Brune won success as Kundry, her reading of the character being marked by poetic insight and dramatic instinct, whi'e Mr Thomas Kingston as Parsifal the s ainless hero Mr Gaston Mervale as the magician Klingsor, and others in the cast gave her entirely adequate support.

The Waldron-Humphries Dramatic Company commenced a season at Christchurch at Christmastime after a very successful visit to Dunedin. It is Mr Williamson’s intention that while they are at Christchurch they shall do “Cigarette,” the dramatisation of Ouida’s “Under Two Flags,” which they get ready before leaving Sydney. They follow the Royal Comic Opera Company at Wellington.

The season of “Mother Goose” in Melbourne cannot last beyond the second week in February, for at that date Her Majesty’s Theatre will be occupied by Mr Julius Knight and his company. A Sydney season will therefore be undertaken, which, in all probability will last until Easter.

Some time next week, Mr Julius Knight may be expected to be back in Australia once more, and he will of course proceed straight to Melbourne to begin work on “Robin Hood.” About that play he writes to Mr J. C. Williamson in the most enthusiastic strain. He saw its debut in London, and watched its great and growing success with the public, and every day convinced him more and more not only of the fine possibilities of his own part, but also of the attractiveness of the romantic play itself. Certainly everything is in favour of its being exceptionally well staged and played in Australia. Not only did Mr. Knight’s company see the London production before leaving England, but they were also measured and fitted with their costumes in exact replicas of those worn by Mr. Lewis Waller’s company. Mr. Knight himself brings with him all the working models of scenery and appointments and a thorough knowledge of the stage management for it. “ Robin Hood,” as in other plays of his repertoire, he intends to be his own producer, and to. stage them all on the lines of the London representations.

Thousands of his admirers throughout Australasia will be glad to know that Mr Andrew Mack, the popular Irish American singing comedian who has already an enviable reputation out here, is returning in a few months to fill another engagement with Mr J. C. Williamson, with a new company and a repertoire of new pieces.