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New Zealand Illustrated Sporting & Dramatic Review, Volume XVI, Issue 914, 12 September 1907, Page 17

In consequence of the fulfilment of important Australian engagements Miss Maud Hildyard’s tour is necessarily short. Only the leading centres are to be visited, with one night each in New Plymouth, Wanganui and Palmerston North. Mr. Albert Goldie, representative of the “Mother Goose” Co., went South on Friday last to arrange the advance business of the pantomime. Albert is a first-class fellow and a “grafter.” » * » Miss Maud Hildyard, who is at present appearing to crowded houses at the Theatre Royal, Sydney, under the management banner of Messrs. Meynell and Gunn, commences her New Zealand tour in Auckland on September 16, under the direction of Mr. Allan Hamilton. Miss Hildyard will be supported by a strong company of dramatic artists, amongst whom are included Messrs. James Lindsay, Conway-Wingfield, Miss Amy Singleton, etc. The repertoire for this talented star’s tour will consist of “A Warning to Women,” “The Great Awakening,” and “A Beaut ful Fiend.” *.* * * Richard Mansfield, the well-known actor, died worth over according to a recent cable. The writer, then a youth, first saw Mansfield in the dual part of Dr. Jeykell and Mr. Hyde, and few actors ever have created such a startling impression as Dick Mansfield did in these parts. He was an old and dear friend of the pre-Raphaelite Brotherhood, and many a happy hour can O. P. Cyde recall with Mansfield in Irving’s dressing-room at the Lyceum, or in Little Holland House in Kensington, at that time tenanted by his uncle, the late Vai. Prinsep, R.A. Mansfield was a born genius, and was that rara avis, a stern business man combined with the dreamer and the poet. In later years Mansfield transferred his business dealings to America, but he will always be recalled with tender regrets by those who were associated with him in the days of the Rosettis, Signor Watts, Burne Jones, Irving and other pre-Rahpaelites. The Sheldons are touring the “smalls” of the Auckland district under the piloting of that supreme genius Derek Mannersley, of whom it is claimed that he can command full houses whether he ahead of a comic opera company, or only a dog fight. We wish him luck all the time.

Miss Madge Mclntosh, the new leading lady for the Harcourt Beatty Company, arrived in Australia from London .this week under engagement to Messrs. Meynell and Gunn. Miss Mclntosh will appear in the leading female role of the newly-formed Beatty-Mclntosh Company, of which Mr. Harcourt Beatty is leading man. Mr. Gaston Mervale is also a prom nent member of the company. Miss Mclntosh will make her first appearance in Australia in “Her Love Against the World.” At the Theatre Royal, Sydney, on the 14th inst. Amongst the other plays to be included in the company’s repertoire is the famous- romantic drama “The Midnight Wedding,” “Second to None,” “Prince and the Beggarmaid,” etc. The turn at the Opera House lately announced as “The Robing of the Gods” is a decided misnomer, for there was not a single God robed during the whole show. The '.ady who posed represented Goddesses only. » * * * The magnificent costumes worn by Miss Maud Hildyard—Messrs. Meynell and Gunn’s recent English importation, have been a theme for universal admiration. Miss Hildyard has brought from London for the dressing of her various characters over forty lovely gowns, all executed and designed by Worth, Paris and London. * * u * Miss Priscilla Verne, now delighting the Fullerian audiences winth sketches in which she takes part, together with her clever partner Tom Armstrong, appeared last Saturday evening in a laughable comedy sketch entitled, “The Interrupted Singer.” Miss Verne wore a beautiful robe of real lace, and looked very ing. * * * * Of the six members of Mme. Albani’s concert party shortly to visit this city, all are perhaps better known to Southern music-lovers, by name at all events, than the contralto, Miss Mildred Jones. This lady nevertheless possesses, to judge by the Old Country journals,, the promise of an unusually brilliant artistic career. She ; s young and she has a distinguished presence. She has a rich, sympathetic, “colourful” voice. She has the musical temperament. As indicative of Miss Jones’ quality and the place she has won in the esteem of Metropolitan concertgoers, the following extract from the “London Morning Post” is significent; it is no mediocre singer who can appear upon the same programme with Mme. Ada Crossley and achieve the triumph of the occasion.” To quote the “Post”: “The fifth of this season’s London ballad concerts took place at the Queen’s Hall last evening, when the audience proved itse'f as t’reless in giving applause as is usually the case at functions of this nature. The most attractive performance was that of Miss Mildred Jones, who is gifted with a full and even contralto voice,

which she has already learned well how to use. So importunate was the audience, even after an encore had been charmingly sung, that a request had to be made that the concert might proceed without delay. Madame Ada Crossley’s smging showed its usual refined finish, and Miss Amy Castles pleased the listeners with both her songs. Miss Edith Evans sang, and Miss Vera Cockburn gave some recitations with music.” * * * * Miss Hook of Holland” is generally regarded as the greatest musical success of the year in London, is shortly to be presented in Australia by Messrs. Meynell and Gunn, who are importing a complete musical comedy company for the production of this and other musical successes, amongst them being “The Girl Behind the Counter” and “The Belle of Mayfair.” * * « • “Something of the quality of voice possessed by Mr. William rGeen, the distinguished tenor, to be. heard shortly with Mme. Albani’s company, may be gathered from this extract from a late critique appearing in the “Midland Express” Mr. William Green, who sings better than ever, gave Beethoven’s famous “Adelaida” and “O Vision Entrancing,” by Goring Thomas, in his usual accomplished style. In point of the velvety quality, his voice comes nearer that of Sims Reeves than any we ever heard.” Bes des Mr. Green there will be heard with Mme. Albani in her concerts, the popular English contralto, Miss Mildred Jones; Miss Mytrle Meggy, solo pianiste; and Mr. Haydn Wood, solo violinist. Mr. Theodore Flint is the accompan : st and conductor. * * * * The Harcourt Beatty-Madge Mclntosh Company will commence the first season of Messrs. Meynell and Gunn’s ten years lease of the Theatre Royal, Melbourne. * * * « The Victoria brings to Australia yet another of Mr. J. C. Williamson’s recent London engagements in : the person of Mr. Wybert Stamford, who has been sent out to take up work as a stage manager. In that important department of stage work Mr. Stamford has had wide experience both on the musical and dramatic side, and his capabilities are vouched for not only by. the best. London managers, but also by the pieces he has produced—these including “The Dairymaids,” “The Three Little Maids,” and several others. - - Besides possessing- a ten years’ lease of the Theatre Royal, Melbourne, Messrs. Meynell and Gunn have secured a lengthy tenancy of the Criterion Theatre, Sydney, and will retain attractions In these theatres simultaneously. * * * * A fellow passenger of Miss Beatrice Irwin will arrive by the Victorian in the person of Mr. Howard Carr, who shares with Mr. Andrew MacCunn, the retiring (temporarily retiring that is conductor of the Royal Comic Opera Company, whose place he is to fill), the advantage of being young in years but old in ability and experience. The Australian public have had practical proof of Mr. MacCunn’s capability as a conductor, and Mr. Carr, according to report, will prove a worthy successor to the chair. Certainly

he will have excellent material to work upon so far as the contemplated programme of the company for the immediate future is concerned. * * * * Messrs. Meynell and Gunn are importing twelve English beauties as' show girls for their forthcoming season of musical comedy in Australia. “Miss Hook of Holland,” “The Girl Behind the Counter,” and “The Belle of Mayfair,” will form the initial attractions of the tour. • * w * In acordance with its usual custom, the pantomime has added still another to its list of records in regard to the box office returns, nearly 2000 seats having been booked in Auckland on the day the plan opened for the season initiated there on September 2. * * * * Miss Maud Hildyard is part author of two plays in her reperto : re for New Zealand, viz. : “A Beautiful Fiend” and “The Great Awakening.” Miss Hildyard appears as Wanda Lubinoff in “A Beautiful Fiend,” and Lola Selby in “The Great Awakening.” * * * * Miss Beatrice Irwin, who, as already announced, has been engaged by Mr. J. C. Williamson, comes with an excellent reputation, and soon after her arrival will join Mr. Knight’s company as leading lady. She already has the script of the part she is to take in “Raffles”—that of Gwendoline Conran, and by the time she reaches Melbourne she should be wellversed in it, especially as she has had the advantage of seeing the piece played in London. The role is one in which she should appear in the very best light, requiring as it does both emotional depth and sympathy in its treatment, and these are qualities which Miss Irwin has already proved herself capable of handling. * * * « There is a good story told by the passengers of the Mongolia. At service one Sunday Madame Clara Butt joined in the singing. Now it is not every day that the greatest contralto in the world can be heard thus, and naturally the whole congregation stopped to listen—except one of the ship’s officers, who is five foot three. He, brave man, manfully kept his end up, and the passengers were treated to one of the quaintest duets it would be possible to listen to. * * » * Everybody who has been inside a theatre has noticed that in the dome over the gallery there is an open place from which the light is flashed on to the stage. This is a sight for speculation and wonder to many theatre-goers, especially to the children, who are inclined to regard it with awe. The man in charge of this strange region is furnished with a “plot;” or written description of the lights required and the cues at which he is to precipitate them on to the stage. These lights must harmonise with those on the stage, and here we find the electrician’s science be : ng applied to the making of a pantomime. The chief electrician occupies a position on the stage where he is in charge of a great switchboard, at which, by the use of the simplest buttons, he can manipulate all the lights in the theatre. How remarkable it seems, for instance, that in such a great building it is so easy to blacken out everything excepting, perhaps, the figure of a single person on the stage! This is done by what is termed a “spot

light,” thrown from the dome, the electrician at his switchboard on the stage causing the theatre to be darkened for the purpose. That is how it happens that, when the good fairy enters she is instantly enveloped in white, while the wicken demon is shown up in the sinful light of red. * * * * The “prompt” entrance is one of the most interesting parts of the stage, for it is here that the stage manager stands watching the progress of the performance, and . seeing that all are at the r posts. It is he who gives the signals, and who carries into effect the orders of the producer or stage director. Next to him stand the “call boy” and the prompter. The latter follows every word in the play, and not only prompts the performers if they should perchance forget their lines, but also directs the call boy to announce to those wa : ting that it is nearing the cue for their entrance to the stage. Above the stage manager stands the electrician, who has been mentioned as having control over all the lights in the theatre. * * * * In what manner are all those curious and grotesque things made which form an embellishment peculiar to a pantomime? These are known as “properties,” and are all des : gned by Mr. Williamson’s own staff. The propertymaster is an artist who has made the manufacture of stage requisites a special study. He can design anything, from an antique suite of furniture to a goose’s head. All the funny masks that amuse the children so much in a pantomime

are made under h's direction, as, indeed is everything used on the stage except the costumes and .he scenery. Most of the “props” are made of papier ma; he, and the modeling of them is qu:te an art in itself. * * * * There is yet another department about which a deal could be written, and which ha'-, special interest for the lad’es. It is known as “the wardrobe.” The art of the costumier reaches its highest pinnacle in the production of a pantomime, for not on y must there be dresses of gorgeous patterns, but here must be others which will have the effect of caricature, and still more which must serve to illustrate some theme of beauty. Look at the diversity of dress in “Mother Goose!” For example, there are the magnificent costumer, worn by the supposed dukes and duchesses, there are the qua nt dresses of Mother Gocse herself, and there are those which convert fair young girls into human flowers. Most of these costumes are made from designs of an artist who makes this his profession. The most sumptuous gowns and also the most grotesque are made at various establishments, both at Sydney and Melbourne from material 90 per cent, of which is purchased locally. To give some "dea of the extent of this department it may be mentioned that in “Mother Goose” there are 486 costumes, and that 4300 yards of dress materia! are in use during the performance. In addition there are 8000 yards of gold cord used. Yet this is not all.

There are other garments required for the girls, and no less than 5000 yards of lace is employed in them. Altogether, therefore, there are 13,805 yards of various kinds of material in the dresses worn throughout this production. Then there are the spangles, each one of wh'ch is so light that you can scarcely feel it in your ■hand. Yet to adorn these costumes 501 b of them are needed. Again, about 500 pairs of shoes and hose are worn throughout the performance, and 60 pairs of gloves. The latter have to be renewed every week. Lastly, it may be mentioned that there are 16 gross of imitation flowers and six gross of jewels required to make this remarkable display. * * * * There can be no .possble doubt about the public interest in and the eager desire to hear Madame Clara Butt, whose movements since she landed in Melbourne have been folowed. with close attention. She has already been the guest of honour not only at several official and semi-offi-cial receptions, but also at many private functions, and her charm ng manner and vivid personality have won her friends in all grades of Melbourne society. Dinners, recep.ions and evening parties have all fallen to her lot and that of Mr. Kennerley Rumford for the past few days, and they have both established themselves firmly in the favour of the many new friends they have made. Apart from the soc a" side, the artistic importance of her visit is evidenced by the keen demand for seats at her concerts. As soon as the plan opened a stead” rush set in, and i: was very soon apparent that the booking was to be greater and more consistent than it was even for Melba. Furthermore, it extends over the whole series of five concerts, and is not limited to the open ng night, perhaps the most favourable feature of all. * -3C < Madame Clara Butt endeared herself to all the passengers on the Mongolia by her entire naturalness of manner and her unassuming demeanour, and she and her three bonnie youngsters soon became the favourites of the whole ship. She was always ready to take part in the concerts, and for one, given in aid of the Seaman’s Distress Fund, no less than ;£ioo was realised. Not only so, but Madame autographed a few programmes, and these were sold by auction for the benefit of the fund, one copy realising 20 guineas. * * * * My Christchurch dramatic correspondent writes :—Albani appears at His Majesty’s on Saturday evening next, just for the one night —prices 6s, 4s, 2s. Her company consists of W. Green (tenor), Mildred Jones (ballad contralto), Haydn Wocd (v olinist), Myrtle Meggy (pian-

iste), and Theodore Flint (conductor). ,What the daily papers call ‘a brilliant audience’ is - assured, and claw-hammer coats, white ties, and decollete frocks are sure to be very much in evidence -on this occasion. . . . The Stagpooles are mak rtg Opera House audiences laugh with their “Turkish Bath” act, and other acceptable turns are contributed by Dalbeanie (equilibrist), Maud Florence, Pearl Livingstone, Vai. Newton, Lorraine Tansley, Bob Lloyd, and many more. . The new Christchurch Theatre Royal, it ;s expected, will be quite reidy by Carnival Week (if not before;, although the inquiring pressman who visits the building in quest of “items” may. be excused for entertaining doubts on the subject, such a mess and a muddle is everyth ng in within the walls of the. big playhouse. Externally the new theatre presents quite an> imposing appearance with its ornamental front verandah and its red brick face with whi’e stone columns in high relief. On either side of the main entrance is a fine shop with handsome plate-glass windows. The circle is constructed to seat 280 people. The family circle is a new departure, so far as the Cathedral Ci y is concerned, and this will provide accommodation for the “gods. ” The height of the proscenium is 21ft, with a width of 30ft. The •stage has a depth of 48ft and a width of 62ft. The colour scheme of the auditorium is blue. It is expected that everybody will be able to see and hear well in the new T.A. “For this relief, much thanks.”