OPERA HOUSE.

New Zealand Illustrated Sporting & Dramatic Review, Volume XVI, Issue 930, 2 January 1908, Page 16

OPERA HOUSE.

FULLER’S ENTERTAINERS.

The programme presented this week by Messrs Fuller keeps up to a. high standard, and large and enthusiastic audiences throng the Opera House nightly. During the holiday season a great number of visitors to town have availed themselves of the opportunity to spend an evening at this popular place of amusement, and consequently the attendances must certainly constitute a record for that period. The Seyffer Twins make a good hit with their “Arawanna” and “The .Bull Frog and the Coon,” the dainty little artistes singing in a most creditable manner. Mr R. Collins is heard m “Neath the' Old ’Cherry "Tree,” and

“Sincerity,” both of which he renders in fairly good style. An act that < creates no end of merriment is “The Lazy Athlete,” in which Pastor, the clever American acrobat, gives an intensely humorous display of the doings of the tired one. Miss Madge Merle sings “You Needn’t Wink I Know,” in her charming way, and is accorded a splendid reception Hammon and Wyatt, the captivating Sandow girls, add further to their popularity in a number of taking songs, for the singing of which they are heartily applauded. Certainly the most enjoyable item on the programme is the turn in which Davy’s Marionettes are seen, the audience being almost sent into hysterics as a result cf the comical antics gone through by the brilliantly garbed figures. The performance 'of the living skeleton was particularly well carried out, and quite realistic in its gruesomeness. Freddy Garnet twists and bends his body into all shapes and positions, and accomplishes several gymnastic feats of no mean order. Master Norman Mudford shows his youthful voice to great advantage in “Captain Baby Bunting,” which is followed by a decided encore. Chester (Ida) and Salmon (Harry) are this week seen in their character change act “The London Coster,” in which they appear in five different guises. The turn is an extremely funny one, and in the hands of this talented pair of artists, nothing is left undone in making it as laughable as possible. Mr J. Kennedy made his appearance in a golden shoe dance, and is well received. Miss Nelly Maher sings “If I had a Boy as Nice as You,” in a pleasing style, and follows on with a graceful exhibition of dancing. Klaer’s troupe of performing dogs and monkeys are watched with great interest each night, and the tricks of these well trained animals indeed

form a novel sight. The bioscope films shown this week are of a varied and interesting character, and come in for a good deal of appreciation Saturday night witnesses the appearance of a number of new artists.

A local writer enthuses about the witty remarks of the dummy clown at the Opera House. How a dummy can make remarks at all, let alone witty ones, is one of those things that it is difficult to understand. The same writer says that Rud Peterson, the vocalist was well received by Opera House patrons. Surely it must have been Rud’s astral shape, as his earthly body is at present in Christchurch.

Beryl Faber, out here with the Broughs, recently made a hit as Lady Mereston in “Lady Frederick,” a three-act comedy by W. Somerset Maughan at the London Court Theatre.

Two old friends, Cyril Keightley and Henrietta Watson, are appearing in “ Simple Simon” at the London Garrick.

From Brisbane come Christmas greetings on a pretty card signed Alec. Verne. Our old friend, here last with the Holloways, is now managing the tour of Carter, the magician.

Daniel Frawley, who appeared here in “ Arizona” under J. C. Williamson’s management, is building a theatre in Oakland (Ca., U.S.A.), which will have a seating capacity of 2000.

One of the biggest scenes in this year’s Melbourne pantomine “Humpty Dumpty,” is an electrically-illumined big wheel, said to be far more attractive and fascinating that the swing scene of “ Mother Goose.”

Among the new plays secured by Mr. Herbert Flemming on his recent trip to England are “ The Beloved Vagabond,” a dramatisation of Mr. Locke’s novel, and “ Simple Simon,” by Murray Carson and Nora Keith. * * * ♦

Describing the plot of Mr. Thornton’s new comedy. “ When Knights were Bold,” produced to a crowded house at the Sydney Criterion on. the 21st inst., the “Referee” says:—Sir Guy de Vere is a prosaic little Englishman to whom the glamour of “ knighthood’s chivalry” makes little appeal. But the charming Lady Rowena Egginton, whom he desires to marry, is romantic to the opposite degree. She has apparently drunk deeply of the draughts of knight lore, in which dashing heroes bow their steel-clad heads before the fair ladies, and perform wondrous deeds of valour. Lady Rowena, moreover, is carried away by the high falutin’ talk of a plausible, fortune-seeking Irish knight. Sir Brian Ballymote; and the effect of the romantic sentimentalism on the susceptible mind of Sir Guy is made apparent when, having taken an extra glass of hot whisky and water to abate the effects of a cold, he falls asleep before the hall fire, and dreams that he is transplanted to the old baronial days of his ancestors. There are vast possibilities here for the creation of diverting incidents in the situation of a modern clubman in conventional evening dress finding himself living his life in the Middle Ages, and incongruously out of touch with his surroundings. The presence, too, of squires, retainers, and maidens, who address him in the formal language of the twelfth century, adds to the humour of the proceedings, and provides material for a succession of diverting incidents that keep the audience in roars of laughter throughout the remainder of the play. It would be superfluous to detail the plot in its entirety, and thereby detract from the interest of those who will want to see this clever comedy for themselves, and follow Sir Guy in his wanderings in medievalism. Let it be said that it comes to a fitting conclusion, after three of the funniest acts that have ever been witnessed here. The audience last night was enthusiastic —boisterously so, at times; and one need not be a prophet to be able to predict a brilliant run for this whimsical and brilliant comedy.” We shall have an opportunity to judge for ourselves later on.

Athol Forde, who was a member of George Musgrove’s Shakespearean Company, is in “Mrs Ellison’s Answer” at the New Theatre, London.

Miss Celia Ghiloni, after postponing her departure for London several times, has determined to sail next July.

Beatrice Bramah, who is appearing in “When Knights were Bold” at the Sydney Criterion, was a member of Sir Henry Irving’s company during his last tour in the States, and up to his final memorable performance at Bradford.

George Giddens, here with “Are You a Mason?” appeared in “Still Waters Run Deep,” a “command” performance of which was given at Windsor Castle recently by Sir Charles Wyndham’s company.

The great struggle which has been in progress in New York for some months between the two rival theatrical trusts for the control of the musichall business is at an end. One result of the peace will be a heavy drop in the salaries paid in America to musichall performers, which will return from the sensational point at which they have stood for some months to a normal level. When the United States Amusement Company was formed by Messrs. Klaw and Erlanger they entered into the vaudeville business, turning scores of regular theatres into music-halls. Their principal competitor was the Keith, Proctor, Williams, and Kammerstein combination, and for months a war of salaries has been in progress between the two trusts. Europe was searched for artists by their agents, and many wellknown performers in London, Paris, and Berlin have crossed the Atlantic to earn the phenomenal salaries offered. The war was too costly to last long, however, and after negotiations which have lasted over ten days it was announced that arrangements had been made by which Messrs Klaw and Erlanger had undertaken to retire from the vaudeville business. After completing their contracts with star performers their houses will again become the homes of the legitimate drama. As compensation they will receive from the opposition trust the sum of £600,000, to be paid in ten years in equal instalments.

“ The Scarlet Pimpernel” evidently possesses an enduring vitality in England, to judge by an experience of Miss Ola Humphrey just 'before she left England. Naturally desirous of seeing the piece, she went to Manchester. where Mis Julia Neilson and Mr. Fred. Terry had been playing it in the course of their provincial tour. Mr. Williamson went with her, but so popular was the play that there was not a seat vacant in the whole of the theatre, and chairs had to be placed for them near the orchestra. Furthermore Mr. Terry told them that though he and his wife had already played the piece for upwards of 600 nights in London, they were going back there for another revival after their tour, and were confident of the continued success of the piece.

According to Melbourne “Punch,” H. N. Southwell, who shared with John Lemmone the business managership of the Melba Exhibition concerts, declares that the scenes of the coupon giving and actual booking beat anything he has seen yet in twenty years’ experience. Eighteen hundred

were given out —the first at a quarter to twelve. Geo. Allan, Southwell and C. Tait sat up all night. The first meal they had was at 2.10 p.m.

On December 21 a highly important “ first night” production at the Sydney Royal was that of “ The Scarlet Pimpernel,” by Mr. Julius Knight and the members of his company, the most important of whom is Miss Ola Humphrey, who has recently arrived from England to create the part of ' Lady Blakeney, . formerly Marguerite St. Just (says the “ Town and Country Journal.”) This important role could hardly have been in better hands, Miss Humphrey, magnificently gowned for each scene, displaying the needed grace, dignity, and power for the part. The drama follows the book so closely that it is not necessary to describe it in detail. The first scene shows Sir Percy,, disguised as an old hag, successfully evading the officials at the Paris barrier, and driving off with the aristocratic refugees; the subsequent feats of the mysterious Scarlet Pimpernel being accom- 1 plished with all skill and savoir-faire of the popular actor. Mr. Knight, under whose direction the whole piece was produced, played throughout with animation and aplomb, and it is doubtful if he was ever more happily suited to any role. Mr. Leslie Victor was well fitted in the important part of Chauvelin, the French envoy, who cleverly enlists the help of Lady Blakeney, in his attempt to solve the mystery of the Scarlet Pimpernel. Owing to an estrangement from her husband, the latter has no idea that it is he whose readiness, courage and resource have successfully evaded the efforts of the Revolutionaries to bring to the guillotine so many innocent and helpless Royalist victims. The defeat of the wily Frenchman’s schemes, and the thrilling conclusion to the whole Englishman’s adventures are admirably displayed, in the dramatic version of this popular story. Among others who assist in the success of the piece are Miss Susie Vaughan, as the Comtesse de Tournal; Mr. Harry Plimmer, as the Prince of Wales; Mr. Greenway as Lord Anthony; Mr. Dennison as Sir Andrew Ffoulks; Mr. H. J. Bentley as Armand St. Just; and Miss Elwyn Harvey as Susane de Tournal.

It is pleasing, to hear of old friends doing well, says the London “ Winning Post ” : —Quite one of the brightest and best sketches that have been produced lately is “In Her Boudoir,” a musical, protean trifle, composed of the best ingredients of opera, comedy and farce. Miss May Beatty, the Australian prima donna, plays two roles, viz., a prima donna and a theatrical interviewer, Mr Edward Lauri going one better with three, a professor of music, a page, and a prima donna—Miss Maudie Niccol, a maid. A musical director calls on the prima donna to take her through one of her important numbers for a new opera, after which he leaves for the theatre. By a very quick change enter Lauri as the page, who has a note from an interviewer announcing that he will call on her at 7.30. The prima donna tells

the page that it is impossible to see him, and leaves for the theatre. This gives Mr Lauri a chance to show his dancing powers, when, enter Miss Beatty as the interviewer. She sings a charming song, “ Dreaming,” when the prima donna enters (Mr Lauri disguised). Then comes a burlesque interview scene and duet, when Mr Lauri’s wig falls off, and he is discovered. Explanations follow, and curtain. It is not often a sketch is interpreted by two such competent artists as. Miss Beatty and Mr Lauri. The former is possessor of a real’.y excellent voice, which she uses with much distinction and expression, while Nature has been bountiful to her in other ways, and given her a charming personality. Mr Edward Lauri bears a name that has long been associated with the stage, and he is in his element as a quick-change artist, never losing a point in his numerous disguises.

Mr Sydney Rosenbloom, aged seventeen years, who has just been elected sub-professor, at the Royal Academy of Music, London, is the youngest player who has filled the post. Mr Rosenb’oom started his musical career about the same time as he learned to walk. “My musical education began so early that I don’t even remember learning the notes,” he says, “ but they tell me I was about three years o’d at the time. I went to London from Edinburgh when I was seven, and up to now have won two scholarships and six medals, and have studied for six years at the Royal

Academy.” Born in Edinburgh of a Polish father and an Irish mother, Mr Rosenbloom is at a loss to know his exact nationality. “ Still,” he says with a smile, “ perhaps that won’t affec. ~ny career 1”

Anderson and Sheridan advertised .in Sidney for children for the Cinderilia pantomime. They were to apply at the Criterion Theatre from n to 4, and to bring their mothers with them as a guarantee of good faith. The issue surprised the advertisers (says an exchange) and set them swearing that they would never advertise so public a tryst again. The street was absolutely blocked by kiddies and what they brought with them, from 10 a.m. till sunset. The crush and struggle to get to the management early and so have a chance of an engagement was something to remember, and hats, sashes, and even dresses, were torn off in the fierce struggle, and many of these, being salvaged, were stacked in a big pile inside the theatre, were strongly reminiscent of the scrap counter at a fire salvage sale. Women and children fainted, and a way had to be fought for them out of the throng, a task in which three policemen, who had been hurriedly sent for, lent valuable aid. ”

Caruso received the special honour of being summoned to the Emperor’s box in Berlin recently on the conclusion of “ Aida,” and besides being complimented by his Imperial Majesty he was presented with the Order of the Crown of Prussia.

Has any student of drama realised what a difficult task the dramatist often sets his heroine? He has an ideal, and talks extravagantly of her beauty and fascinat’on before the actress playing the part appears before the footlights. Her beauty is always extolled, and sometimes she finds it difficult to live up to it. Camille is an instance of this. For nearly a whole act everyone speaks of her charm and beauty and left-handed goodness, but few Camilles we have had in Melbourne have been able to realise the author’s estimate. In most of Miss Tittelj Brune’s plays the forecast led one to expect something phenomenal; but Miss Brune, after a’l, was only an ambitious little woman, working hard for success, with little natural charm to help her. Miss Nellie Stewart is equally a worker, sometimes risking the accusation of over-acting in her earnestness to get all that is possible out of a part; but she has charm expressed in dainty and unexpected little touches that make her audiences chuckle with delight. . If an actress has charm it is a great thing. If she has both power and

charm it is a greater, and if she has power, charm, and beauty, the last gift sets off the greater ones.

Mr Biand Holt is in London arranging for engagements of new people to come out to Australasia in the new pieces Mr Holt is understood to be seeking to acquire on the other side of the ocean. * <■ » *

An opera, “Il Battista,” is now being played in Italy, in which Christ is the principal character. It was written by an Italian priest, and is played with the approval of the church. * * * *

Miss Florence Young’s place in “ The Girls of Gotcenberg ’ ’ is being taken by Miss Olive Goodwin. In the London production Miss Dol.y Castles took the part of Elsa at very short notice, and with practically no rehearsal, being recalled from a provincial tour of “ The Lady Dandies ” for the purpose. She scored an instantaneous success.

The English censor has refused to license a new pay by Edmund Garnett, called “The Breaking Point.” The dramatist, of course, talks about the stupidity of the censor in failing to appreciate the high moral purpose of the rejected drama. According to an exchange consideration of the dialogue, which has just been published, shows, however, that both on the score of good taste and decency, the censor has had the courage to perform a useful public duty. * * * *

At the London Marlborough, with “ Little Red Riding Hood,” the principal boy is being played by a man. This is an innova . ion which one could wish would be largely followed. In most pantos. the so called principal “boy” is the .irnit.

Victorien Sardou has nearly completed the libret;o of a new musical play for a London theatre, and it will be scon in the hands of an English play-wright for adaptation.

The MacCallums, now touring New Zealand, come from Ballarat, Victoria, a city noted for its musical enthusiasm. Mr H. Scott MacCallum fs a so’’o violinist of marked ability. Mr L. Stuart MacCallum is an exceptionally fine flautist, Miss Flora MacCallum is a most delightful contralto who appears in illustrated numbers, and Mr Archie MacCallum is a basso, who revels in such songs as “Roll on, thou Mighty Ocean,” and “The Old Reg’ment. ” The other members of the company are Miss Queenie Burrowes, a soc ety entertainer, and the Quea ys, the ex-Pollardian favourites.

“Mrs. Wiggs and the Cabbage Patch” reached its 225th London performance on November 5.

After forty-two years on the stage, Sir John Hare is retiring, and the famous actor-manager will shortly start on a farewell tour of the provinces, prior to his final London season. Sir John is sixty-three years of age. His first appearance on the stage took place at the Prince of Wales’s Theatre, Liverpool, and in 1875 he became manager of the Court Theatre, remaining in that position for four years. For the next nine years he was engaged in a managerial partnership with Mr Kendal at St. James’s Theatre. In 1889 Sir John undertook the management of the Garrick Theatre. He also toured in America, and has there met with the same unqualified success which has always crowned his efforts. * * * «

Some of the plays to be produced by Herbert Flemming and his new company:—“Simple Simon,” “The Morals of Marcus,” “ The Walls of Jericho,” “ The Mummy and the Humming-bird,” f ‘ The Red Lamp,” “ Peter’s Mother,” “Olivia,” “His Wife’s Family,” and “ The Beloved Vagabond.”

News has been received of the death in England of Mrs Edward Lauri (Miss Ciss’e Neil), wife of the well-known comedian of that name. Mrs Lauri visited the colonies some years ago with Mr Musgrove’s “ Thirty Thieves ” Company.

The; interior decoration of the new Christchurch Theatre . Royal is rapidly nearing completion. The design is both striking and artistic, and when the building is furnished it should be as handsome as any in New Zealand.

Mr Jermone K. Jermone has written a play, entitled “ Sylvia of the Letters,” which is to be produced in America by Miss Grace George. Mr Jermone’s chief successes in drama have been made in the United States, where his “ Miss Hobbs ” was a great hit.