EXPERT OPINIONS OF THE ROYAL CHOIR.

New Zealand Illustrated Sporting & Dramatic Review, Volume XVI, Issue 957, 9 July 1908, Page 17

EXPERT OPINIONS OF THE ROYAL CHOIR.

No similar organisation has ever earned for itself the unanimity of praise that all the leading musicians and musical critics of Great Britain have showered upon the Royal Welsh Male Choir, which Messrs J. and N. Tait are bringing to Australia, and their book of press extracts contains remarks volunteered on their performance by the most famous men of the day. Comments such as Pro-

fessor Atkin’s: “ The best performance by a male choir I have ever heard; by Dr Rogers: “We could not find one single fault from beginning to end of the performance”; and by the late Sir Joseph Barnby: “ The finest specimen of singing I have ever heard in my life,” show what different adjudicators thought of their work, and they are supplemented by Mr J. North’s opinion: “A vigorous and dramatic.performance with grand style,” and Signor Randegger’s assertion: “ I have never heard better voices in England or on the Continent. The tenors especially were magnificent.” And these expressions are only five out of five hundred similar ones.

Fifteen recitals are all that a concert grand can be used for in the opinion of Mark Hambourg, who told an interviewer the other day that such an instrument is so delicate that sometimes its “ life ” only lasts for six performances.

The New Zealana tour of “ The Merrymakers,” which Messrs J. and N. Tait have arranged on an extended scale, commences in Dunedin in a few days. The Sydney season of this clever company begins at the end of August. . ....

William Anderson’s great drama, “ The Squatter’s Daughter,” altogether has been seen by practically 1,000,000 people during the past year in Australia. In Sydney 150,000 people have paid for admission. In

Melbourne the total is a little less — reaching 120,000. Roughly speaking, the piece has been presented in 100 Australian towns. New Zealand has not yet been touched. What the profits have been, only William Anderson and the authors, Bert Bailey and Edmund Duggan, know. But they must have been considerable, seeing that Anderson has built a new theatre in Melbourne, and the authors, according to report, have been investing in villas, and other property.

William Pitt, M.L.C.., the architect of Anderson’s new Theatre “The King’s” in Russell Street, Melbpurne, has built practically every notable theatre in Australia —the Princess and Opera House (Melbourne), Her Majesty’s (Sydney), and rebuilt both the Theatre Royal and Her Majesty’s (Melbourne). As might be expected, with such previous experience, he has succeeded in making “ The King’s Theatre ” the finest playhouse south of the line.

“ The Thief,” now drawing crowded houses in Sydney turns on the lengths to which love of finery may lead a woman, and that woman a wife —passionately attached to her husband, who returns her affection. It is, indeed, for him that she clothes herself in pretty dresses, and when her allowance proves inadequate steals from her host the money wherewith to meet her bills. That host has a son who believes himself in love with the young wife, and when the former, finding that he is being robbed, instals a detective in the house, she, fearing discovery, hands over certain banknotes to her youthful adorer, who is accused of the theft. Then, in a powerful scene, the husband finds out the truth. Thenceforward to the denouement the action of the play grows in intensity.

From Melbourne comes word of the death of Mr. Dan Barry, one of the best-known of the older school of Australian actors. He was very popular, especially among the audiences in the country towns, and is said to have amassed a considerable fortune.

It is not usual to behold a jury under watch and ward during the hearing of a capital charge attending a public entertainment (says the Nelson “Evening Mail”), but such an incident was furnished at the Theatre Royal. The jury in the Westport murder case are being kept. together, and permission to disperse at the end of each day under the usual pledges is withheld. It was asked of, the judge whether it would be permissible for the jury to attend the display of Messrs. Macmahon’s Pictures in a body, and his Honor granted the permission at once. Consequently, the jury, under charge of Sergeant Dougan, were ushered into the boxes at the theatre, and after spending a good time they were taken back, still under charge, tc *heir quarters at the Masonic Hotel.

“ The Prince Chap,” which is a somewhat enigmatical title, is thus explained:—Peyton (H. R. Roberts) is a sculptor who is left in charge of an orphan girl through the death of one of his models. He grows to love the child, who requests of him a fairy tale “ with a prince in it.” Peyton begins to tell the child of his own love story, beginning, “ There was once upon a time a certain chap”—but the child is astonished, and asks, “Is the prince a chap?” Thus the play gets its name, for when the little girl grows into womanhood and. plays a great part in the sculptor’s life, she always remembers him as “The Prince Chap.”

According to the “ Referee ” Mr George Musgrove’s light Opera Company, which he has been organising in England for some time, has sailed from London for Australia. The party includes Stella Gastelle, Wilson, Enbroke, G. H. Snazelle, and Clement Lochnane, who will act as director. Mr. Snazelle has previously visited Australia and New Zealand. The company open in Melbourne on August 29. An Australian support will be chosen, and all the pieces will be given in English.

The famous Gibson Girls are a feature of “ The Belle of Mayfair ” at the Theatre Royal, Melbourne. Miss Helene Rose, who. appears in the role taken in London by Camille Clifford, is eminently suited to the part. Dressed in a tightrfitting dress of black velvet, and attended by six shapely Gibson Girls in red, the scene is a striking one. “ Why Do They Call Me a Gibson Girl?” Miss Rose’s song, is at present the rage in Melbourne.