Greenroom Gossip.

New Zealand Illustrated Sporting & Dramatic Review, Volume XVIII, Issue 1020, 23 September 1909, Page 17

Greenroom Gossip.

By

"Footlights.”

PERSONAL. A personal note to the Editor from our old friend Fred Graham informs us that, with Miss Nellie Dent, he is accompanying the next Harry Rickards’ Vaudeville Company to the Dominion.—Chung Ling Soo, who has had one of the most successful seasons, financially and otherwise, known on the Rickards circuit, left Adelaide for London on Thursday. R. H; Douglas and the Scottish Meisters returned by the same steamer.—Mr. Harcourt Beatty (according to the Sydney “Referee”) joins the Nellie Stewart Company shortly.—Mr. and . Mrs. Harry Rickards return to Sydney in November.—J. C. Williamson left Vancouver by the s.s. Makura on Friday,’ September TO, on his return to Australia. NEW VAUDEVILLE ARTISTS. Miss Ashmore Gray, Salome dancer, from the United States, arrived in Brisbane by the Marama from Vancouver under engagement to Mr. Harry Rickards on Tuesday. The Trapnoil Family of Acrobats were due on Monday. Miss Bertha Stuart, a Scotch character vocalist, is on the P. and O. boat which is due on October 7. Will Emerson and Gwennie Asto are due by the Orient Company’s boat on October 16. Emerson is described is “ six feet of comicality.” Miss Dolly Harmer, character comedienne, will arrive, by the Narung bn October 3. Franco Piper, banjo specialty art'st and juggler, is due on October 30. it is claimed that he has no rival as a soloist. » * * * THE WELLINGTON “KING’S.” The tender of Meyer and Illingworth has been accepted for the erection of the King’s Theatre for the West and Royal Pictures’ syndicate. The site at the corner of Dixon-street and Taranaki place is now being cleared of the old buildings which have stood upon it for many years. The contractors will make a start at once with the erection of the new theatre, which is to be completed by February 22. The theatre has been specially designed for effective display of cinematography, and is to accommodate about 1500 people. Sixteen tenders were received. The cost of erecting and furnishing the theatre will be between £9OOO and £IO,OOO. This does not include the amount expended in the purchase of the site. at * * * “THROUGH SEAS OF BLOOD.” The most attractive production of the week in London (last week in July) was a mock melodrama with the gory title of “ Through Seas of Blood.” It was the work of three actors—Cyril Maude, John Harwood (his stage manager at the playhouse), and Arthur Holmes Gore, also a member of Maude’s company. It was produced in a big tent called “ The Royal National Repertoire Theatre,” at the Botanic Gardens, Regents Park, where it served as one of the multifarious merry attractions at a garden party given in aid of the Actors’ Orphanage.

Words would fail me to describe how the chief villain, a military captain (played by Cyril Maude), “removed” all the human obstacles in his path, by means of stabbing, strangulation, poison, drowning, electrocution, and sundry other methods of assassination. Anon, however, all his victims came to life and pursued him to the North Pole, where he was promptly shot into fragments and scattered to the winds. “ Through Seas of Blood” was a splendid bit of travesty, and was splendidly acted by the aforesaid Cyril Maude, Kenneth Douglas, Edmund Gwenn, W. H. Berry, E. M. Robson, Sydney Paxton, Constance Hyem, Sydney Fairbrother, and Jean Ayl win. Its five performances drew £2OO toward the £2OOO realised by all the shows combined. The leading English actresses and actors who helped in this grand fete were largely helped by sundry American stage favourites.—London correspondent. B * * * MDME. DOLORES. South Africans have experienced the rare pleasure of hearing Mdme. Antonia Dolores. A budget of newspaper criticisms, received in Melbourne by Messrs. J. and N. Tait, comprise opinions in accord with those long since formed by Australians. After the South African tour it was Mdlle. Dolores’ intention to visit India. Another musical treat experienced by Australians, but new to South Africa, will be centred in a tour of the Besses o’ th’ Barn Band, which will oe conducted under the management of Messrs. J. and N. Tait. The South African tour will extend towards the close of the present year, and the band will then revis’t Australia and New Zealand. *■ * * * EXPENSIVE VAUDEVILLE. Mr. Allan Hamilton writes that £750 per week will have to be taken with the coming Rickards attraction before a single penny is “ in sight” for the management. In spite of this enormous expense, the prices of admission will remain the same—3s, ?s, Is. It will thus be seen that both Mr. Rickards and Mr. Hamilton have the greatest belief in New Zealand as a hunting ground for high-class vaudeville. In consequence of the enormous expense attached to the tour, the company will, however, play the four centres only, viz., Auckland (October 4-16), Wellington (October 1830), Christchurch (November 2-12), and Dunedin (November 13-20), eturning to Melbourne on Sunday, November 21. t B * . • ' • MR. WALTER BENTLEY. “ The Brisbane Courier,” after referring to the services rendered by Mr- Walter Bentley in the cause of first-class drama, says of his Hamlet: —“ It is a picture of the character which is consistent and harmon'ous, which bears the stamp of an ingenious and intellectual artist. Mr. Bentley was especially convincing in the introspective. passages. Miss Essie Clay’s (daughter of Mr. Harry Clay) Ophelia was very tender, graceful, par thetic, and picturesque. In the hearttouching mad scene she showed histrionic gifts of a high order, albeit in some of the earlier scenes she was inclined to charge them with too great a heaviness. Her musical speaking and singing voice, and her pleasing presence all helped to invest her performance with additional interest.” The tragedian will make a New Zealand tour early next year under the direction of Allan Hamilton, supported by a specially selected and powerful company. sf» * * ' ' >'' HUGE SALARIES. We hear from time to time stories of huge salaries being paid to music hall artists on the American side of the Atlantic. As a rule, the sums named are so fabulous as to give rise to doubts in the minds of those who read and hear. It is, therefore, of special interest to have an. authority enlighten us on the subject of music hall remuneration. Mr. Percy G. Williams. one of the greatest of the American managers, in the course of an article in a magazine, states that “ vaudeville salaries range from £ 20 to £6OO a week. The average is about £SO. I suppose the highestpriced vaudeville artist in the world

is Vesta Tilley, whom I recently brought over for a six weeks’ engagement at a salary of £6OO. Why do I pay her so much ? Simply because she is alone in her class. It is like painters—there is only one Meissonier, despite the fact that many artists paint soldiers. Other highlypriced vaudeville artists are Vesta Victoria and Harry Lauder. Each gets £SOO a week.” ♦ • * * “ SHEBLOCK HOLMES” REDIDIVUS. “ Sherlock Holmes.” which went up for a brief revival at the Melbourne Princess’ Theatre on Saturday, September 11, was first produced in Australia seven years ago, and, oddly enough, the date of its first production (September 13, 1902) is almost synchronous with that of the present revival. It is a drama which has always proved attractive, and a large audience assembled to witness it once again. Mr. Thomas Kingston in the title role (writes my correspondent) gave a forceful rendering of the part, and he was well supported by the other members of the company. i * * « the king of CAD ONIA.” The success which “ The Duchess of Dantzic” is achieving in Melbourne is also attending the production of “The King of Cadonia” at Her Majesty’s Theatre, Sydney, where large and appreciative audiences are the rule night after night. Indeed, judging by the gratifying results which have followed the staging of these two pieces, it would seem that the thirst for musical comedy is on the wane, and that theatregoers generally are beginning to realise their need of musical fare with more “ body” in it. In both the Sydney and Melbourne musical attractions there is a distinct well-work-ed-out plot, and the music falls into line with the plot as it were, and forms with it a sustained and harmonious whole. The comedy also, instead of being thrust in promiscousiy at the will and pleasure of the comedian, is dovetailed into the story, and the general result is a musical attraction far above the ordinary level of the entertainment which of late years has been so much In vogue.

‘ HENRI OF NAVARRE.” “ Henri of Navarre,” one of J. 0. Williamson’s latest acquisitions, receives high commendation in a recent issue of the London “ Illustrated Sporting and Dramatic News.” Remarking upon the productions which have been done in London during the year, the journal says that when the history of the expiring theatrical season comes to be written, it will probably be found that one of its solid and substantial successes has been scored by one of the least-boom-ed productions. “ There has been no puffery direct or indirect about ‘ Hem i of Navarre,’ which has pursued its even course of prosperity with little paragraphic aid and with nothing but its own appeal to the public to keep it triumphantly alive.” * * * ♦ STUDYING HAMLET. There is more than a possibility of Mr. Julius Knight appearing as Ham let when he next visits New Zealand. Mr. Knight has contributed an article to “ The Knight Errant,” the new literary organ lately brought into existence by his company, which takes the form of an article on “ Hamlet,” and in which he speaks of “ Hamlet” as the most sublime of all Shakespeare’s creations, and dwells upon the criticism and discussion that must be faced by those who essay the character. Mr. Knight cannot understand why there should be so much discussion regarding the character of Hamlet, for to him it is clearly drawn and definite in purpose, and portrays a mind full of most beautiful philosophy expressed in the most wonderful language. uttered by any character m the whole range of the drama. Another point dwelt upon in the article concerns Hamlet’s sanity, and the writer wonders how anyone for a moment could question the sanity of Hamlet, who was the sanest of sane men. Had Shakespeare intended to show a man with a disordered brain he would have given the actor some opportunity of conveying that to the audience, but from first to last ;.!.ll Hamlet’s actions, thoughts and reflections are full of the most profound philosophy, are so true, so real and so exquisitely expressed, his madness is so obviously assumed for the purpose of the play that his sanity could not be doubted for a moment. • * * * “ THE SILVER KING.” Mr. G. S. Titheradge has recently been giving some interesting details regarding his first association with “ The Silver King,” the drama which has been the means of providing him with a role which will long be closely associated with his name in Australian

annals. It was on his return from Australia after his first sojourn out there that he learnt of the drama- He was in America at the time, and when he heard of its success in London he tried to secure the Australian rights of the piece. However, he found that they had already been acquired by Mr. J. C. Williamson, and accordingly he wrote out to that gentleman offering to go out and fill the leading role or else stage manage the production. He had not time to get a reply before he arrived in England, which he did shortly after, but, strangely enough, he then met Mr. Arthur Carner, who offered him tne part of Wilfred Denver if he would go back to Australia. Mr. Titheradge was quite prepared to do this, and Mrs. Titheradge, who had followed her husband back from Australia, had the pleasure of starting off again without even unpacking some of her luggage. When Mr. Titheradge took the part he had only seen “ The Silver King” played once, and that was in New York, and the only feature of that particular production that impressed him was the acting of Rose Coghlan as Nellie Denver. He appeared at the old Theatre Royal in the piece first in 1883, and for four suceceding years was engaged in playing Wilfred Denver almost exclusively to Australian audiences. He then joined the Brough-Boucicault Co. and did not play in “ The King” again until 1898, when he appeared at the Theatre Royal again for a farewell season. RIVALLING “THE MERRY WIDOW." “ The Duchess of Dantzic” in 1909 is (writes a Melbourne correspondent) in much the same position as “ The Merry Widow” was in 1908 at Her Majesty’s Theatre, Melbourne. It is the premiere musical attraction and is being attended by a large and delighted audience, who show their approval of its many excellent features in the most enthusiastic manner. Miss Florence Young as Catherine Upscher naturally carries off the lion’s shaie of the honours of the evening, for on her shoulders falls most heavily the burden of entertaining the play-going public in this particular production. And right well she rises to the occasion, giving a truly splendid rendering of the part. Nor is she alone in doing really good work, for Miss Fanny

Dango, Mr. Andrew Higginson, Mr. Victor Gouriet, Mr. James Hughes and Mr. Reginald Roberts all give excellent accounts of themselves in their respective parts-