Greenroom Gossip.

New Zealand Illustrated Sporting & Dramatic Review, Volume XVIII, Issue 1043, 3 March 1910, Page 17

Greenroom Gossip.

THE BESSES O’ TH’ BAEN BAND. The magnificent reputation achieved by the Besses o’ th’ Barn Band during its last visit to Australia is being enchanced on its present tour of New Zealand. The band is easily ten per cent better than it was before, and this is due not only to an all round technical advancement, but to the inclusion of some expert soloists in its ranks. These soloists, Messrs. Weedall, Pyatt, Ryder and E. P. Kerry junr., are four of the greatest instrumentalists in the brass band world, and made an enormous impression in South Africa lately, a reputation they are easily sustaining in this country. Mr. Weedall’s trombone selections are hardly less eulogised than the wonderful cornet solo of the talented Messrs. Pyatt and Ryder, and Mr. Kerry, junr. is creating an absolute furore by the strange power of his playing on the euphonium. As many people know, the euphonium is not without its limitations, but no person would ever suspect that fact when the instrument is in the skillful hands of Mr. Kerry, junr. * * ♦ * MB. ALLAN HAMILTON. Mr. Allan Hamilton is due to reach Auckland on Sunday, per s.s. Victoria from Wellington, to fix up final arrangements for his coming Harry Rickards’ combination. Mr. Hamilton has not enjoyed good health recently, so he intends to have a spell before the Auckland season commences. Mr. Marcus has been left in Wellington in charge of the company, which will arrive in Auckland on Sunday week by the overland route. • - • * ’ THE NEW DBAMATIC COMBINATION. The Allan Hamilton-Max Maxwell Dramatic company will commence. a six weeks’ season at the Palace Theatre, Sydney, on Easter Saturday. As the folio-wing names prove, the combination promises to be the strongest dramatic company on the road: Max Maxwell, Arthur Styan, Charles Brown, Godfrey Cass, S. A. Fitzgerald, Tom Cannam, Chas. Wheeler. Miss Harrie Ireland, Miss Jennie Pollock, Miss Vera Rennie, Miss Muriel Dale, Miss Mabel Russell, Miss Florence Petts, constitute the principals. The repertoire will include several of the most popular dramas in the late Bland Holt repertoire, viz.. “Woman and Wine,” “In London Town,” “Revenge,” “A Woman’s Hate” and “Lights of London.” All the scenery was painted by the late John Brunton. After the Sydney season New Zealand will be visited, commencing in Auckland in May—Show week. BARRISTER, AUTHOR AND ACTOR. Mr. Herbert Clayton, of the Williamson Comic Opera Company, is not only a well-known barrister, but has achieved success as an author. He wrote “ The Hon’ble Phil” for that im-

mituble comedian G. P. HunLey, and had a London and New York production. he took tne precaution whi.e he was at it to write a part for himseit, and saw to it mat ne was in tne cast, ft so happened tnat wnen the piece was put into rehearsal he was on his way to Australia under engagement, ana was recalled co create the part he nad penned xor mmseit m ms own musicai piay. Mr. Clayton has amongst several others written a oneact piay. ’• Mourned iniamry,” which was given ac a commanu night at Windsor, and witnessed by his Majesty. Notwithstanding his varied experience, Mr. Ciayton is a prey to nervousness. on tne opening mgnt oi tne ’King oi Cauonia" (in wmch he piays the title roie) in Melbourne, he says. 1 was so horribly nervous 1 oomd not aeep my hands stiu. A big disc mgnt oeiore an audience is like my last night on earth to me.” An active life was oegun by Mr. Clayton in an architect s office, nis rather having articled him to that profession, ivir. Ciayton is accredited with being the best looking baritone in the whole of the length and breadth oi England. ♦ MESSAGE FROM MARS COMPANY. Allan Hamilton’s “ Message from Mars” Co., is now being xormeu in Sydney. The intention is to piay omy the New Zealand smans, commencing at Rotorua and terminating at tne Bluff. Upwards of 50 towns will he visited. An entirely new set or scenery is being prepared, suitable ior smau stages, and everything will be done in a tnorougnly nrst-class manner. Mr. Gregan McMahon (who played .Horace Parker in the Hawtrey production) win most probably assume ins original roie. • * « • SOME COSTLY NOTES. Ernest Cameron, the Lonuon voice specialist, tells a story about a somewhat elderly tenor, who, though his ueM days were over, earned a good income oy Louring with a small company. r ms tenor, who culdvated an ai-LiSLic appearance by wearing long uair and enormous drooping bow ties, Was in tne haoit oi taking solitary walks in the country. One arternoon, as he passed a neid, he was jeered at by several laborers who were at work there. He at once strode to the hedge, and, striking an operatic attitude, asked one of the men: " Feliow, what is thy weekly wage?” “I be orl right, guvnor,” was the reply. . “I earns a pun’ a week.” “Ha, fellow!” said the tenor meditatively, ‘then do the live of you earn but so many pounds per week?” And, with a gesture at once patronising and contemplative, he lifted his voice in an ascending scale to a clear top note. “There,” said he. “is a month’s wages for you.” A NEW PBIMA DONNA. A new prima donna came to the front in London last month when Miss Amy Evans, the well-known Welsh concert singer, appeared in .the role of Selene in Sir W. S. Gilbert’s “Fallen Fairies” at the Savoy. The daughter of a concert singer, Miss Evans received her first instruction in singing from Mr. David Lloyd, of Ton-y-Pandy, afterwards studying under Signor Alberto Randegger. At the age of fourteen she won first prize at the Eisteddfod at Cardiff. After singing at various musical festivities and concerts, Miss Evans made her London debut at the Queen’s Hall on September 17, 1909, when she won enthusiastic praise. The music of “Fallen Fairies” is by Edward German, whose real name is Edward German Jones. ROMPING, ROARING MELODRAMA. Compared with the placidity of “A Bachelor’s Honeymoon,” Mr. Hugh Ward’s new piece at the Palace is tys Melbourne “Punch”) a romping, roaring melodrama. Who ever heard of a farce comedy with a fire scene that would just turn Bland Holt green with envy? Such a scene we have in “Vivian’s Papas,” which was played for the first time on Saturday by the actor-manager and his clever company, with “outside assistance” in the burlesque of grand opera while a fashionable residence is supposed to be at the mercy of the flames. The fire scene is in a sense a triumph of stagecraft. Mr. Ward obtains his “realistic effects” of flame and smoke in much the same way that Mdlle. De Dio manages her butterfly and fire dance illusions at the Tivoli. There is hardly a bit of real fire on the stage, yet the whole place seems, to be ablaze. VIVIAN’S PAPAS A FUNMAKER. The fun of Vivian’s Papas (our contemporary continues) hinges upon the secret power possessed by Frederick W. Walker, (Mr. Ward), who, by pressing into service an Egyptian charm,

can make men and women do as he wishes. In the Fire Scene Walker makes everyone, including the firemen, sing in mock-operatic style. As Vivian Gay, the lady with two “fathers,” Miss Grace Palotta plays the part of an adventuress. Mr. Reginald Wykeham and Mr. Arthur Eldred appear as the mixed-up Charles D. Farnham and Chester D. Farnham. The comical situations, which are brought about by Walker while he is “casting the spell” may be easily imagined by those who have not seen the play. Mr. Ward plays the part of the humbugmagician in an admirable manner. On the vocal side of the show, Miss Celia Ghiloni and Mr. Walter Whyte are prominent, while the comedian’s wife, Madame Grace Miller Ward, lends her aid in the operatic ensemble and finale. The cast includes Miss Rose Musgrove, Mr. W. B. Beattie, Miss Maud Chetwynd, Mr. H. H. Wallace and Miss Florence Redfern. “ Vivian’s Papas” is sure to draw big houses right to the end of the season. 3L.T3 OFF! The management of the Black Family adopted a novel method at Otaki of inducing ladies to remove their hats. The programme opened with pictures, prior to the showing of which there was thrown on the screen a representation of a lady wearing an immense “Merry Widow,” and below a courteous invitation for ladies to remove their hats, and thus contribute to the comfort of those behind them. Immediately several ladies present removed their headgear, amidst hearty applause. Next was shown a request that ladies would remember there were people sitting behind them who would like to see what was going on on the stage. More hats disappeared, but not all. Finally, amidst great applause, there appeared this notice: ‘ The performance will not be commenced till every hat has been removed.” This had the required effect, every hat being quiekly taken off, and the performance then commenced * * * 'LZSL-Ei ASCHES AS HOSTS. The Asches are splendid hosts. Most outrageous stories have been told about the fierce commercial spirit in which the old Melburnian saves sixpences. In one of them he nearly sacked the whole company because a “property”’ orange was missing. A greater libel never was uttered, as those who were present at a little supper after the theatre on Saturday night know. When the rest of the world were retiring to bed, Miss Lily Brayton and Mr. Oscar Asche were (says a Melbourne paper) just commencing the night, and tremendously jolly hosts they were. The company consisted of old Melburnians, and good sorts, and taxis were ordered by Mr. Asche for his guests for three a.m., but I hope I shall not hurt anybody’s feelings by saying that several of them only got home as the clock was striking five. SAILED FOB AUSTRALIA. A cable received, by Clarke and Meynell on the 10th February, stated that the firm’s new English Comic Opera Company, which is to present “ The Arcadians” at the Theatre Royal at Easter, has sailed for Australia. It comprises sixteen people. THE NIGHT OF THE PARTY. There is an interesting history attached to “The Night of the Party,” which was staged at the Princess’s Theatre, Melbourne, by the George Willoughby Company on the 26th February, under the management of Clarke and Meynell. All the characters are types, and the most important of them, Crosbie, the valet, is taken from real life. And this is how the play came to be written: Weedon Grossmith, who wrote it, and Henry Arthur Jones, the famous playwright, called upon a celebrated painter at his flat in the West End of London one evening. He was out, but the rooms were illuminated, there was the ‘sound of revelry by night,” and a party was in progress. The valet was giving a great treat to his friends. These two coming in unexpectedly joined the party, which consisted of people in the valet’s own station of life. This suggested a play to both Grossmith and Jones. The latter wrote a play called “ The Lackey’s Carnival.’ Grossmith wrote “ The Night of the Party,” which as everybody knows, scored an immense success and has been running ever since. • • • « MISS AMY CASTLES. Messrs. J. and N. Tait, who are directing the concert tour of Miss Amy Castles, make an interesting announcement regarding the young singer’s future movements in Australia. According to present arrangements

she is to sing in Grand. Opera, under jTr. Williamson’s management, in a few week's time, but at the conclusion of that engagement she is not to return to London, as has been freely reported. She will, instead, continue her series of concerts under Messrs. Tait’s successful direction, and probably will have the assistance of a reorganised company of brilliant artists. This change in her support has been necessitated by the fact that Messrs. Anderson Nicol and Peter Dawson, two of the principal members of her present company, have completed their engagements, and are to leave for Europe on 21st inst. It is understood that their places will have to be taken by other artists, though Messrs. Tait are not yet in a position to make any definite statement on the subject. * . * . * • MB. ALBERT CRAN. The American cast of “ The King of Cadonia” shows the name of Albert Cran as a member. It will be remembered that Mr. Cran was out here some years ago in dramatic companies under! J- C. Williamson and other managements. • * ♦ * GRAND OPERA FOR AUSRAEIA. There is nothing like enthusiasm to urge people on to do their best, and this fact is .borne out by the way the chorus for the grand opera season under the J. C. Williamson management are buckling to. Certainly their voices represent the cream of those who presented themselves for a hearing some time ago, but, in addition to having fine voices, they are very eager to learn and to work. So that Signor Hazon should be quite satisfied with his chorus. The principals are due in Fremantle at the end of the week. A DELIGHTFUL OPERA. Strangely enough, there, are two members of the Royal Comic Opera Company—who, by the way, are playing to fine business in “ The Waltz Dream” in Sydney—who have been connected with that delightful Strauss opera before. Mr. Langford Kirby appeared in the original production in London, where he played Wendolin, the major domo, and understudied Geo. Grossmith, jun., and not only so, but Mr. Kirby has now been a member of every organisation that has presented “ The Waltz Dream” in the British Empire. Mr. MacCunn, the well-known musical director of the Royal Comics, was associated with the London production in his capacity of conductor.

A FRENCH DRAMA. “ Arsene Lupin,” the fine French detective drama recently acquired by J. C. Williamson, has entered upon its sixth month at the Lyceum Theatre, New York, and there is every possibility of its remaining there for some time to come. NEDDIE STEWART’S NEW ROLE. The new piece for the Nellie Stewart Easter opening at the Melbourne Princess’ Theatre — “ What Every Woman Knows” —has proved itself to be the most popular comedy J. M. Barrie has written. At the Duke of York’s Theatre, London, it totalled 384 performances, and a tour of the provinces is even now in progress, while in America Maud Adams first appear-, ed in it some eighteen months ago, and has, with but .slight, breaks, been playing in it ever since. ♦ * * * BERT GILBERT AS A COMEDIAN. From the way the New Zealand papers are featuring Mr. Bert Gilbert they must think very highly of him as a comedian. Many of the big papers have published long interviews with him, and quote interesting opinions given by him on certain phases of his art. For instance, when asked if he saw the audience when he was playing, he replied that he did not —that, in fact, the people always looked to him like a lot of fuzzy things with muslin over them, and, continuing, he said that if he could see the audience he would not be able to lose himself in his part, but would simply be Bert Gilbert, of Birmingham. * * * * THE PASSION FLAY. There is a -wide margin between the Obber-Ammergau Passion Play of the present day and in the past. In its original form it was a thanksgiving to the Almighty for deliverance from a pestilence which devastated the country hundreds of years ago. Nobody outside the village knew who the actors were. They were simple peasants, and their only importance was the part they played. Now the Passion Play has become a great commercial undertaking, the performances continuing from May to September. The preliminary “puffing” alone runs into about £5,000, while leading actors and actresses are engaged and the auditorium rebuilt so as to accommodate the ever-increasing number of visitors. • * • * ARE ACTORS UNDERPAID ? Cecil Raleigh before the dramatic debaters in London, asked, “Why are actors underpaid?” The question even

in England, where conditions appear to be unusually distressing, should have included the qualifying word “some,” for some actors even there are not underpaid. Mr. Raleigh says that “a steady flood of incompetence and conceited inexperience from all ranks of life” is pouring upon the English stage. That is one of the possibilities of a profession without authoritative channels of approach. Yet the public, as managers everywhere discover, will not tolerate “incompetence and conceited inexperience,” and they as well as all others concerned for the stage, should erect barriers against miscellaneous entry and encourage every effort to educate those who would become actors.

MADAME CAIVE’S WAY. Unlike other prima donnas who could be named, Madame Emma Calve, the distinguished French soprano, rarely consents to hear any ambitious young aspirants for musical fame. Speaking upon this subject to a recent interviewer, she explained her attitude in the following manner:—“lt is foolish for a girl to study singing unless she has a voice. She may become a brilliant singer with admirable technique, but will never l be great. Her career will be a disappointment to her, as well as to her friends. I seldom consent to hear a person sing. They come to me often for advice, and want me to try their voice. Ninety-nine times out of a hundred thev have no voice worth mentioning.”

A SENSATIONAL FDAY. A big sensational scene m The Prince and the Beggar Maid” is the fight between two men on the ramparts of a castle. The solid masonry gives way and the two are hurled into the courtyard below. Rege Robins, William Anderson’s scenic artist, has made the scene a most realistic one. “The Prince and the Beggar Maid” is a play that appeals to all classes. At the Lyceum Theatre crowded houses were the rule during the whole of the run. The Lyceum, which was Irving’s old theatre, holds 4000 people, and is situated in the West End. When Messrs. Smith and Carpenter took the theatre to run romantic drama everyone predicted failure; but having as their dramatist Walter Howard, who had a happy knack of writing just what the public wanted, they “struck oil,” and the theatre is how one of the most successful dramatic houses in London. William Anderson made a wise move in securing “The Prince and the Beggar Maid” for his dramatic company.