THE STAGE

New Zealand Illustrated Sporting & Dramatic Review, Volume XVIII, Issue 1047, 31 March 1910, Page 16

THE STAGE

Greenroom Gossip.

REALISTIC BAHiWAT SMASH. The railway smash in “The Wedding Ring” is said to be one of the most realistic of its kind yet presented in Australia. Mr.: George Marlow, who was stage manager some years ago for Mr. George Rignold and then Mr. William Anderson, has brought years of experience to bear in getting the best results out of stage effects and mechanical appliances, and, according to the Australian press, he has eclipsed anything previously done in this direction. There is shown a tunnel on an English line, the approach of the train is heard in the distance and the throbbing grows louder as the engine approaches; then there is the smash, followed in quick order by the wreck of the train and passengers scattered amid the debris. • . • « . * THE MARLOW COMPANY’S DATES. On the journey South the MarloM Dranjatjic (Joy., will play Hamilton on April 16; Wanganui, April 19 and '2O;. Palmerston North, April 21 and 22; Hastings, April 23; Napier, April 25 and 26; Masterton, April 27, and then a three weeks season will be commenced in Wellington on April 28. As the company will travel by special carriage overland, with trucks for the scenery, the - intermediate towns will get a production on a scale similar to the four cities. AN AUSPICIOUS OPENING. The . opening of the New Zealand tour of Mr. George Marlow’s Dramatic Coy, in Auckland on Easter Saturday was more than favourable: indeed it was remarkable. It is some years since drama has attracted in so decided a fashion, and, what is more to the point, so far as the public are concerned, they have secured the full advantage of their admission. The fine posters that have been seen on the city hoardings for the past fortnight have marked a. new development in New Zealand theatrical advertising, but the main feature is that there has been no exaggeration in the pictures, for the “art galleries” as they have been aptly termed are exact replicas of scenes in the piece and have all been faithfully reproduced on the stage, in fact, the pictures are from actual photos of scenes in the play. The remarkable success of this piece here should augur well for its New Zealand tour. “ THE BESSES” ON TOVB. Mr. J. A. Matheson, of Messrs. J. and N. Tait’s advance staff, is due to arrive in Auckland on Wednesday evening next to prepare the way for the Auckland season of the Besses’ o’ th’ Barn Band.. Mr. A. W. Batiste, principal touring manager, is to arrive about April 9. 'The Besses themselves will be at Rotorua on April 16 and thence come direct to Auckland. OLD PLAYERS WITH THE BESSES. Many, of the members of the Besses o th’ Barn Band have been with the combination a long time. The bass player, Bieakley, has been a member for over 30 years, Lowndes (soprano cornet) 27 years, and Bogle (secretary and tenor-horn player) 23 years. Now a “No. 2 Besses” is being formed at Home, Good players are being engaged for the principal instruments, but the central idea is to train up local youths to take their place in the band as the older members fall out. * * * * THE PASSION PLAY. Oberammergau, the picturesquely situated village in Upper Bavaria, is again, after a lapse of ten years, the scene of the enactment of the Passion Play. ' In fulfilment of a vow made in 1634, the performance takes place every decade, and the peasants, who impersonate the chief characters, undergo a preparation for years beforehand. Josef Mayer was the Christus for at least three performances, and tourists from all parts of the world, who flocked into the humble village, were struck first of all with the remarkable resemblance to the Saviour in appearance, and the realistic and of the Passion. THE NEW DRAMATIC COMBINATION. The Allan Hamilton-Max Maxwell Dramatic Company opened at the Palace Theatre, Sydney, on Saturday week, in “Woman and Wine.” The principals include Messrs. Max Maxwell, Styan, Godfrey Cass, Charles Brown, S. A. Fitzgerald, Misses Beatrice Holloway, Jeanie Pollock, Vera

Dale ,etc. The repertoire .will be “Woman and Wine,” “In London Town,” “ Lights o’ London,” “Revenge” and “A Woman’s Hate,” all by arrangement with Bland Holt. After a six-weeks’ Sydney season, the company opens a New Zealand tour at His Majesty’s Theatre, Auckland, on May 16th. THEATRICAL LIBEL ACTIONS. The theatrical libel action Allan Hamilton v. “Melbourne Table Talk” will not come into court, the case having been settled by the newspaper paying Mr. Allan Hamilton a lump sum, all costs incurred, and an approved apology in “ Table Talk.” The case Allan Hamilton v. “The Bulletin” is set down for hearing at the June sittings, but it is understood that the “Bulletin” has already made overtures for a settlement. Mr. Shand, K.C., and Dr. Brissenden have been retained by Mr. Allan Hamilton in his libel action against the “Bulletin.” * * « a “ PETER PAN” IN NEW ZEALAND. “Peter Pan, or the Boy who wouldn’t grow up,” J. M. Barrie’s fantastical play in Ive acts, was produced, for the first time in New Zealand, at the Wellington Opera House on Saturday. Concerning it “The Dominion” says: “The eternal craving for something new should be appeased for a time with the production of Mr. J. M. Barrie’s whimsical dream play , ’Peter Pan.’ ‘Charming,’ ‘delightful,’ ‘most interesting’ were among the comments heard in the cloak room at the conclusion of the play, and these may be taken as sample opinions of what the big audience which overflowed the seating accommodation in every part of the house thought of the play. There were occasions when a certain lack of spontaneity in the applause seemed to indicate an inappreciation of some of Mr. Barrie’s points, but seeing that the playwright breaks virgin ground in the play, this was perhaps excusable; indeed, to those who were keenly interested, it was a virtue as unrestricted laughter or judged applause would have distracted attention from the action of the play.” CHANGING EASHIONS. How fashions vary is well exemplified in the case of The Besses o’ th’ Barn Band, which has changed the style of its uniform almost as often as it changed its instruments. For instance, in 1821, it was considered de rigueur for the “Besses” to affect a uniform composed of white cockade hat, a brilliant scarlet tunic, and white trousers; hut some years later it became the custom to “sport” at all public appearances" a silk hat, black cloth coat and vest, with white trousers cut to order in the latest mode. This dress, which gave them the air of being gentlemen amateurs, which indeed they were, they assumed with slight alterations for many years; but in the “eighteen eighties” they took to the peaked cap and braided tunic and grousers, which differ little from their neat blue and gold uniforms of the present day. RECORD BUSINESS EVERYWHERE. The “All Blacks,” headed by our old friend Mr. John Black, now on their farewell tour of New Zealand, were, at latest advice, playing a season of five nights at Napier. They go thence to Gisborne, then back to Palmerston North, Feilding and New Plymouth, then back again along the Main Trunk line to Auckland; They report record business everywhere. THE GRAND OPERA SEASON . Additional interest will attach to the Grand Opera season, which is to begin in Sydney this evening (March 26), at the Theatre Royal, from the fact that the prima donna role will be alternated between the Italian artiste Mdlle. Bel Sorel and Miss Amy Castles, the Australian songstress, who has been especially engaged by J. C. Williamson to appear with this c?? 1 ? 3117 ' The opening production, Madame Butterfly,” is considered by Puccini to be one of his very best works and not even excepting “La Boheme” to give fuller expression to his temperament and sentiment than any other of his operas. The score is written in the modern manner and the orchestra plays a very prominent part in illustrating and portraying the dramatic situation and also the emotions felt by the exponents of the opera. The name part is considered by experts to be the greatest prima donna role ever written, and makes a heavy demand on the vocal and histrionic powers of the exponent . In the second Act there are 54 minutes of big singing and big acting from the impersonator of the tragic part of the opera.

ACQUAINTED WITH THE LANGUAGE. The leading members of the J. C. Williamson Grand Opera Company, iwho hail from Italy, have all made themselves proficient in a greater or less degree with the English language, to warrant their singing their respective parts in that language. Mdlle. Bel Sorel, indeed, speaks fluent English and a slight French accent add to the charm of her speech. The tenor’s part, Lieutenant Pinkerton, will bd appropriately entrusted to a native American of Italian parentage. The beautiful Mdlle. Maria Pampari is the only member of the company who has not mastered English sufficiently to enable her to hold a conversation in the familiar tongue of our Motherland, but she has, nevertheless, by her keen musiccal ear and dramatic perception, succeeded in memorising the part of Mimi in “La Boheme” in English. THE DOLLAR PRINCESS. A season of musical comedy is following the dramatic presentation of “The Lion and the Mouse” at Her Majesty’s Theatre, Melbourne, the New Comic Opera Company having returned from their very successful visitation to New Zealand and Tasmania and taken up their quarters at thac theatre. They opened on Saturday with a revival of “The Country Girl,” which has not been seen in Melbourne for quite five years. They have gained a great reputation for their interpretation of this dainty musical play and their appearance in it this evening promises to meet with every success. Their second production will be “The Dollar Princess,” that great English and American success which followed “The Merry Widow,” at Daly’s Theatre, London, and met with the warmest of receptions in the world’s great metropolis. “The Dollar Princess” ! is now in active rehearsal, and will be produced fQr the first time in Australia on Saturday, April 9, under the supervision of Mr.' Alexander Butler. • • • • It. ... ... . V WELCOMING MADAME CALVE. Now that it is definitely known Madame Emma Calve is to arrive in Melbourne at the beginning of April, various interested people in that city are arranging to give the famous diva a fitting welcome. The Melbourne Women’s Choir has already organised an immense reception in her honour, and it is now stated that the local University Conservatorium of Music has invited her to take a , prominent

part at the opening of its new building, which is to occur at an early date. The French residents of the Victorian metropolis have not been less ready to accord their countrywomen the heartiest recognition. They are understood to be making preparations to entertain her in lavish style, and the Melbourne Alliance Francaise has secured her attendance at a very brilliant function, at which Lady Gibson Carmichael, the wife of the State Governor of Victoria, has kindly consented to preside. MISS NELLIE STEWART’S LATEST. An opportunity to see Miss Stewart in a part which marks a new departure from her usual style of characterisation, will be given playgoers at the Princess’ Theatre, Melbourne, on Easter Saturday (March 26), when that talented and favourite Australian actress will appear supported by a specially selected company, in' J. M. Barrie’s remarkable and altogether delightful comedy, “What Every Woman Knows.” The heroine is a little Scotch lassie, who, at the beginning of the story, appears to be rather a spineless, romantic young woman, . with nothing very special to recommend her. One of the charms of the play lies in the manner in which the author evolves an altogether strong and original character from the apparently poor material at his command, and gradually subordinates the ambitious, self-made man whose life is so closely associated with the heroine, to a secondary place. In her portrayal of Maggie Wylie, Miss Stewart should be in her element, and the other characters are sure to receive thoroughly adequate treatment at the hands )of Mr. Harcourt Beatty, as John Shand, Messrs. Eardley ‘Turner, J. B. Atholwood, Gregan McMahon, Gaston Mervale and the Misses Madelaine Meredith and Gwen Burrowes will complete the cast. Mr. Mervale, in addition to appearing as Mr. Venables, a Cabinet Minister, will stage manage the production. • • • • THE KNIGHT-GREY COMPANY. On Thursday, March 24, the KnightGrey company conculded their brief Melbourne season at Her Majesty’s Theatre. “The Lion and the Mouse,” throughout the season, proved a strong attraction with playgoers, who were quick to recognise and appreciate the splendid work done by Mr. Knight, Miss Grey and the other members of the popular dramatic organisation and they were accorded a hearty send off. They opened in Adelaide on Saturday.

A NIGGER IN CONTRAST. In the art of making play and in the art of playing it is generally held that the great thing to aim at is contrast. Yet sometimes contrast can be so sharply defined as to lead to curious results. Thus Mr. Leslie Victor, in commenting on the following story he has to tell: —I was once playing the little Frenchman de Grival in“ The Amazons” with Robert Brougn, in Calcutta. In those Eastern theatres the local staff are all gentlemen of colour, the heads of departments are half-castes “Eight Anna men” they call them out there, because sixteen annas go to the rupee—for the rest they are just plain nigger. The Scene of the first Act of Pinero’s delightful farcical romance is laid in an English wood in autumn. The stage covered ankle deep in fern and bracken, the trees all gold and red, signfying an English autumn. At the back is a quick-set hedge with a gate in it, a path leading right and left behind it from where the entrances are made. For a minute or two, when the curtain is first up, the stage remains empty. On the night of the production in Calcutta, the overture being over, the curtain was duly rung up disclosing this pretty English rural scene, when, from behind the edge, there emerged the form of a less than half clothed black scene shifter, all unconscious that the play had begun. Slowly he came through the gate and across the stage, with that unhurrying, untroubled saunter to the delight of those in front. Brough, catching sight of him, rushed for the entrance to which he was directing his steps, hissing things in Hindustani, mingled with Anglo-Saxon blessings, and preparing for his reception a well made boot. Our new black actor got threequarters of the way over when his gaze encountered Brough’s boot. He stopped, considered a minute, then turned and marched majestically back again. Contrast is an admirable thing in plays!

"PETER PAN** IN WELLINGTON.

A DEDIGHTFUL DREAM. What is “Peter Pan”? Many people have (sqys “The Dominion”) asked the question during the past week or so. There are certain clearly-de-fined heads under which the generality of theatrical productions may be classified —tragedy, drama, comedy*, farce (and the sharps or flats tween them) —but /‘Peter Pan” is 'none of them. IL is just a delightful dream, packed full of those de-

licious conjurings of the child-mind when wandering in the wonderland of Nod. It is a dramatisation of the sub-consciousness of healthy children “when they do dream things true” (as Mercutio puts it). t In order to get the maximum pleasure, the public must realise this —one must be quite convinced. The play should be witnessed in the spirit of the little child, who, in listening to that classic of the nursery, “Little Red Riding Hood,” broke in with —“Not a really and truly wolf?” “Yes,” said the narrator, “a really and truly wolf’’’ Whereupon the child’s blue eyes opened wider, and her under-lip quivered as she. waded into the deeper seriousness of the tragedy. Though a sordid mat-ter-of-fact world may have shattered our faith in fairies and hobgoblins, it is tender-wise,’ in negotiating with innocence to assume a sympathetic conviction that such things are. It is the little one’s wonder-world, where white right triumphs over black wrong, and the good fairy is ever ready to dumbfound the wicked ogre. Nearly everyone has this tender leaning towards fairy-tales. They take us back to our early youth with its dreams, forgotten or made quaint with the passing ,sgafs, yet which seemed as logical and attainable as Peter’s house in the tree-tops.. Some boys become men and lose confidence in everybody and everything so soon; a few. remain boys all their lives: Happy few! A STRANGE BOY AND HIS SHADOW. It is bedtime in the Darlings’ home, and Wendy, Michael and John have romped with Mr. Darling and Nana, the dog (the canine nurse), have been bathed, and tucked in nice and “comfy.” Mrs. Darling, who hovers round her children like a hen with chicks, expresses vague fears to her husband. She had seen a strange boy enter the room by the window (though it is two floors up), and in an attempt to catch him Nana had shut down the window and cut off his shadow as he escaped. There is the shadow to prove it. George examines the grey film and says it is nobody he knows. He suggests getting a price for it from the museum. Then they go off to a dinner party, leaving only the low night-lights in the room. When all is quiet the lights suddenly go out, the window opens, and in from the stars floats a little brown boy—a sweet-raced happy little chap with tears at the back of his voice. It is Peter Pan,

come for his shadow? A tiny ball of light darts here, there, and everywhere, and Peter talks to it, and it talks to Peter —in bell-language. This is Tinker Bell, Peter’s own fairy. It shows him where his shadow is hidden, but Peter’s exuberant delight on finding it is tempered with tears at his inability to stick it on. His crying wakes Wendy, to whom he explains himself and his trouble. Peter had. run away from home the day he was born, because his parents had talked of what they would make him when a man. He did not want to be a man —he always wanted to be a little boy and have fun. He lived in the Never Never Never Land with the Six Lost Boys, who had tumbled out of their perambulators when the nurses were not watching. They were all boys—girls never fell ouc—they were too clever. Wendy sews oh the shadow, and Peter is so taken with her that he invites her co his home, but she will not go without Michael and John; so Peter teaches them all to fly, and away they go through the window, bound for the edge of the morning.

THE NEVER NEVER NEVER LAND.

Peering faces look down from the trees in the dim desolateness of the Never Never Never Land, and each trunk is an entrance to the subterranean retreat of Peter and the Six Boys. The lonely six are feeling just a little anxious over Peter’s lengthy absence, and are all sympathising -with themselves at their motherless condition when a great white bird is seen above them. One, tnink'ing what brave Peter would do in such an extremity, shoots it with an arrow, and Wendy falls fluttering to earth wounded. Peter arrives,, is told of the tragedy, and is greatly distressed. What are they to do? Too timid to touch her—Peter says, it would be disrespectful—it is proposed to build a house round her, and they sing to Wendy asking her what kind of a house she would like. She replies most sweetly, and the. house is builded there and then, after which Wendy recovers rapidly, and in response to a deputation consents to become a mother to them all on condition that Peter (who only loves Wefndy as a son) becomes father. So they “live lovely” in their cosy home under the ground, while Great Big Little Panther and his Red Indian braves guard them overhead from the pirates. These are a terrible crew, led by a fearful and sanguinary person named Captain Hook, who hates Peter like “poison,” because Peter in a fine moment had cut off the pirate’s arm and given it to a crocodile, and so great was the saurian’s appreciation that he is for ever after the rest of Captain Hook. Only one thing has saved his life —the crocodile had swallowed a clock, and its tick gives warning of its approach. There is a fight between the Indians and- the pirates. Peter says they will know who wins because the Indians, if successful, will boat the tom-tom. The slim Captain Hook, who wins, knows this, and by strategy captures all save Peter and takes them to the Pirate Ship, where they are about to be made. to “walk the plank” when Peter, with the aid of a big clock, imitates the crocodile, gains a strategic position on the ship, arms the Lost Boys, and, after a most sanguinary struggle, kill the pirates, and throws Hook to the crocodile. Then Wendy decides that it is time to go home to mother, and little Michael thinks so too. Sb they creep in through the window and get into bed, and mother, who has been distracted during their absence, and father, who has been living in the kennel (out of remorse for having maltreated Nana in the beginning) are beautifully ecstatic over the return of their dear ones. Poor Peter is broken-hearted at parting with Wendy, but Mrs. Darling, who is a sensible person, says that she may return for a week every year to do Peter’s spring-cleaning. So Peter retires with a light heart to his house in the tree-tops, and there amidst the fairy-lights that jewel the night he pipes the time away, for “with the spring comes Wendy.” The company, too, was exceptionally phantasmagoria —so it is. . But it is all invested with a delicious atmosphere, pretty pathos, and human understanding that makes the play the quaintest of theatrical delights. The sentiment is so sweet, and pure, and tender, the language so whimsical, and so far removed from the dull or trite, that the play must surely please. Technically it is perfect.