THE STAGE

New Zealand Illustrated Sporting & Dramatic Review, Volume XX, Issue 1116, 31 August 1911, Page 16

THE STAGE

AUCKLAND FIXTURES.

HIS MAJESTY’S THEATRE. Aug. 14 to Sept. 2—Clarke and Meynell’s “The Arcadians” Opera Company. Sept. 11-23 —“Our Miss Gibbs.” Oct. 6 —“ The Woman in the Case” Company. Nov. 10-25 —“The Gay Gordons” Company. THE KING’S THEATRE. Fuller’s Wide-World Pictures —In season. THE OPERA HOUSE. Vaudeville —In season. THE TIVOLI. Pictures —Every night.

SOUSA AND HIS BAND.

THEIR SEASON AT THE AUCK LAND OPERA HOUSE. The half has not been told us, concerning the wonderful musical organisation which has at its head the world-renowned Sousa, the most famous bandmaster of his day. Since its arrival in Auckland from Wanganui and Hamilton, on Wednesday evening, the band has given two performances at the Opera House daily, each seemingly better than the last. The opening concert was a revelation to Aucklanders of the possibilities of band music. Charmecl as we were with the Besses o‘ the Barn, when that famous band visited us, it is impossible to get away-from the fact that the Sousa combination is one altogether apart, standing on a plane of its own, and representing as nearly as possible the ideal combination, both as regards numbers and quality. Sousa has himself described it as “a band-orchestra. It is,” he told a recent interviewer, “in reality a fifth orchestra body, essentially modern in the best mechanical equipment, which without arrogating the sphere of privilege of any instrumental combination hitherto known, has made a wider, and often a more artistic scope for sweet, discoursive, descriptive, inspiriting, or inspiring music in all its varied forms.”

Sousa’s own description of his band gives a better idea of its capabilities and performances than could be supplied by ourselves. It is a wonderful combination, “unique in its composition as a sound complement, and worldreaching rather than class-confined in the scope of its programmes.” Sousa, whose life has been given up to music, was the conductor of the United States Marine Band, the national band of America, and the marches he composed and used acquired such a fame that there was a demand on the part of the American public to hear the band he conducted. He was, therefore, allowed by the Government to take the band on tour, and, while conducting it through the States on its second tour, Sousa was approached by a group of capitalists, who made him an offer that he should resign the Government position and form a band or orchestra on lines of his own selection. That, in brief, is the story how the band now visiting Nev/ Zealand came into existenceThe programmes submitted during the week have been, without exception, of the most delightful character and just as enjoyable. They have included some magnificent tone pictures that have been received with the utmost enthusiasm. Notably, may be mentioned the overture from Tannhauser (Wagner), the Sousa Character Studies, “The Dwellers in the Western World,” a masterpiece of musical ingenuity, depicting the age of the Red Man, the advent of the White Man, and the coming of the Black man. “The Ride of the Valkyries,” Wagner’s study from “Die Walkure,” made a great impression and was evidently appreciated and admired. So, also, were the overture from Robespierre

(Litolif), the Rakoczy March, from “The Damnation of Faust” (Berliez), and the tone picture from “Till Eulenspiegel’s Merry Pranks (Richard Strauss). The'Sousa marches and the Sousa numbers, generally, were greatly admired and very popular—“ Stars and Stripes,” the “Washington Post,” “K'ing Cotton.” “Glory of the Navy,” “Fairest of the Fair,” and “The Federal” have proved most popular of the marches. Some of the humorous selections —for the Sousa band presents very decidedly humour in its music—were of surprising merit. A quainter conceit than “Has Anyone here Seen Kelly?” it would be impossible to imagine. The question seemed to sing

itself from the very notes of the instruments, and it was repeated in varying tones and cadences right the way through. Another very fine effect was produced by the Sousa Geographical Conceit, “People Who Live in Glass Houses,” in which “(a) The Champagnes, (b) The Rhine Wines, •(c) The Whiskies —Scotch, Irish and Kentucky, and (d) Pousee Cafe” figure in delightful fashion. Another very fine performance is that of Sousa’s symphonic poem—“ The Chariot Race” —a delightful conception. ! The Sousa band is so perfectly balanced, and is capable of producing

such remarkable effects in instrumen 1 tation, it is so perfectly under control and plays in such delightful unison that it sets altogether new standards in the world of band-orchestra-tion. Sousa has his own and very distinct methods of conducting. Certain Press notices had given us an exaggerated idea of his work in this direction, and in some quarters nothing but sensationalism in music was looked for. But there is nothing theatrical nor strained in the manner in which John Philip Sousa wields his baton. On the contrary. Yet he sways the performers at will, lifting them with his little finger, and stirring them to the proper pitch with-

out apparent effort. Sousa evidently understands his band and the bandsmen as evidently understand him. The result is the most perfect time, harmony and melody that can be desired. The more one hears the band, the stronger becomes the desire to heai’ and know more of it, and this is attested by the ever-growing enthusiasm with which each successive performance is received.

Associated with the band is Miss Virginia Root, a soprano soloist of considerable repute. Gifted with a sweet and sympathetic Voice, perfectly trained, and wonderfully clear in

her articulation, she has developed into a great favourite -with the Opera House audiences. Most of her solos are Sousa numbers, and the Sousa music suits her voice admirably, bringing out its best qualities. Then there is the violinist, Miss Nicotine Zedeler, whose instrumentation is very perfect and whose solos are always appreciated, and last, but by no means least, the cornetist, Mr. Herbert L. Clarke, whose clear, silvery notes and perfect playing affords a rich treat.

The final performances of the Auckland season will be given this afternoon and to-night (Thursday).

THE LURE OF THE STAGE.

A TRAINER’S LOVE OF MUSIC.

LEADS TO A CHANGE OF CAREER.

Between the Turf and the Stagethere has always been a very intimate connection and the closest of' friendship. Good sportsmen have a natural liking for the stage, and most •members of the theatrical profession enjoy a day at the races. The one is the natural compement of the other, and there is a certain freemasonry spirit about the two professions that makes those who follow' them the best o" friends. Occasionally one hears of members of the theatrical profession giving up the stage to enter upon racing pursuits, but it is the exception for a jockey or a trainer to quit the Turf for the Stage. There must be “something in the blood” to induce the latter changeof occupation, such as came to Mr. Reuben Gray, a Sydney native, who enjoys the distinction of being the only native born Australian member of the Clarke-Meynell company presenting “the Arcadians” and “The Belle of Brittany” in Auckland. Mr. Gray’s connection with the stage is of but recent date. His father is a keen sportsman and the inventor of' the startine: machine, in use on the leading Australian racecourses, as a’so at Auckland and Christchurch. Young Gray rode his first mount when he was but ten vears of age. That was in the Rosehill Cup (N-S. Wales) and he did so well that he managed to 7 ead the field for the first mile and aauarter. Although not a winner that day, he subsequently placed many « races to his credit, continuing as a jockey until he was sixteen years of age, riding mostly in Pony races, and for bis father, and winning over a hundred races—sometimes two and three in a ' day. Always “a great home-bird” he stood by his father all the way through, and took up training work, acquiring horses o” his own. It was while on a visit to Melbourne in charge of two racehorses that Mr. G J ray got his “call” to the stage. Seated at the breakfast-table at his hotel on the morning after his arrival in the Victorian capital, he read an advertisement inviting applications for the chorus of Mr. Musgrave’s German Grand Opera Company. The fancy took him to apply for a position. He was a stranger in the city and unknown, and he saw no harm in trying. Wending his way to the Theatre he saw Herr Slapoffski, who gruffly asked him “What are you?” “I’m a second tenor,” was the reply. “How do you know?” The question was literally snapped at the candidate. “Because I can sing second tenor parts,” the candidate replied. “Have you a song with you?” “Yes.” “Let me hear it, then.” And young Reuben Gray, who had figured as a chorister in Sydney, sang “Let me like a Soldier fall,” and succeeded so well that his name was put down and he was invited to call again. The upshot of it all was that he was engaged by Mr. Musgrove and, when theGerman Grand Opera Company disbanded, he joined the National Opera Company, also under the Musgrove management. When that company disbanded Mr. Gray obtained an engagement with Messrs. Clarke and Meynell as a member of “The Arcadians” Company, and in that very fine ■ musical comedy, besides filling the part of Strephon, he has been under-

study for quite a number of the principals. So far as his Auckland work is concerned he- has made a distinctly favourable impression upon theatregoers, holding his own with the best of the company- He has a very pleasing tenor, voice, sings well, and infuses just the right amount of spirit into the part he plays. In “The Arcadians” he has appeared as “Bobby” and “Percy Marsh” and as “Sir George Paddock.” Other of his understudies are as “Lord Lushington,” in “The Girl Behind the Counter,” “Gerald Treperne” in Sergeant Brue ; “Blifil” and “Grizzle” in Tom Jones; "Jacques” and “Ba'bstick Boubillon” in “The Belle of Brittany,” and “Schnapps” and “Mr. Hook?’ in Miss Hook of Holland. Aucklanders, with whom he has become a favourite, will be glad to learn of his further success in the career he has chosen. That he is a bright; capable and versatile young actor goes almost without saying. H 6 is ambitious and being ambitious in the right way recognises that hard work and patient, painstaking effort; is essential to success, and from our knowledge of him we should, say he is likely to leave no stone upturned to qualify himself for the very best things goingj whether it be in the line of musical comedy, light opera, the legitimate drama, or melodrama. And having given “hostages to fortune” in the shape of a wife and three children he has every inducement to

climb the ladder of success and to climb high. His love for his “kiddies” is as intense as is his desire to succeed on the stage. May good fortune attend him as he plays his part in the world!

HIS MAJESTY’S.

THE CLARKE-M EYNELL ENGLISH COMIC OPERA COMPANY’S SEASON.

“THE BELLE OF BRITTANY.”

After a highly successful fortnight’s run “ The Arcadians,” which was witnessed nightly by crowded houses, was withdrawn on Monday to make way for “ The Belle of Brittany,” a light opera, in which the comedy element is very pronounced, and at times extravagant- Mr. Tom Walls, who takes the part of the Marquis de St. Gautier, is the real life of the play and says and does so many outrageously funny things, that his very appearance on the stage is the signal for repeated outbursts of merriment. And since a good laugh is ever the best of tonics to the jaded and weary mind, Mr. Walls is proving a good friend to the Auckland public now thronging His Majesty’s. On Monday, when the opera was first produced, the hilarity was so great and the encores of the audience so uncontrollable that its progress was more than once checked. Tn keeping with the comedy the music is chippy, bright and sparkling. The chorus Us a notable feature of the production. It is ample in volume, level in tone, and the voices blend well together. The quality of the vocal music, however, deserves more refined instrumental support than it receives from the orchestra, which is rather too heavy at times.

Returning to Mr. Walls. The character he portrays is, of course, the reverse of saintly, and at the hands of an unconscionable vulgarian, it might easily be made very objectionable. The character study Mr. Walls presents is that of a courtly old rascal, who says and does many outrageous things in the supercilious yet courtly fashion affected by the gay French gallant in an age when it was not deemed impolite to speak of a spade as a spade. In his vocal numbers “iSing to Your Dear One,” and “In The Chest” (the latter sung as a duet with Miss Nellie Kavanagh) the Marquis is simply irresistible and convulses everyone with merriment. Both performers are decidedly clever, the burlesque dancing, tapping fresh wells of laughter.

Miss Alice Moffat has a very taking part as Babette, the miller’s daughter and “The Belle of Brittany,” betroathed to Baptiste Boubillon (a city chef whose amorous nature has led to an entanglement with Toinette, a maid in the service of the Marquis (Miss Gertrude Gilliam), but with a strong liking for the debonnaire son of the Marquis, which develops into love and marriage, the amorous Baptiste, transferring his affections to Toinette, despite the somewhat severe treatment that enterprising young lady metes out to him. Miss Moffat is decidedly popular. Her amiable and charming personality grows upon one, and her vocal work is decidedly good. She lias a sweet, penetrating soprano

voice and sings in true artistic fashion"

and with exdellent articulation. ; As ■ “ The Belle of Brittany” she 'figures to even greater advantage than in “The Arcadians.” Her songs are all enjoyable and captivating, so that she is repeatedly encored. Miss Gertrude Gilliam has also;;a very captivating part as the pert soubrette, whose love of mischief making is nearly as great as her desire to upset the betrothal, arrangements between Babette and Boubillon. She sings and dances with a sprightly grace that “fetches” the crowd every time and makes them long to see and hear more of her. Mr. Charlie .Stone plays the part of the chef with commendable spirit and infuses much of the comic element into the part very naturally and cleverly; In the duet and dance “A Little •Cafe” with Miss Gilliam, he is exceptionally good. The “Giddy Goats” duet, sung with the same lady is also very funny. Mr. Harold Thorley has a fairly strong part as Raymond, son of the ; impecunious iftarquis. He sings well, his pleasing tenor notes ringing true and clear; his solo, “Kingdom of a Woman’s Heart” being pne of the best and finest numbers in the opera. Mr. Fred Winn as Poquelin (the village miller) and Miss Nellie Kavanagh as Madame Poquelin uiis wife) both present admirable and decidedly humorous character studies-

Miss Florence Quinn and Miss Gold, other of the soloists have taking little numbers which meet with general acceptance. Mention should also be made of Mr. Wilfred Hillary (Old Jacques), Mr. P. Cory (the Comte Victorie de Casserole), Mr. Ernest Leshbrooke (Pierre), and Messrs. Fred England, Harry Saville, Robin Hay and Edward Pedersen, who do good vocal, work, while figuring as artists. The production is admirable throughout, the mounting and stage setting generally being very fine and equal to the very best operatic productions yet seen in Auckland, which is saying a great deal. The Company closes its season on Saturday. FIRST NIGHTERS. AN INTERESTING DEPARTURE. An interesting departure is being made by the J. C. Williamson management in connection with the booking arrangements for “Our Miss Gibbs,” opening at His Majesty’s on the 11th September. It has been the practice, for some years now in Melbourne, to permit dress circle and reserved stall patrons to reserve first night seats for all the Williamson productions for

the yearly period. This, is 'accomplished by means of what is practically a First Nighters League, members, of Which enter into a contract for twelve months and give a guarantee for the due performance of same. Under this contract they agree to accept and pay foi' as many seats as they desire shall be reserved for them (no more than eight being allowed to any one applicant or member) at the initial productions of all the Williamson productions during the year, at a charge of one shilling ovei' and above the advertised prices for the seats.

"OUR MISS GIBBS.” “Our Miss Gibbs,” the big success from the London Gaiety, and the biggest success that Australia has ever known, will make her first appearance here on Monday week, at His Majesty’s Theatre, when, for a season of twelve nights and two matinees, that dainty musical comedy personage will doubtless entrance and enslave as it would seem has been her mission in most parts of the Eng-lish-speaking world. Costumed, played and acted in splendid style, “Our Miss Gibbs” has been the vogue for the past ten months in Melbourne and Sydney. Striking scenery and handsome costumes would not entail the success of a play if it had no intrin-

sic merit. Hence it would appear that the spontaneous welcome given to “Our Miss Gibbs” is due mainly to its bright and pleasant humour and more than ordinarily tuneful music; to the refinement and animation of Miss Blanche Browne, a delightful artist, in the title role; to the drolleries of Mr- Bertie Wright, as Timothy Gibbs, a Yorkshire bumpkin; the delicious inanities of Mr. Leslie Holland, as an amateur “Raffles,” and Mr. Fred Leslie, as the light-fingered Slithers. The music is the work of a number of persons, Ivan Caryll and Lionel Monckton being responsible for the principal numbers. There are two elaborate tableaux, showing the Court of Honour at the Franco-Brit-ish Exhibition, and Garrod’s stores in London. Other artists of the Royal Comic Opera Company included in the cast will be Messrs. Andrew Higginson, Colin Campbell, lan Maxwell, 0. R. Bantock, Frank Stirling, Misses Connie Milne, Nellie Wilson, Nellie Calvin, Fitzmaurice Gill, Ivy Schilling. It is specially notified by the management of J. C. Williamson, Ltd., that “Our Miss Gibbs” will be presented here in exactly the same style as in Australia. Company, scenery, effects and paraphernalia precisely as obtain-

ed in the remarkable Sydney and Melbourne productions.. will be brought across the Tasman Sea and used here in their: entirety..■ ■ The season is for twelve nights, and the Box- Plans will be opened-ter the first' six nights and first matinee' at J Wildman and Arey’s on Thursday, September 7th.

THE OPERA HOUSE.

RE-OPENING OF VAUDEVILLE.

Vaudeville will come into its own again at the Opera House on Friday, when several novelties will be presented. Prominent are Anita Diaz and her clever monkeys, the three Altons, the National Duo, Mounier and Franz (athletic specialists), Marcella Gray and Lucy Lavinia, together with old favourites. A matinee is to be held on Saturday.

THE KING’S THEATRE

CULLER’S WIDE-WORLD PICTURES. With characteristic up-to-dateness, Messrs. Fuller and Sons have obtained the exclusive New Zealand rights of the film representing the funeral of Cardinal Moran, which was screened to a crowded house on Monday night. Life-like pictures showing the last public appearance of that eminent divine, create.keen interest, which is heightened as various other incidents are portrayed. . These include “Laying the Foundation. Stone of a Church at Chatswood,” “Removing the remains from the Palace at Manly,” “The crowds at the Cathedral,” "The Lying in State,” and “The Funeral Procession.” The impressive ceremonial is reproduced with remarkable fidelity, and the proceedings are watched by the audience with due solemnity. Other good pictures were: “The Lighthouse-keeper’s Peril,” “The Panama Canal,” “Back to the Primitive,” “Charcoal Burning in Brittany,” while the comic studies were chosen as usual with a nice discrimination that is a feature of the programme at this theatre. It is a saying that good music will help a bad picture and bad music will spoil a good one’ At King’s Theatre there is no need for concealment in music or pictures. They are both par excellence, Mr. E. J. Burke being responsible for the first-class orchestral programme.

TIVOLI THEATRE.

Variety i s the key-note at the Tivoli pictures, combined with excellence . of representation. Mr’F. Stewart spares nothing to make his programme up-to-date, and the audiences give abundant proof of their satisfaction. A good orchestra adds to the general enjoyment. A change of programme will be made on Saturday night, when an attractive series is to be presented.

THE WINDSOR RINK.

The day and evening sessions at the Windsor Rink are being well attended, floor, skates, and music being of an equally high order. The arrangements altogether reflect the greatest credit on the manager, Mr E. C. McEwan.