THE STAGE

New Zealand Illustrated Sporting & Dramatic Review, Issue 1163, 25 July 1912, Page 16

THE STAGE

AUCKLAND FIXTURES.

HIS MAJESTY’S THEATRE. July/ 22-Aug. 3-—The Maggie Moore Co. August 15-24—“ The Blue Bird” Company August 26-31—r-Miss Margaret Cooper Sept. 9-21—Pantomime “Sinbad the Sailor” , _., Sept. 23 to Oct. 12 —Oscar Asche-Lily Bravton, “Kismet” Oct. 14-19 —Plimmer-Denniston Co. Oct. 29-Nov. 6 —Auckland Amateur Operatic Society TOWN HALL. July 17-August 14. —“The Dandies.” Aug. 19-31—Auckland Competitions Society’s Festival . PICTURE SHOWS. Queen’s Theatre (Continuous). OPERA HOUSE. Fuller’s Vaudeville

HIS MAJESTY’S.

‘•MRS. McSWEENEY.” REAPPEARANCE OF MISS Al AGGIE MOORE. There is a large section of the Auckland public who believe that the most commendable attribute of a play is that which tickles their fancy and creates healthy laughter. Undoubtedly a suitable antidote for the cares and -worries of every day life should prove a boon to most people. When theatregoers can sit for two and a-half hours and roll about in their seats with merriment, enjoying in full measure the whimsicalities of a farcical comedy, and thereafter leave the theatre with a sense of having forgotten the tedium and ennui of business and domestic routine, they can be said to have derived the greatest amount of benefit from the antidote administered to them. It is just such an antidote that is available at His Majesty’s Theatre this week. It is provided in the most palatable and easily assimilated form by Miss Maggie Moore in the guise of “Mrs. AlcSweeney.” None but a veritable cynic could sit through the performance without feeling that the audience as a whole were thoroughly enjoying the effervescing joys that bubble and sizzle through the three acts of the stage adaptation of “The Surprising Adventures of Bridget McSweeney.” The play had a strong Irish flavour, with a pleasing smack of Australian patriotism, besides a liberal admixture of sugar refined from the prolific fields that have produced the sweetening ingredients of farcical comedy since the days of our childhood. ' The crowded audience at His Majesty’s Theatre on Monday night accorded a most hearty welcome to Miss Maggie Moore on her reappearance in New Zealand after an absence of nine years. The favourite of years gone by has come back to renew her stage acquaintance with a host of former admirers, and is sure to make a strong appeal to another generation of theatregoers in her rollicking characterisation of “Mrs. McSweeney.” There can be no question that the Irish-Australian matron is a “character,” who is bound to make friends wherever she appears. Miss Maggie Moore certainly was the pivot round which the play moved, and she kept it going with a merry whirl throughout. “Pat,” the dutiful but bouncing “hubby” of “Mrs. McSweeney,” was cleverly portrayed by Mr. E. B. Russell. Mr. Charles Morse sustained the character of “Jack Freeman” with credit, while Mr. Arthur Shirley was quite a success as an impecunious remittance man. Miss Beatrice Esmond, as the President of the Female Emancipation League, had very little to say, but played her part admirably. Miss Glorie Gould, who filled the role of Norah Ranstone, niece of Airs. McSweeney, was most successful in her incidental song: “My Little Bush Lassie.” The other characters were equally well sustained. “Mrs. McSweeney” will hold the boards at

His Majesty’s Theatre for a short season only, so that those who have not yet seen the laughable musical farce should take an early opportunity of making the acquaintance ot the estimable lady.

TOWN HALL.

“THE DANDIES.” Double and treble encores were the order of the evening at the Town Hall on Monday when “The Dandies” gave a change of programme to a crowded and delighted audience, further establishing their reputation in Auckland. The one aim of the “Dandies” is to please, and they do it to a nicety. Grave or gay—and it is mostly gay—nothing comes amiss to them, while in the mater of encores

they are as gracious as they are versatile. Popular songs were further popularised by their members, Miss Evelyn Ward’s beautiful contralto voice being heard to fine effect in half a dozen numbers, amongst them “Out on the Rocks,” “Three Green Bonnets,” “The Night has a Thousand Eyes.” Miss Hilda Lane received an ovation for her finished rendering of “Poor Wandering One (Pirates of Penzance), and Tosti’s “Good-Bye,” while her recall songs were equally well interpreted. That dainty little soubrette —Miss Irene Vere —gave a couple of clever specialties with characteristic charm and vivacity, and she was also obliged to pay a big penalty for popularity. Mr George Morgan was more than pleasing in “Don’t Sing Yip-I-Addy,” the humour of its interpretation being added .to in the refrain by the other members and in response to an exacting audience, Mr Morgan demonstrated his agility in the way of dancing. Mr

Oliver Peacock, with the baritone voice and the attractive personality, captured all with his choice of items and his sympathetic handling of them, and his encore song “Because” only incited his hearers to more insistent demands, which also were acceded to. Mr Gavin Wood’s deep bass voice was heard to excellent effect, and he deservedly shared in the general shower of approbation. In a class of his own is Mr Claude Dampier, one of his cleverest and most laughable caricatures being that of a long-haired, melancholy poet whose effusions, as given by Mr Dampier, simply made the audience collapse. Another amusing contribution of his was a concert burlesque, and the audience could not get enough of him. In the concerted items, the company were very happily placed, amongst

them being a tongue-twisting couplet which roused the audience to peals of laughter all through; “The Village Pump,” by Messrs Dampier, Wood, Peacock and Morgan, in typical smocks; and in direct contrast but in equal appeal, “The Monocle Brigade,” the programme terminating with “The Dolls’ Dance,” by the party, in startling and representative guise. The “Dandies” would not be complete without Mi' Leonard Griffiths, who accompanies them with an efficiency and a happy participation in the various numbers that adds a finishing touch to the general harmony. We can strongly recommend a visit to “The Dandies.”

OPERA HOUSE.

A packed house -again greeted the artists at the 'Opera House on Alonday night. To Madame Zomah must be given pride of place for her great mind-reading act, which simply as-

founded everyone. Quite a novel demonstration she gives of her powers, and the striking setting and staging considerably enchance the “turn,” which is further supplemented by the lady’s effective dressing. There is always a fascination aoout the mystic, and Madame is unusually gifted in casting a magic spell. Blindfolded, she describes any article her partner selects from the audience, and concludes "with a marvellous exhibition of card lore. Phill and Phlora, a conspicuously clever pair, were seen in a, silent comedy acrobatic act, which has some very smart features. They were accorded a great ovation. The Brennans (see illustration) were again in brisk demand for their unique clog dancing exhibition, while Johnson and Wells, coloured comedians, made good at once with their dexterous dancing and specialities. Mr Herbert Clifton was again encored to the echo and gave some delightful renderings. Another pleasing singer was Air Dan Llewellyn who, as usual, scored prominently. Other artistes contributing, to a gay and breezy programme were the Driscoll Boys, with their merry patter, the Gresham girls, Misses Stella Ranger, Doris Royal, and May Lewis, Arthur Stacey and George Wallace. The orchestra was under Aliss Ivy Akerstein’s able guidance.

QUEEN’S THEATRE.

There was no lack of variety in the pictorial programme submitted at Queen’s Theatre on Monday, and patrons were not slow to express their appreciation. “Redemption” was the subject of a decidedly interesting drama, depicting the life of a young girl named Alanette Aumont, who marries a Count, leaves him for a singer and the stage, meets with misfortune, and is eventually befriended by convent sisters, and works out her salvation by nursing. Alanette becomes a hospital nurse, and acts heroically when an outbreak of cholera occurs. The Cross of the Legion of Honour is awarded to her, but too late —for she has succumbed to cholera. This picture created sensational interest, and long queues were much in evidence. Exceptionally thrilling was “The Black Wall,’ a colliery story, showing the workings underground and the horrors of an explosion. Two children are amongst those entombed, and the perilous situations were realistically portrayed. In lighter vein were “Over the Garden Wall,” and “Father buys the Crockery,” which proved real merry makers. Another attractive series is to be screened to-day, the “star” being entitled “The Midnight Wedding,” which abounds in thrilling incidents, coupled with the old, old story.

John Coates, of the Quinlan Grand Opera Company (who are scoring a. big success in Sydney), enjoys telling a story against himself. He relates that on one occasion, while he was at Dusseldorf, a postman came to the Town Hall concert with a letter addressed to “John Coates, tenor--ist, Dusseldorf.” Those who have travelled much in Germany will remember their trouble in proving their identity to the satisfaction of post office officials. Mr Coates was alone in the ante-room, a symphonywas proceeding, and the postman was dubious. “How am I to know you are John Coates, the great tenorist? You have no passport, no evidence of identity, and I can’t wait till the conductor returns.” Air Coates had an idea. Drawing himself up, he poured forth in his most impassioned manner a few bars from “Tristan.” “There,” he said, “what about that?” The postman laughed. “You’re ajoker,” he chortled,-• “and you nearly took me in. The great tenorist! Ha! Ha! I could sing it better myself!”’