Theatrical Topics.

New Zealand Illustrated Sporting & Dramatic Review, Issue 1172, 26 September 1912, Page 6

Theatrical Topics.

“I do not know w-here to look for a better exponent of Shakespeare,” wrote Edward Morton in the London "Referee” of Miss Lily Brayton. “The only actress she has to excel on the English stage to-day is—herself.” * * ❖ * One of the most important productions of the Asche-Brayton tour wiT be Shakespeare’s “The Taming of the Shrew,” in which Mr. Asche plays two roles —Christopher Sly in the induction, and Petruchio in the clay. “Mr. Oscar Asche could hardly have chosen anything more suited to his own especial gifts, or more likely to have hit the taste of an audience.” wrote a Melbourne critic on the performance. “He plays two characters as wide as the poles asunder of Christopher Sly and Petruchio. As the former, as a character study, he commands admiration, and there is no less genius in the performance that follows. The difficult part of Petruchio must surely be Mr. Asche’s masterpiece. He has given it a new lease, of life in England, where he has played it 700 times. Miss Lily Brayton gives a performance of Katharina in keeping with her deservedly high reputation and brilliant attainments. The : company which' the two principals have brought with them makes probably the best Shakesperian cast that has yet been seen in Australia.” “The Taming of the Shrew” will be put on at His Majesty’s on Monday for a four nights’ season.

The Hamilton-Plimmer-Denniston Company have done an exceptionally heavy share of travelling since they last yisited New Zealand, when they left such pleasant memories behind with their productions of “Lover’s Lane,” and other plays. They have been constantly on the move, visiting every town of importance between Brisbane (Queensland), and Kalgoorlie (Western Australia). They have played Sydney, Melbourne, Perth and Adelaide, two seasons each, and their tour has been one succession of triumphs. They are at present scoring heavily with their trump card, “Nobody’s Daughter,” in the principal towns of the South Island, and will open a season at His Majesty’s on Monday, October 14th; This, from all accounts to hand, great play, “Nobody’s Daughter” should prove a highly acceptable dish to Auckland audiences.

: E. H. Sothern recently presented to the dramatic museum of Columbia University several interesting theatrical souvenirs. Among them are David Garrick’s walking stick and a pair of his shoe buckles, the latter once the property of the elder Sothern, and presented to him by the Rev. Charles Klanart; the sword which Edmund Kean carried as Macbeth, a brooch worn by Edwin Forrest as Hamlet. Edwin Booth’s King Lear wigs, and Liston’s snuff box.

In connection with the purchase of the theatrical business of the Harry Rickards’ estate, the engagements w’ith imported artists extend over the next two years, and provide for a constant sup-

ply of the world-famous performers during that time. Arrangements had been made for bringing to Australia the cream of American, European, and English vaudeville artists. Among them are Cissy Loftus, the famous imitator, and Harry Lauder, the Scottish comedian —the two .highest-sal-aried artists on the vaudeville stage. All these engagements and the liabilities entailed by them have been taken over by Mr Mclntosh.

“Nobody’s Daughter,” “A Woman of no Importance,” and “A Village Priest” are a trio of gems the Plim-mer-Denniston Company will present during their New Zealand tour.

Says the Melbourne “Age” in a ifirst night notice: “While Madame Kirkby Lunn’s great reputation has long since been here, this is her first appearance in Australia, and her success was immediate. The glorious .voice, with its true contralto timbre, Jits smooth rich quality, and great range, impressed from the first opening of the Saint-Saens aria. What, however, is more, here is not only a i ne voice, with perfect training, but an artist in whom one sees deep feeling, keen perception not only of the music, but of the text —a combination, in fact, of musicianship and rare natural gifts.” Madame Lunn will beheard in New Zealand shortly.

This is surely the record for a unique court sentence. It comes from America. A defendant was ordered by the judge to remain away from theatres for a whole year be-

cause he laughed too much. It appears that a certain young man, aged 21, named Farrar, went to a vaudeville theatre to laugh. He laughed so much at a “sister act” that he was arrested on a charge of disorderly conduct. He laughed himself into court and out of .it, and is probably still laughing over the whole affair. “it certainly was funny,” Farrar said, grinning when arraigned in the Desplaines Street Court. * “My, but it was funny. There were two actresses, judge, that called themselves the ‘charity sisters,’ and they’d make anybody laugh.” Farrar became convulsed with laughter at the very thought, and those in the court-room began to snicker. “What were the girls doing?” asked the Court, interested. “They were doing everything you could think of. Ha, ha, hee, haw. I got to laugh every time I think of it.” Farrar laughed until the tears rolled down his eheeks.