THE STAGE

New Zealand Illustrated Sporting & Dramatic Review, 6 March 1913, Page 20

THE STAGE

AUCKLAND FIXTURES.

HIS MAJESTY’S THEATRE. Feb. 24-March B—.Get-Rich-Quick Wallingford Comedy Company. March 10 to 22—Allan Doone March 24-to. April 12—J. C. Williamson, Ltd. Mav 9 to 21—Branscombe Company May 22 to June 7 —J.C. Williamson, Ltd. June 9 to 2»—Geo. Marlow, Ltd. June 26 to July S—J.C5 —J.C- Williamson, Ltd. July 7 to- 19—Allan Doone : Aug. 4 to 16—T. C. Williamson, Ltd. Aug.. 28 to Sept 27—Branscombe Co. Oct 1 to 11—J. C. Williamson, Ltd. PICTURE SHOWS. Queen’s Theatre (Continuous). OPERA HOUSE. Fuller’s Vaudeville

HIS MAJESTY’S.

“GET-RICH-QUICK- WALLINGFORD.” a refreshing- comedy. Hustling along at American speed, “Get-Rich-Quick Wallingford,” in the cheery person of Mr. Fred. Niblo, is amusing hundreds of theatre goers at His Majesty’s with his exhilarating methods of finance, and his diplomatic treatment of “boobs.” The piece is now in its second week, but it is proving as big a magnet as ever, and we strongly recommend everyone not to miss it. Mr. Niblo infects all with his gaiety and clever resourcefulness, and everyone takes a hand in enjoying his preposterous schemes, and wondering how he will extricate himself. As a foil to Mr. Niblo is Mr. Harry Corson Clark, Wallingford’s lieutenant, who, as “Blackie Daw,” goes in advance of the bogus financier, and panes the way for his arrival. He invests a difficult role with a quaint, droll humour characteristic of him, making the part stand out in effective contrast to his chief’s, and sharing with Mr. Niblo the honour of tbe comedy. Another favourite is Mr. James H. Manning, his study of “Andy.” Dempsey being a conspicuously fine piece of work. Miss Beatrice Holloway is a graceful little typiste, and her handling of Wallingford is highly appreciated. Miss Margaret Dale-Owen puts in some good work, while Miss Enid Bennett and Miss Rosalind Smeaton have not much to do . but look pretty—in which they infinitely succeed. The role of the pompous Mr. Battles, of Battlesburg, is capitally taken by Mr Edwin Lester, while the remaining members all make the most of their opportunities in portraying character studies, and assisting towards a delightful interpretation. “Get-Rich-Quick Wallingford” is a piece that can be seen and enjoyed several times. It will be played up to and including Saturday, when the season closes. ALLEN DOONE COMPANY. OPENING ON MONDAY. Mr. Allen Doone, the Irish singing comedian, will open his Auckland season at His Majesty’s Theatre on Monday next, March 10th, in the costume drama “The Wearing of the Green.” The appreciation of romantic Irish drama has been shown in a marked degree by the huge attendances nightly at the Palace Theatre, Sydney. This is no doubt due to Mr. Doone’s familiarity with the Irish atmosphere, and his close attention to detail with regard to the staging of his drama. “The Wearing of the Green” is said to be the finest Irish drama of today. As a picture of Ireland it has never been equalled. It is a beautiful story, one of those that claim the attention all the while as it sweeps along with the speed of an express 'n. The characters of the play give- it a vitality equalling. the num-

erous dramatic incidents. Like clear pools “The Wearing of the Green” reflects the nature of the Irish. It catches the shifting kaleidoscope of country life/ making it particularly interesting on account of its extremely exciting situations- Its enjoyable ove story and brisk characterisation confirm its claim to be the brightest musical comedy drama now being played in any part of the world. Mr. Allen Doone’s voice has been charming Sydney audiences for the past twelve weeks and he will sing on Monday night, “Nora McNamara,” “Ireland, My Ireland,” “A Four Leaved Clover,” and “The: Wearing of the Green.”

The box plan will open at Wildman and Arey’s to-day Thursday.

WIRTH’S CiRCOS.

UNIQUE ACROBATIC EXHIBITIONS AND A WILD WEST SHOW. Wirth’s circus and menagerie, billed as “the greatest on earth,” opened in Victoria Park on Monday with one of the most attractive programmes that have yet been-placed before the public. Elephants, lions, tigers, bears, monkeys, and other wild animals are comprised in the menagerie, which naturally commandje a good deal of attention, although the chief interest undoubtedly centres in the very fine and well-diversified programme presented at each performance. The acrobatic displays provide the real feature of the show, these being of an exceptionally clever and ably sustained character. The Bastien Family are responsible for the major portion of these, and Hilary Long for the remainder. The latter artist gives an absolutely uniaue entertainment, and one that really seems to invert the natural order of things. A man who dances on his head may well claim to be a phenomenon, but a man who carries

the thing further, and . does it on the bar of a swinging trapeze, and who adds to the sensation he causes by walking up and down stairs on his head, and then varies the performance by sliding down a 75-foot piano wire; stretching from the top to the bottom of the mammoth tent, should rank as one ,of the wonders of the world. In the trapeze act Hillary Long lighted a cigarette, smoked and drank, twirled his legs about in mid air, and swung round again and again, while preserving a perfect balance with his head upon the steel bar, and, whether stationary, or swinging violently to and fro, seemed to manage equally as well. He appears to have a wonderfully muscular neck which undoubtedly helps him out.

The Bastien Family, consisting of nine members, ranging from the father and the eldest son, a well-de-veloped and finely-proportioned young fellow, in the bloom of early manhood, down to a child of from four to five years, give a wonderfully clever and agile performance, embracing some new and many old balancing and tumbling tricks. The children curl themselves up in the most extraordinary fashion, arms, legs, and heads, being twisted about in all sorts of fantastic ways. Their tumbling is also very clever and some extraordinary balancing feats form part of the programme. But the most sensational turn is that in which Louis and Florimund (father and elder son) give a performance on horseback, which includes many daring feats, while the horse is running around the ring, and a head to head balancing act, which requires to be seen to be fully appreciated. The somersaulting, which forms part of Florimund’s performance, is very cleanly done, and the manner in which he contrives to alight head first on his father’s head and to retain his balance, while the horse gallops around the ring, causes more than a passing thrill. It is a wonder-

ful performance, and equally wonderful is the way in which, When_ the horse is dismissed, Mr Louis Bastien walks off from the ring carrying his son with him, their heads balanced on each other.

Of horsemen, and, horsewomen the circus has many. There is Mr. A. Christie, whose trick riding and somersaulting while manoeuvring on a horse galloping at full speed around, the ring, is very clever, the turn finishing wth Mr. Christie riding and driving seven horses together. Then there is Miss Edith Cooke, a capable and clever horsewoman on her horse Major, who has been taught to dance, in perfect time to waltz music. Mr. Wellesley Cooke, another, trick rider, has a fine horse, which he calls Earl

Dudley, which also does some very clever things, and then, last but. not least, there are the American cowboys and Australian stockmen, headed by Mr. Art Boden, with their lasoding work. Mr Boden’s performances with the lassoo showed what an adept he has become in the use of the lariat, the exhibition ending by his spinning out 100 feet of rope in a hoop. Other members of the troupe successfully essayed the task of riding “outlaw” horses —buckjumpers, etc. —the whole performance proving very interesting. Other artistes included in the programme whose turns remain to be noticed are Signorita Dolinda in a trapeze act, Miss Daisy Hartley on the tight-wire, and Miss Mamie in a trick riding display, all of whom are well received. There is also Herr Schmidt and his troupe of performing Polar bears, included in which is a black bear, gifted with an almost human sense of humour, and which provides a good deal of comedy in connection with the exhibition. The elephants, handled by Captain Burrows, also give an interesting turn, one of their number, “Toby,” being exceptionally well trained and answering to his master’s call with rare

intelligence. Altogether, Wirth’s circus is well worth seeing, and those visiting it may depend upon spending a very enjoyable afternoon’ or evening. It should be added that the comedy element is well catered for by a number' of clowns, who are responsible for many humorous interludes.

OPERA HOUSE.

The vaudeville boom continues and nightly the Opera Hbuse is' comfort--ably filled by patrons of this particular. form of amusement. The programme submitted is entitled to rank with the. best given in Auckland and the audience is not slow to appreciate the good things provided. The star turn is given by the Dentines “upside down’’ ladder workers, whose performance is not only novel, but wonderfully clever. Another clever turn is a sketch entitled. ‘ The New Dressmaker.” The artistes; Mr. Frank Hawthorne and Miss Ida Ingersole are decidedly witty and entertaining, and their sketch, a farcical comedy, is well done. Mr. Frank Hawthorne is irresistibly funny as his sweetheart’s dressmaker, and the situations that ensue are as amusing as they are embarrassing. Athas and Collins, a pair of clever comedians, were again seen to advantage in their amusing skit, while Ernest Pitcher was as successful as ever with his comicalities. The established favourite, Mark Ericksen, sang several new songs and was well received. The unique turn of Electra created much interest, and this “Human Dynamo” will not scon be forgotten by those who have witnessed •is performance. As usual the Punchinellos take up the first part of the programme, but their items are fresh and well selected, and therefore always welcome- Will Raynor, the tenor, is nightly applauded for his fine singing. A number of new artistes are billed to appear on Monday evening, when a change of programme will be made.

QUEEN’S THEATRE.

There are no better or more discriminating caterers to the pictureloving public than Messrs. MacMahon and Dodder, and it is not to be wondered at that the Queen’s Theatre is always the centre of attraction. With two programmes a week, outstanding in merit and variety and covering a wide range of subjects, there is never a complaint from even the most blase, so that the boom is as merry as ever. A subject that excited close interest on Monday’s bill-ot-fare, was “The Smart Dady Detective,” a sensational drama which revealed the ready wit and penetrative powers of a feminine Sherlock Holmes. The various thrilling incidents were realistically depicted and evoked hearty applause. Two firstclass samples of cinematographic art were expressed in “Winter Sports in Galicia” and “The Manufacture/ of Combs,’ the latter familiarising one with some interesting processes of an important industry. Daughs were easily obtained with “Which is Which?”, while “Mother of the Ranch” and “A Bold Venture” had all the elements of love and adventure to make them sufficiently alluring. A fresh series will be presented in to-day’s budget.

Mr. Leonard S. Monk is in Auckland making arrangements for the opening of the Allen Doone Company on March 10. “The Wearing of the Green” is the opening piece.

The Asche-Brayton Organisation. This is the farewell season in Melbourne of the Asche-Brayton Company', fbr with “A Midsummer Night’s Dream” the Company brings its visit to a close. The hold this organisation secured on popular approval was never better indicated than by the present season. Commencing with “Antony and Cleopatra,” which proved a great success in. every way, the revival of “The Taming of the Shrew” followed. Though staged every time the Company appeared in Melbourne, it drew crowded houses, and the last performance was marked by a scene of enthusiasm that was reminiscent of a first night dr a farewell at the end of the season. “A Midsummer Night’s bream” has hit playgoers hard, and forms a fitting example of the genius of Mr. Asche as a producer. The Asche-Brayton Company goes to after Melboiurne, opening on Easter Saturday night.

GREENROOM GOSSIP.

i;iRST GOSSfIPC The Crosby Braund Concert Company.

That world-renowned Austrian violin virtuoso, Herr Raimund Pechotsch, •is - the star artist of the Crosby Braund Concert Company, on tour throughout the Dominion, opening at the Town Hall, Auckland,- on Good Friday evening next, under the direction of Mr. Crosby Braund, the great American Entrepreneur. At the initial performance, an exceptionally fine sacred and secular programme will be submitted, comprising gems from Rossini’s beautiful Cantata Stabat . Mater — which has not been given in New Zealand for the past seven years—and items from Stainer's Crucifixion. Also, Herr Pechotsch will play the beautiful solo “Moses in Egypt”— which made the great Paganini, its composer, so famous —on one string only. On this occasion, Herr Pechotsch will be supported by the following unique coterie of artists: Mrs. Stewart Stevenson, the brilliant American soprano; Miss Mabel Seccombe, Auckland’s favourite contralto; Mr. A. H. Ripley, the gold medallist and silver-tenor; and Mr. Alan Bailey, the premier basso (gold medallist). Mr- Harold Gregson will officiate at the grand organ,

while Madame Pechotsch will be the - accompaniste. Undoubtedly, it is one of the strongest combinations that has. ever set out to tour this country. In brief', it may be said, that t’he playing of Herr Pechotsch is a revelation—a triumph of finished technique —the tone-poem of the master-pas-sion that is born of genius. Moreover, in the interpretation of histrionic studies, he proclaims himself to be an artist to the finger tips.

The Company’s Itinerary. The following is th e itinerary of the Crosby Braund Concert Company tour:- —Auckland March 21, Thames 22, Paeroa 24, Cambridge 25, Hamilton 26, Marton 27, Palmerston North 28, Kaiapoi 31. On April 1, the company give a performance at Ashburton, following up consecutively at Timaru, Dunedin and Oamaru. Invercargill will be visited on Monday April 7, Mosgiel 8, Balclutha 9, Christchurch 11, Rangiora 12, Carterton 15, Wellington 16, Dannevirke 17, Hastings 18, Napier 19, Feilding 21, Wanganui 22, Eltham 23, Hawera 24, Stratford 25, finishing up at Inglewood on Saturday April 26.

Fashions in “Milestones."

As a rule men are not so susceptible to the vagaries of fashion as the other sex, but the production of “Milestones ”in London brought about

one or two changes in masculine fashions, which have been widely adopted. The first was the wearing of side whiskers—an. innovation that was very striking after the long popularity of the clean-shaven face. Another was the revival of the dld-fash-ioned high stock, which gives a scholarly and refined setting to the face. The “continuations,” too', showed a chafige towards the “pegtop” style, and the cut of the coats was likewise influenced by the style- affected ' in .“Milestones.”

“The Bush Girl.”

“Record takings for the Palace Theatre at the prices/’ id the gratifying news of t!he opening of 5 the William Anderson Dramatic Co. is Sydney last Saturday. The play is "The Bush Girl” by Jo. Smith, and went splendidly, in spite of the fact that the cramped condition of the stage in comparison with The King’s Theatre, Melbourne, caused one or two little hitches. These were, however, all put right on the second performance.

The Process of Moving. The J. C. Williamson companies in Melbourne and Sydney are getting ready for the process of changing over, and last nights are being announced. The Oscar Asche-Lily Bray-

ton Company are giving their final performances of “A Midsummer Night’s Dream,” and are making their last appearance in A season in Brisbane will be followed by the farewell visit to Bydney. The first production of “Milestones” will be given at Melbourne’s Theatre Royal on Easter Saturday night. On March 15, the New Comic Opera Company will' open at Her Majesty’s, Melbourne, in “The Chocolate Soldier,” followed by “The Codnt of Luxembourg” for the first time ih Australia. The “Puss in Boots” pantomime will have its premiere at Her Majesty’s, Sydney, on Easter Saturday night.

The Taste of Drama.

Mr Eardley Turner, the well-known actor whose literary and journalistic ability is frequently in evidence in numerous contributions from his pen to the leading newspapers, had an interesting and exhaustive article last week in the Sydney “Evening News” with reference to “The Taste in Drama,” with particular regard to Australian audiences. Mr. Turner took the enormous success of “Milestones” in Sydney as an illustration of the' fact that playgoers in this country are ready to welcome the better class of plays. “The success of ’Milestones’, ” wrote Mr. Turner,

“which has run - for many weeks in Sydney, is a circumstance of happy augury for the future of the drama in Australia. It stimulates: the belief —which may have somewhat languished on occasions—that the Australian ta§te in plays is as consistently high as anywhere else in the world.”

Of Sir Herbert Tree, who is said to be preparing- a book of. essays for publication, 'there are many good stories told.

Oirei day, during a rehearsal At His Mja|jestj(’s. Theater, he told a rather incompetent young actor to step' back a little. The actor did so, and the rehearsal proceeded. After a few seconds Sir Herbert repeated his request: “A little further back, please.” The actor stepped back again. Sir Herbert surveyed him critically for a moment, and continued the rehearsal. Then, for a third - time, Sir Herbert asked him to stand back a little.

“But,” (protested the actor, “if I stand farther back I shall be oh the stage altogether.” “Yes,” agreed Sir. .Herbert, ‘‘that will be much better.”

The Musical Blanchards, Instrumentalists.

The above artists draw the attention of picture showmen to the effect that they will accept a few engagements prior to their departure for America. From Press critiques to hand, the Blanchards have been a success everywhere they have shown, having played the (principal' mjigie halls rnroughoat Australia, Africa, and China. Tney are considered to be two of the most versatile and accomplished musical specialists, introducing the latest ana most novel musical instruments and ouriesque novelties. Their performance is described as a delightful combination of melody, mirth hnd mystery, and a rare musical treat for music lovers.

Mr. Frank Hawthorne, Comedian.

Mr. Frank Hawthorne, whose amusing sketch is one of the features at the Opera House this week, is meeting with a hearty reception from those who remember this clever comedian some seven or eight years ago. His last appearance here was with the Meynell and Gunn Company, in “The nittle Stranger,” while prior to that h e made his name good with the Anderson Company for his fine character work. Since then Mr. Hawthorne has been on the big Moss-Stohl circuit at Home, fulfilling engagements at the various theatres owned by this world-renowned proprietary. “Age lias not withered, nor custom staled his infinite variety,” and Mr. Hawthorne, who is blessed with an attractive personality as well as a true sense of humour and exceptional powers of mimicry, is well equipped for the difiicult art of entertaining the public.

A Case of “Getting-Poor-Quick.” Mr. Harry Corson Clarke had hard luck in being robbed of some £5OO during his-Auckland visit. The American actor thus unburdened himself to an interviewer:—“My money, has, of course, gone. I’m never likely to see it again. The thief, who was probably a slick American crook, can post the four £lOO notes to himself at Sydney or Melbourne Post Office, and cash the two £5O New Zealand notes here. Do I know the numbers of the notes Say, don’t spring that joke on me. Whoever thinks of looking at the number of a bank note in his possession? Why did I carry so much money about with me? For one thing, Americans on tour are in the habit of carrying ‘wads/ and for another there is so much red tape about intercolonial banking that w e cut it right out. No doubt, too, we became too trustful. This country seemed so terribly honest that by the time we reached Auckland we calculated that there were just about no risks in the burglar line. In lots of the hotels we’ve stayed at there were not even locks on the doors, and when we got here., we didn’t even bother to ask the hotel proprietor for the use of the hotel safe.’’

“The Beggar Girl’s Wedding.” “The Beggar Girl's Wedding,” at the Adelphi, is proving to George Marlow, Ltd., a worthy’ successor to “The Monk and the Woman.” It i* said the author, Walter Melville, wrote the drama from actual facts. A young and wealthy? man in London, going home one night, helped a fas-

cinat.ng but poor girl on the Thames Embankment. Next morning he discovered through his lawyer that he must he married on that day or he would lose his fortune. There and then he asks the beggar girl, and married her. The romance was pu lished in London shortly over twelve months ago.

BREAD AND SUGAR AS ACTORS.

FIRE, WATER, LIGHT AND NIGHT ON THE STAGE. MAETERLINCK FAIRY PLAY. There are many remarkable things about “The Blue Bird,” Maeterlinck’s fairy play, which is to be produced at His Majesty’s Theatre on Easter Saturday, by the J. C. Williamson Co., and not the least remarkable is the fact that there are two principal mortals in the play—two little children, Tyltyl and Mytyl. Their father and mother and a neighbour’s little daugh - ter conclude the list of humans in the philosopher’s play. The remainder of the characters are elements, trees and animals. Other characters are Bread, Sugar, Fire, Water, and Milk, Time, Light, and Night, and, as special companions to the children, we shall see Tylo, the dog, and Tylette, the cat. The remainder of the characters, which include animals, are spirits of those who are dead —stars, sicknesses, shades, and the like- The programme of “The Blue Bird,” is certainly the strangest programme of a pantomime that has been seen, for the play is a pantomime raised to a high level by the genius of Maeterlinck, who has chosen this mode of conveying a great idea to the public. Few stage managers have had a more difficult task than to follow Maeterlinck’s stage instructions, for he writes, as Mme. Maeterlinck told an “Express” representative, with an utter disregard for stage conventions. The manager has overcome the difficulties, though the secret of how the transformations have been done will be kept. Thus in Act I, the children turn a magic diamond and, according to Maeterlinck’s instructions “the souls of the quartern loaves in the form of little men in crust-coloured tights, flurried and all powdered with flour, scramble out of the bread pan and frisk round the table, where they are caught up by Fire, who, springing from the hearth in yellow and vermilion tights, writhes with laughter as he chases the loaves.’’ Later, too, “the tap begins to sing in a very high voice and turning into a luminous fountain, floods the sink with sheets of pearls and emeralds, through ' which darts the soul of Water, like a young girl, streaming, dishevelled and tearful, who immediately begins to fight with Fire.” After this, it seems a mere trifle to arrange for the appearance of Milk, who rises from a broken milk-jug, “a tall bashful figure, who seems to be afraid of everything.”

All through the Play wonderful things are made to happen in the search for the Blue Bird, which is the secret of Happiness- Maeterlinck has materialised in his fantastic imagination th e “Perfumes of the Night and Dew,’’ and in one scene “The Forest,” the chief characters are the trees.