THE SATGE

New Zealand Illustrated Sporting & Dramatic Review, Issue 1260, 11 June 1914, Page 34

THE SATGE

TOWN HALL.

MISS ELLEN TERRY . Unquestionably no actress of the present day has had such experience as Miss Ellen Terry of the actual hard work that life in the profession entails. The sum total of mere words committed to memory from the start to the jubilee of her career is of itself remarkable. Add to this the thousands of hours devoted to long and tedious rehearsals. Then the busy years of actual performances of glorious, but mentally and physically exhausting parts. Take into account the countless occasions on which she has whole-heartedly given her services to the cause of charity. Remember the enormous amount of study that has had to be given to the developing of each beautiful character after perfection in the speeches has been attained. And after all this consider the hundreds of thousands of miles of wearying travel that has had to be undertaken. It is a record of energy for which anyone must have the profoundest admiration. It is all the more amazing, therefore, to think that at a time when most people would be content to regard their active life’s labour as complete, Miss Terry has undertaken what is, perhaps, the most arduous of all. In her illustrative recitals on the heroines of Shakespeare, Miss Terry not only entertains her audiences for two hours without interruption with her analysis of the various characters, the representation of which has made her world famous, but acts some half-dozen of them with a skill and fascination that makes this happily-inspired setting of Shakespeare a new delight. Some years ago Miss Terry appeared before the British Shakespeare League and spoke to the members of that body on “The Letters in Shakespeare’s Plays,” and from this came the present Illustrative Recitals, which have already been enthusiastically received by the public of the United States, and by enraptured audiences in England, both in London and in all the principal provincial cities. It is beyond question that these opinions will be endorsed by one and all who have the privilege of hearing Miss Terry in the course of her tour through New Zealand. Her first discourse will be given in the Auckland Town Hall on Thursday. June 11.

OPERA HOUSE.

It took some tactful engineering on the part of the manager (Mr. D’Arcey Perry) and his alert staff to seat the crowds that thronged the Opera House on Monday. Even then it was “house full” before 8 o’clock, and hundreds had to be turned away. Deaves’ Mannikins achieved success from the start with a miniature vaudeville entertainment, the cleverly worked dolls causing much amusement with their stage business. The equipment is most complete, down to the boxes and the orchestra, and the “turns” of the mannikins and transformation scenes were greeted with rounds of applause which were acknowledged by Mr. Deaves and his partner. Johnny Small and his dainty sisters demonstrated their terpsichorean ability to telling effect, a feature of their exhibition being the latest American craze, the triple maxixe. This evoked a furore, and the trio had to respond with an eccentric waltz. Miss Jessie Millar again scored heavily in her cornet and piano-accordeon solos, and again shared popular honours with her pretty little sister, who sang and danced most pleasingly, and was encored for her imitation of a South Sea Island dance. Hayes and R’lves gave a much appreciated turn, in which song and dance alternated. The vivacious gaily-dressed Parisienne had many longing glances cast at her, but the illusion was rudely dispelled at the conclusion, when the charmer threw off his feminine dis-

guise. It was a great blow to many, and evoked shrieks of laughter. The four Casting Lamys repeated their sensational aerial act of last week. Their double and triple somersaults

in mid-air held the audience spellbound. The intrepid artistes were accorded a tornado of applause. Bevan and Flint made another welcome appearance in a musical duet,

the handsome Miss Bevan being again the centre of admiration. The New York Comedy Four were heard in fresh melodies, and were recalled time after time. They are big favourites with all. La France opened the bill with several impersonations and closed it with a series of artistic poses which elicited much interest. QUEEN’S THEATRE. At Queen’s Theatre the head liner is “Black Roderick, the Poacher,” a story bristling with as many thrills and sensations as its title indicates. An all-star bill supports it, and covers a wide range of topical, dramatic and humorous subjects. WEST END. A woman wavering between love and ambition is the central note of the star picture at the West End Theatre, “Where the Road Forks.” The triumph of love is demonstrated in some fine scenes. Drama is further represented in “The Reward” and “Powers of the Air” (a heroine and wireless telegraph play a prominent part). Saturday’s races, the Gaumont Graphic, “The Italian Navy,” and two genuine laugh getters make up a firstclass programme. GLOBE THEATRE. “Watches of the Night” was the star film screened at the Globe on Monday. It tells a story of a man’s crime and a woman’s love. An actress marries a man of rank whose father disowns him. The young man speculates, loses, and steals some important documents to retrieve himself. It preys on his mind and he shoots himself. His wife, to save his family’s good name, takes his dead body into the streets where it is assumed he has been murdered, and sets fire to the office from which the documents were stolen. “By the Sad Sea Waves” contains a moral for husbands. “Mabel’s Stratagem” is a keystone comedy with merriment as its keynote. Visitors in town should note that the programme will be changed on Thursday. LYRIC THEATRE. “Where the Road Forks” is the title of the principal film showing at the Lyric this week. An allegorical drama in which a woman’s life is reviewed, it makes a powerful apppeal with its conflict between the spiritual and the material. It is magnificently portrayed. Included in the programme are the usual budget of the world’p news, and the Ellerslie races in picture form. In instructive vein are scenes from the Italian Navy, while comedy is provided in “The Life Saver” and “Between the Showers.” A couple of good dramas complete the list. Maud Allan and the Cherniavskis made their final appearance at His Majesty’s, Auckland, on Saturday, a crowded house greeting the gifted combination. The rhythm of motion as demonstrated in “Am Meer,” “Peer Gynt Suite,” “Barcarolle,” Chopin’s Funeral March, Bacchanal,” “Moment Musical,” and the wonderful accompanying music of Leo, Jan and Mischel Cherniavsky made up a rare artistic treat which will not readily be forgotten. The audiences showed their appreciation in a markedly demonstrative manner, and Miss Allan at the conclusion of her final number had to respond to numerous curtain calls. The trio in their solo contributions met with encorious receptions after each number. Miss Allan was presented with a beautiful bouquet. The Company left by the Riverina on Monday for Australia, the season opening in Melbourne. SS * * * Mr. Chas. M. Berkeley arrived in Auckland on Monday. His shadow r this time forecasts the “Forty Thieves” pantomime, which opens at the end of the month.

IM PERSONAL TOUCti. Mr. Biascheck (who is directing Miss Ellen Terry’s tour) emphasises the point that the actress does not give lectures. “Just chatty, friendly, unconventional talks on Shakespeare’s heroines, with illustrative acting from her most effective scenes.” What a revelation for Shakespearian lovers' « « * * The “Quality of Mercy” speech delivered by the greatest Portia that ever lived since Shakespeare wrote “The Merchant of Venice” —Ellen Terry—is probably the very finest piece of elocutionary work that has ever been heard on this side of the line. This famous speech is included in Miss Terry’s discourses on the “Triumphant Heroines of Shakespeare.” * • » • Mr. Dave Williams has been appointed assistant manager of the Empress and Opera House pictures in Wanganui. Mr. Williams has had fourteen years experience in the theatrical business, and has run the gamut from scene painter to acting utility parts. As advance for the first “Dandies” Mr. Williams made many friends on the road, and his courtesy and business acumen should stand him in good stead with the public in his new office in Wanganui.

ELLEN TERRY—THE WOMAN! A CHAT WHILE SHE “RESTS.” “I’m 66 and a ‘bittock’ ”! as J. M. Barrie would say. Don’t mind confessing my age! Not at all. Why should I? One can’t hide the obvious. Look at my hair. Doesn’t that spell old age?” And Miss Ellen Terry—queen of the stage, master of the art to which she has -given a life long devotion, the perpetually young, in spite of her protests—sighed lugubriously as she thrust her fingers through her grey tresses.

“Old age does not wither her, nor custom stale,” murmured the interviewer.

Then the next moment —all smiles. Her “infinite variety” strikes one. That “variety ’ which has made her equally successful as: “Juliet of love, Miranda of the mind, Katherine of quips, and beauty’s Rosalind, Truth’s Portia, Beatrice the madcap merry, All heroines wrought of the master’s heart.”

“I’m resting,” she informed a “Review” representative, on Saturday. “I’ve been out shopping to-day, and I’m going to see Maud Allan to-night. So I’m reserving my forces. I went the night before too. Such an artistic delight! and such wonderful boys the Cherniavskis! and what an understanding public! Do you know that it gave me much pleasure to watch them enjoy the interpretation. That is a good omen for me, I thought! They can understand.” “Sir Henry Irving and I often thought of coming over to Australasia. But somehow .t never came off. It would have meant such an equipment. For he would have produced his plays entirely as in London—the same scenery, the same company, every deta.l the same. He had the same people in his company for 20 years.” “My mission is to unfold the beauties of Shakespeare; to try and express in my humble fashion a life’s study of the works of the Bard of Avon —in simple talks. Not lectures! emphasised Miss Terry. “I’m not a learned professor. I’m only a labourer in the trade. I don’t want to tell the people what they know themselves. But I do want to stimulate them —particularly the young —to a thirst and appreciation for the great poet.” “I should be just as sorry to see a new country without a church as without a theatre,” she added. “One is as vitally important as the other. But both must be done well. The pulpit and the stage have a great influence. But it must be good! Otherwise it were better to be without.” A mention of Laurence Irving, and Miss Terry brought out a treasured photograph of the ill-fated actor. “Poor boy,” and her eyes grew dim. Then other interesting photographs were shown —of her husband James Carew; of her son Gordon Craig, the noted artist; of her nieces and grandchildren; of her pet dogs, and of her beautiful homes with their lovely gardens. “They make me homesick when I look at them,” and the woman in her was dominant. A post on one of Miss Terry’s places in King’s Road, Chelsea, came from the historic Nell Gwynne’s house. It is called King’s Road from the fact that the King used to go that way to visit Mistress Gwynne.“Look at my flowers” enthused the actress. The room was redolent with the scent of the roses, the fragrance of the violets, sent by admirers. “How I appreciate their kindly thought.” A knock at the door. Miss Terry’s beef tea. “Now take down this recipe, it’s my very own. And when you feel run down take a bowl of it. It will give you fresh life! And then you can tell your public, that even if I’m not a good actress, I am a good cook!” .MR. JOSEPH BLASCHECK. Many people will have pleasurable memories of Mr. Joseph Biascheck, who paid New Zealand a visit about three years ago. Mr. Biascheck presented his remarkably clever entertainment, “Society Snap Shots,” at the Auckland Town Hall,in which he introduced us to a series of wonderfully good character impersonations. Since that time Mr. Biascheck has been far afield and has visited South Africa besides giving a long season at the Queen’s Hall, London. The London Times, in commenting on his

performances, declared that they considered him the finest entertainer to be seen on the English platform to-day, and devoted nearly a column of this paper in praise of his work. Mr. Biascheck conceived the idea of inviting Miss Ellen Terry to visit Australia and New Zealand, and after much negotiation was fortunate enough to induce the famous actress to undertake the journey. The public of the Southern Hemisphere are therefore under a deep debt of gratitude to this enterprising gentleman for giving them the opportunity of hearing this great genius of the stage. Many admirers of Mr. Biascheck have expressed a wish that he should come to New Zealand again and give us another opportunity of hearing him in that style of entertainment in which he excels. It is just possible that we may see him here again before long. In the meantime he will appear in one or two short monologues on Miss Ellen Terry’s programme at the Town Hall on Thursday and Saturday, June 11th. and 13th. “THE VISION OF SALOME.” MAUD ALLAN EXPLAINS. Miss Maud Allan gave a “Review” representative some interesting details of her famous “Vision of Salome” fiance, which, by the way, she will present in Australia. “Nothing annoys me so much,” said Miss Allan, “as when people call it the Salome dance. It is founded on the passage, from the Bible, where Salome dances before King Herod, and is instructed by her mother to ask for the head of John the Baptist in reward. My idea is to portray the thoughts of the young girl when she returns to her room after the banquet scene. It has nothing to do with the Salome of Oscar Wilde. Salome is a young girl of about fourteen, livingin an age when ‘Thou shalt not kill’ was no part of their religion; when a man’s head could be cut off for the slightest misdemeanour, or for none at all.” “The curtain rises on Salome standing as if turned to stone. She hears the strains of the music floating in; she hears the applause as in a dream. The vision of the severed head comes up before her. She imagines she takes it in her hands. Some unknown influence enters the soul of the child. She implores, the head to tell her why her mother had demanded it. She offers it everything, her face, her eyes, her innocent body, if only it will tell her. She is pampered and spoilt, and has never had a whim denied her. ‘Why, why, why,’ she implores, ‘has this been done?’ She wakes from her vision and finds there is no head. Terrorised, she falls dead in expiation of her mother’s crime.” Miss Allan’s conception makes a strong dramatic appeal. The story interwoven is introduced to relieve the heavy atmosphere. There is no element of gr issness in it. “I am an upholder of all that is noble in womanhood,” said Miss Allan, “and it would repel me to debase one of those instincts. My body is the instrument upon which I play. And that is why I hate to give my ‘Vision of Salome’ dance unless people come with clean, pure minds, ready to receive it as it is given. I must have their actual support. I am sorry that arrangements did not permit my giving it in New Zealand.” A special orchestra is needed to do it full justice, the music being old Hebraic melodies. Provision has already been made in Australia for this essential in the presentation of the much-discussed dance. Miss Allan introduced her dance in London in March, 1908, and really opened up the way for the presentation of Biblical stories on the stage — “Joseph and His Brethren,” “Samson and Delilah.” For twelve or fifteen times a week for nine months in 19089 Miss Allan presented her famous dance without any diminishing of its popularity. STUDENTS’ CARNIVAL. On Friday evening the Auckland University College Students gave vent to their feelings of hilarity before an audience of 3000 people in the Town Hall, when the fun waxed fast and furious untramelled by the absence of the Chancellor whose memories of past Capping days are not pleasant} ones. The students kept the vast assembly highly amused for a couple of hours. The make-ups were feauully and wonderfully made rendering it absolutely impossible to reveal their identity. The need of a suitable Univ-

ersity was expressed in songs- and dialogues while the skits upon local celebrities created great amusement. The students discussed a big proposition when they chose politics for their theme. Every one who took part in the Carnival worked hard to make it a success, and Mr. R. Eagleton must be congratulated upon the successful impersonation of his make-ups. Suffragettes, specials constables, and an aeroplane were introduced and this combined with the various interludes helped to make a pleasant entertain-f ment. The President of the University announced amid cheering the successful graduates for the year together with a number of assumed telegrams including one from the Chancellor of the University signed “Bobby.”