OPERA HOUSE.

New Zealand Illustrated Sporting & Dramatic Review, Issue 1571, 2 June 1920, Page 34

OPERA HOUSE.

A discriminating dash of variety makes the present vaudeville programme offered by the Fuller Proprietary welcome to all tastes, and Monday’s large audience readily gave it the seal of their approval. Numbered amongst' the new arrivals were the Fentons, who quickly established their claim to be billed as “Dental Aerial Marvels.” Their trapeze work was daring and sensational, the graceful auburn-haired girl performing many difficult feats in mid-air while suspended by the teeth of her male partner. Their all-thrilling feats were marked by neatness and agility, and culminated in a dizzying dental finale that evoked plenty of applause. The Musical Carlsons were responsible for an agreeable interlude, in which xylophone and disc playing were featured. Mr. Carlson struck a new note with a common saw, demonstrating that it has more uses than it is generally or-

dained for. A “talking” fiddle was another instrument from which he extracted sweet music, and a good finish was provided with Mr. Carlson at the piano and his lady partner at a novel cylindrical instrument. Another new artist was Princess Mysteria, the “Hindoo Mysticist,” who demonstrated the art of thoughtreading and caused plenty of amusement with her apt answers. Mr. George Ross made a direct hit with his pleasing air of camaraderie and his eccentric mode of entertainment through musical channels. Mimicry of the items at a village entertainment composed the larger part of his turn, which was also tunefully supplemented by a saxophone solo. In return for continued applause, Mr. Ross gave an amusing imitation of an intoxicated trombone player. Edwards and Parkes were, as usual, associated in a happy offering. Miss Rosie Parkes was a bewitching figure as she recited “The Five-fifteen Train” and in a ragtime due with Mr. Edwards. The latter, besides cooperating in the humorous side, gave an impressive delivery of the tragic monologue “The Might-Have-Beens.” Le Mounier repeated his attractive jiu-jitsu act, showing the various attacks and throws of this system of self-defence, and introducing several new holds. Ray and Olga were diverting in samples of song, jest and dance. Fred Webber and Gladys Shaw —the former with piano and cornet, and his partner in comedy work — made up an acceptable turn. Miss Norah Burke, dainty and artistic in her songs, and Miss Kitty Gourlay, Scottish singer and dancer, added to the pleasure of the audience. An extra matinee will be held on Thursday, the King’s Birthday.

Mr. John Fuller, Junior, while in Auckland recently, acquired the sole rights of Mr. John Youlin Birch’s drama “Who Killed John Watson,” which will be produced in Sydney shortly. < a • » At the Opera House this evening (Wednesday), Le Mounier will introduce a special feature, when he will pull against twelve men, six on each arm, trying to break the grip of his locked hands.

“Mademoiselle Mimi,” the Aussie Diggers’ show, under J. and N. Tait’s direction, has just concluded an eight weeks’ season in Sydney, and is now in Adelaide.

The Walter George Company have just concluded a twelve weeks’ season in Dunedin. Each member had an enthusiastic reception on the last night, and Mr. George had to make a speech.

Miss Margaret Jewell, who starred on the Fuller circuit some time ago, and has lately been impressing South African audiences with her singing qualities, has opened a studio in Johannesburg.

Mr. John Hopkins has engaged Miss Vera Carew, a talented Melbourne soprano, to tour New Zealand as costar with Signor Lucien Cesaroni. The tour will probably be inaugurated this month.

E. Phillips Oppenheim’s famous novel, “The Illustrious Prince,” is the basis for the latest film success of the great Japanese star, Sessue Hayakawa. The story is highly sensational —a drama of love, intrigue and Oriental vengeance.

Private cable advice has been received in Melbourne from New York stating that Mr. Daniel Mayer, the well-known concert manager, will visit Australia early next year, in connection with the tour of Mischa Levitzki, the newly-risen pianist. Mr. Mayer has introduced to the world many famous artists.

Elias Breeskin, the distinguished Russian violinist, and his wife, a Baltimore heiress, arrived in Sydney last month. Mr. and Mrs. Breeskin have been married just a month, and are making a honeymoon trip to Australia. In July the artist will begin a tour of the Commonwealth and Ne wZealand under the direction of Mr. John Griffiths.

Mr. Owen Pritchard, who has worked the music halls at Home and abroad, and more recently headed the Te Koas on a tour through New Zealand, has left for America to try his luck in vaudeville engagements there. Mr. Pritchard, who is an old Auckland boy, will be partnered with Miss Winnie Birch Johnston, a clever musician, and the act built up by these two New Zealanders promises to have distinctive features that should catch on readily with audiences the world over.

New Zealand audiences will be glad to renew their acquaintance with that excellent Canadian character actress, Miss Georgia Harvey, who was here recently with Miss Emille Polini, and is now with J. and N. Tait’s “Daddies” Company. Miss Harvey will be identified with “De Luxe Annie” as the clever actress who played the garrulous landlady of the New Canaan boardinghouse, and also for her vivid little bit as the coloured attendant upon the opera singer in “The Eyes of Youth.” In “Daddies” Miss Harvey again rings the changes by playing the dear old silver-haired match-making mother, whose wiles break up the bachelors club, and make every member of it a good citizen in the best sense of the word —that is by transforming him into a husband and a father.

“The Miracle Man,” George Loane Tucker’s miracle production, has insinuated his way into the hearts of the great public in New Zealand, judging by the reception given to this super-feature of the century in Wellington. Summed up in one word, “The Miracle Man” is stupendous — it is the picture that most nearly of all the world’s productions, photographs the human soul, and no man or woman could see it and remain unmoved.

Mr. John Hopkins’ “Dandies of 1920” are meeting with splendid receptions in the south. The personnel comprises: Miss Rosa Walton, exponent of songs at the piano; Miss Annette Lang, danseuse; Miss Hazel Fuller, soprano; Miss Wyn Faulknor, contralto; Miss May Joyce, solo violinist; Miss Pauline Brown, eloctuionist; and Messrs. George Sharratt, an English comedian; Renna Millar, basso; Kennedy Black, baritone and musical director; and George Skeet, light comedian.

Mr. Herbert F. Wood, the wellknown Wellington singer, who went over to Australia recently, has already been booked up for a large number of musical recitals in Sydney and Melbourne. Reviewing his first appearance at the Auditorium, before an Australian audience, who ovated him, “Melbourne Punch” of May 13 says: “Blessed with a charming tenor voice of great brilliance and temperament, well trained, and a natural knowledge of throwing himself into the song he is interpreting, the vast audience soon realised what a great artist Mr. Wood is, and gave him one of the greatest receptions ever given a singer in the Auditorium. After singing four numbers, which included “A Wandering Minstrel,” “Take a Pair of Sparkling Eyes,” “Beneath Thy Window,” and “I Like You in Velvet,” he was obliged to bow many times ere the audience would let him go. He soon established himself a firm favourite. It can truly be said Mr. Wood is one of the finest tenors in Australasia, and his future success is assured. New Zealand may well be proud of such an artist. Australia welcomes him.”

The English Pierrots wound up a successful season at the Town Hall Concert Chamber on Saturday, every member being enthusiastically encored by a crowded audience. The ladies’ orchestra came in for special admiration, while the vocalists — Misses Gordon, McKenzie, Redgrave, Messrs. David Lyle and Roy Cooke, with the dancer. Miss -Toy Rolls, all had their particu1a i’ following. Messrs. W. P. Turner, Chas. Lawrence, Leslie Austin, and Miss Lilian Colenso kept the fun at a brisk pace, and merry concerted items added to the general gaiety. « • Mr. Jack Haskell, the J. C. Wil’iamson producer, whose last production in Sydney was the “Passing Show of 1920,” has left on a trip abroad. He will visit London, Paris, and New York, searching out the latest in the theatrica 1 world for J. C. Williamson.

The Allan Wilkie Dramatic Company opened with “The Luck of the Navy” at His Majesty’s Theatre, Dunedin, last Saturday evening. The season will include “The Rotters,” and “A Temporary Gentleman.” The company will afterwards stage “The Luck of the Navy” at Invercargill on the 14th inst., and on the following evening will present at that town “The Rotters.” The latter play will also be presented at Oamaru on the 16th, at Waimate on the 17th, at Timaru on the 18th, and the company will show at Palmerston North for a brief season, commencing on June 21, putting on “The Luck of the Navy,” “The Rotters,” “A Temporary Gentleman,” and “Hindle Wakes.” The Allan Wilkie Comedy Company is doing splendid business at the various “smalls” during their tour in the North Island with “The Rotters.”

With a sixteen weeks’ run to its credit in Melbourne, compared with the thirteen weeks of “Katinka” and the fifteen weeks of “Going Up,” J. C. Williamson’s piquant production of “Kissing Time” opened in Sydney last week. A gala performance of the piece will be given in that city in honour of and in the presence of the Prince of Wales.

Laurie Kennedy, the talented young ’cellist so well known in Australasia, was the assisting artist at John McCormack’s concert at the Hippodrome, New York, recently, when there was an audience of 6009. The “Musical Courier” remarked that he was a modest but worthy addition to the programme, as, although young, he revealed considerable talent.

A line from Mr. Scott Colville (manager foi’ Carter’s Australasian tour) indicates a big success for the magician, the opening night at the Criterion Theatre, Sydney, proving how keenly public interest had been aroused. Mr. Carter, humorist as well as magician, and with a striking presence to aid him, completely captivated the large audience, who showed their appreciation of his wonderful tricks in hearty applause and roars of laughter. All the papers, too, were unanimously laudatory. This is the first occasion that an illusionist has appeared in the Criterion, this theatre being invariably occupied by J. C. Williamson’s big musical and comedy atractions. “ ‘Baby,’ the lion,” says Mr. Colville, “has many visitors every day, and has become quite a popular idol in Sydney. He is certainly some actor, and the moment his cue comes he starts in and the immense cage shivers and shakes as he bounds about seeking to strike down his victim. It is a most realistic production.” “Baby,” bv the . way, was well in evidence on Hospital Day, his persuasive (?) ways being responsible for a very large sum finding its way into the collecting boxes.

Two prominent London vocalists, Miss Amy Evans, Welsh soprano, and Mr. Fraser G'ange, Scotch bassocantante, have commenced a tour of Australia, and will arrive in New Zealand in August. Miss Evans’ brilliant soprano voice has won her a place in the front rank of present-day vocalists. She has appeared with great success both at the Royal Opera, Covent Garden, and also with the Chicago Opera Company. She is also a great favourite on the London concert platform. Mr. Fraser Gange,. too, has had his work commented on most favourably by the leading music critics. Their tour is under the direction of Chappell and Co., Ltd.

The Allan Wilkie Dramatic Company’s new play, “A Temporary Gentleman,” is from the pen of Mr. Wilkie’s old theatrical comrade, H. F. Maltby. In the early days of his stage career, Mr. Wilkie and Mr. Maltby roughed it together in the same companies at Home. “Our wages in those times,” says Mr. Wilkie, “were atrocious, but being young and excessively enthusiastic with the life, we were happy as sand boys. Mr. Maltby has never forgotten our old friendship, and when negotiations were proceeding for the Australasian rights of his plays, “The Rotters,” and “A Temporary Gentleman,” he gave me preference over all others. By the way, Mr. Maltby himself played the part of the profiteering merchant, Sir Herbert Hudson, in the London production of “A Temporary Gentleman.” The piece had a tremendous run in London at the Oxford and the Kingsway Theatres.”

There was no slackening off in the favour meted out to Miss Maude Courtney and Mr. C. at the Opera House, Auckland, even after a six weeks’ stay, and. it seems their text “I would still love , you” could go. on for ever. Mr, C. never misses, the smallest .topical point .that can give interest to their well-known song, and the shouts of laughter that follow each telling line prove how shrewdly the shot goes home. The psychology of the crowd is an interesting study with this able entertainer, which is a salient reason why he can always hold them. And then he has his charming partner to co-operate with him, and her invariable eunniness carries weight, too.