A Colonial Actor in London.

Cromwell Argus, Volume V, Issue 268, 29 December 1874, Page 7

A Colonial Actor in London.

Cplnnial talent (says the New Zealand ITeraLl) 1m ever been appreciated on the HI The latest “sensation” in London is provided in the person of a young actor, who a dozen years ago was only an unknown boyin Dunedin and Christchurch, and who then joined Johnny Hall’s theatre in Christchurch, to enact juvenile parts. Of this same young gentleman (well known in Auckland as “ Johnny Morris," and a son of Mrs Marks, who recently left Auckland for London) we now read in the London Times the following notice, in the course of a criticism on the appearance of several new faces at the Charing Cross Theatre, “whose doings we may venture to assert will become, ere long, the talk of the town. The first of these is Mr John Morris, surnaraed Proteus; and when we have hinted at what he effects we trust our readers will not imagine we are taxing their credulity too heavily. Mr Morris is introduced in the ‘ Gilded Halls of Many Nuptials,’ the scene which closes the first part. He comes before us in evening dress, and promises to bring to life some of the guests of the fourteenth wedding of the cerulean tyrant. His manner is altogether unassuming, and we can discover nothing extraordinary in his appearance. As he quietly addresses the audience we notice that suddenly the private, evening dress has disappeared, and before our astonished gaze stands a lieutenant in uniform. But we shall open our eyes still wider with astonishment presently. Hey ! presto ! The uniform is gone, and we sit astounded as we look upon a grey-headed and decrepit veteran in knee-breeches hobbling across the stage by the aid of a stick. This is the ‘ oldest inhabitant,’ and, having amused us with a song, he too takes his leave, or rather, by the aid of some * mighty magic,’ is transformed into a strong-minded woman with a mission—-the said mission being the suppression of man. How this revolution in the sexes is accomplishad we shall not attempt to explain. It would puzzle even the Philadelphia lawyer so often quoted as an example of ’cuteness.' Susan B. Anthony’s attire is complete even to her boots. But lo! another change, and we make the acquaintance of Miss Buttercup, , a lively specimen of a ‘ girl of the period,’ ■ She sings of ‘ Tassells on her Boots? and ■ the tassels appear ere we can utter the , name of the famous Jack Robinson. Miss . Buttercup makes way for Molly O’Flaherty, , in humbi# attire, and Molly, with far greater speed -than Cinderella could ever boast of, blossoms into Fanny Fanciful, in full ‘ rig’ for a ball, the toilet being as complete as it is elegant. The whole of these , changes are accomplished in presence of the audience, Mr Morris never leaving the stage, and being- altogether independent of , anything in the shape of a screen and of ' assistance of any kind, and we leave to the knowing ones the task of finding out show , it’s done.’ The performer was enthusiastically applauded, and at the end of the first . part had a well-merited call to the foot- ( lights.’’ v ' I O