THE THEATRE.

Dominion, Volume 4, Issue 1205, 14 August 1911, Page 3

THE THEATRE.

The World's a theatre; the Earth a stage.—Heywood.

(By Sylvius.)

"Tho Mariyrdom of SI. Sebastian." Tins is Llio newest .-(Miration in Paris. It is ii i»iiy written by Unlmello pAiiniilH--210, to wiiit'li » ixii-ticuiurly brilliant, linisicai Kutcinj,' Una been giveii by (JUiude Debussy, onu ol tno loi'i'iiiost composers ot the nay. Additional piquancy was given tlio premiere (on .May 'J2) from the tact that the Archbishop of l'nris i>su«l a pioiiiiiiciamuiito calling upon all Christians to abstain iroyi witnessing the performance. Tho play, says tile I'aris correspondent, of tile "iM'n- lorlc 'JL'imrs," is a typical mystery play, closely following the legends ot, tiie Middle Ages. The action taxes place at Jiracse (Syria), where Sebastian is Chief of Archers. Slowly his words and miracles convince people oi his supernatural greatness, and all who are miraculously healed by him join him in the work of converting unbelievers. In its treatment tho wort is an artistic novelty. The words and music do not help each other in the usual way, but each completes the other. W Lien the characters use tho spoken word the music is silent. When speech stops the music takes up the thread of the drama.

Conductor Caplet, of the Boston Opera House, wiio conducted the work for Manager Astruc, had this to say of the music: "It is a new Debu-fy Hint is revealed ill this work—quite unlike the IJebiissy we know through his Tellcas at. Jlelisaiule.' In this new work, which I consider so great that no other present-day French composer coiild aspire to a like achievement, Claude Debussy has combined the simplicity of I'alestrina with such brilliancy of musical thought and such a richness of orchestration as to make one fairly stagger. '"I he play opens with a prelude intended, to picture tho Christian soul in all its purity and exaltation. Tho curtain rises revealing two Christian, maidens chained to pillars. Their song gives a wonderfully vivid idea of their physical weariness 'and torture. Sebastian "appears, and to give tho sufferers courage dances over burning coals. The music of this dance is one of the best pases of the work. I'im the pain and then the joy of martyrdom are told in tones impossible to describe in words. "A hymn glorifying tho Heavenly Power which, puts. such fortitude into man follows, and when Sebastian shoots an arrow into tho sky, and the arrow does n<j{ return, 1 and the crowd sees in this tho proof of his sanctity, both tho chorus and tho orchestra'proclaim his new fame in tones that depict the transformation of sorrow into joy. Then a vision of heaven is seen and a chorus of angels sing hallelujahs. Tho chorus in that gradually grows in strength until it reaches h force that was unknown until Debussy reelassified orchestral instruments. ;"The .second act shows the chamber where magicians and astrologers try to decipher the future, hidden behind a mystic door. There is a new sonority in tho prelude, that'is quite astonishing, when it is taken into consideration that Debussy employs no tricks, as Strauss does, in search for effect. The pathetic sceno in this act is provided by tho death, through torture, of a "young maiden whom Sebastian had converted. Her death prayer is an Italian song of the Middle Asps. . "As the action proceeds, Sebastian entors and batters down the mystic door. Behind it rises a new force—Christianity. "Debussy's music at this point—the portraying ot the battle of Christ's teachings with the spirit of heathendom—is so thrilling that, although no word is spoken, tho scene is of the highest dramatic effect." Tho fourth act .represents tho real martyrdom of Sebastian, where he is bound to.a cross and archers shoot at him. The fifth act pictures Paradise, and hero ngain there is no dialogue; music, pantomime, and scenery are used to suggest the sublimely beautiful' apotheosis of the Saint. The ieading Europ.-jin critics do not write the play down as a triumph, but say tbst Debussy's inspired music may win success for D'Annunizio's latest play.

The Melba Season. ■Writing of the iMba. opera season to a friend in Wellington Mr. Hugh J. Ward say*:- ' . - ' ' • "At the present time our application for seats is unusually large. For instance wo have a 'first-nißht' contract 'system whore people niako a contract for a year to take certain 'scats for each first niijht in the theatre. Wo gave them the option of suspending the contract during the Melba season owfng to the prices. We have JOO seats under contract through this system, and only about 15 have suspended the contract. Their seats were immediately secured by the many others who are waiting for the 'first-nighters'' seats. Then again, wo are continuing the now idea of 'first-nighters' for the Melba season only in addition to onr regular first-nighters, so i would not be at all surprised if, before we are finished, wo will have at least , 500 sisats for every first night booked. Wo have picked out tho 46 best musicians in Melbourne and Sydney for the orchestra, nnd all the voices for the chorus have been specially selected. Two days ago 1200 new costumes arrived from Milan, and several scenic productions came from' Europe. This, together with our own equipment in stock and what we are making this season, will really give productions that will compare practically with some of tho bigpest orL centres, and certainly better than has ever been swn in this country." Notos. Maud Alton, the "all but" dancer, who made such a sensation in England two years ago, is likely to visit Australia nest year. Nance O'lVcil is to star in "The Lily. , again during the coming A'ew York season under I)av4d Balcesco s mana»ement. Miss Ethel Irving apnrared in f-omer-Est Maugnan's comedy, "Lady Frederick," on Saturday last at Melbourne. On the same date Mr. 11. B. Irving foreswore tho double role in "Tho Lvons Jl.iil," and appeared in "Louis Xl,'' another of liis late father s big successes.

Mrs. Robert Brough, who revived old memorips as "The Secoml Jits. Tanquoray' in Ji'.illijurno t.'ie otlior day, pot a surprise present afier Ihe performance Irani tuo iJamiJi-on-l'limiiKT-.Oenmston nnnagement. It was a gold ualch-bangle of much solid worth, and the lady murmured her thanks thrcusjii a lump*in her throat.—"Bulletin." Gladys Baker, eldest daughter of Waller, ior many yean "principal" with ii'and Holt, is a member ot tnc "Chocclato Soldier" Company, now j-ehcarsinj in Melbourne. Miss Bai;er owns a line con.tralto voice, and her'friends expect her to do things in comic opera. "H.M.S. Pinafore" has been revived in New York with an all-star cast. Louise Gunning was "Josephine," Jlarie Cahill, "Buttercup"; Arthur Aldridge, "Eackstraw" ;• Henry JJixey, "Sir Joseph Porter"; Gco. J. M'JFarlanp, "Captain Corcoran"; and do AVolfi Hopper, "Dick Doadsye." One critic found fault with the constitution of the cast, pointing out that, though these artists were extremely popular in their own particular line?, it did not follow that they were idenl in a Gilbert and Sullivan opera. Continuin? Mr. Hornblow says:—"The music of 'Pinafore' still charms with its pristine grace, but there is much in the book that drags. The comedy sounds forced, and many of the lines hang fire and, from these faults, not even an all-star cast can deliver us." Undoubtedly one of the finest, artists that iias been seen at the Tivoli Theatre for some time (says n Sydney paper) is I.amb:rti, the impersonator of the world's greatest music masters, who made his first appearance in Australia, undvr Mr. Harry Kickards's miinajjcmcnt, recently, l.amlx'rli not only gives remarkably lili , - liko portraits of famous musicians, but actually plays their instruments with no small, degree of ability. Tims us Liszt tin; audience sec him seated at the piano, and are treated tu a selection of Uubinstrin. e.veellently played. As Ilallinan he plavs the 'cello; as Sarnsate, the violin: :-.s I'adi'wwjki. the piano; and as Gounod lie conducts (lie orchestra, hi e.u.'h instance, he proves himself a Oiorouith musicia.n, as well as n wonderful mimic.Moreover, he imparts into his performance some delightful humour, as in his imnersonatinn of Paderewski, when he burlesques the great pianist's little i>eculiari(ies. .Altogotlitr LanilxTti's performance is a strikingly clever on", and thoroughly ''■■'snrved Hie 'rreat applause wilh whicli it was received.