THE THEATRE.

Dominion, Volume 5, Issue 1342, 20 January 1912, Page 9

THE THEATRE.

(Bt Sn.vics.) The World's a theatro; the Earth a stage.—Hej wood. E. J. Lonnen's Daughter, There has arrived in Sydney Miss Jessie Lonnen, a daughter of the late "Teddy" Lonnen. She has been brought out by tho J. C. Williamson management for the production of "The Quaker Girl." Miss Lonnen, who has been on tho stage lor about nine years, has several times appeared as principal girl in pantomime, and has been associated with the productions of Seymour llicks, George Grossmith, George Kdwardes, and other managements. She understudied Grucie Leigh and Gertie Millar in "The Quaker Girl," playing the former's part a number of times in Ixmdon, and tho latter's 011 tour. Mr. Williamson saw her as the Quaker Girl in Edinburgh, and engaged her. "It is considered now ono of the prizes of the theatrical profession to get with tho J. C. Williamson management," said Miss Lonnen. "Everyone who has been in Australia under engagement to this firm tells of the jolly times they have had."

There are many who will remember Mr. E. J. Lonnen and the London Gaiety Co. which he toured with. It was in Dmiedin whero a paper said thiu;:s derogatory to the ladies of the company, in return for which they advanced in a body 011 tho office the next day, and completely wrecked it.

H. B. Irving as Louis XI. "Mr. Irving's performance as the depraved monarch, tottering his senility, crazed with terror of his end, but with a mind alive as ever in plotting and vindictiveness, was one of the most remarkable performances ever seen in New Zealand. lie. set up a standard locally in his 'Hamlet.' As Louis, lie showed not a trace of the man ten days had made familiar to his hearers, so complete was his adoption of another personality. Shielded behind a make-up of really awful import, even the actor's features were not to l>c recognised. Tlio performance was, if a simpler character study, still a much heavier histrionic task than that of the moody Danish I'rince."—Auckland "Herald."

Bernard Shaw at "The Halls." Mr. Bernard Shaw lias followed the lead of other dramatists, and "gone to the halls"—in other words, tho visitor to the London I'alace may now have the opportunity of listening to tho wit of "G. 8.5." in the middle of a variety entertainment. It may be, as some people appear inclined to think, that that is its proper placc; but anyway, tho fact that his trifle "How he Lied to Her Husband" was put on at this music-hall last month, seems to have excited i»s much discussion as if Mr. Shaw himself had been appointed tho theatrical censor. "Whv 011 earth," he demanded quite reasonably, "should I not allow my plays to bo performed at a variety theatre?" Why not, Much worse hns been teen there-.

The London "Daily Telegraph" interviewer, who sounded him on the subject, mildly mentioned performing dogs as possibly appearing in the same programme. "Mv good sir," broke in Mr. Shaw rather hotly, "no sensible West-End variety theatre ever lets a performing dog como within a mile of its .stage door. It acts as a good watch dog should—keeps the public out. But when dogs are not made to do melancholy and unnatural things, which no happy dog would attempt, I like their company, and, if necessary, their co-operation. " Sir Herbert Tree played with a dog in 'Richard 11,' and a very nice dog it was. Yet I did not object to write a play for Sir Herbert, although tho censor would not allow him to produce it because it had religious tendencies."

He thus expressed his views about "the halls":—"The real difficulty about variety theatres is that their standard of training, accomplishment, and professional skill is so high, and the standard of stage effect so swift, intense, and miraculous, that it is very much harder to come up to concert pitch there than in an ordinary theatre, Dancers, acrobats, jugglers, ' and strong men are terrible peoplo to compote with. They are trained to the last inch, skilled the point of doing with ease and certainty things that are impossible to their audiences, things that seem superhuman. All this gives these performers amazing distinction. It may not occur to you to call them distinguished; but if you are rash enough, immediately after one of their performances, to send'an undistinguished actor or actrcss on the stage —somebody who would pass muster quite well in an ordinary theatre—the audience misses that distinction at once, and the actor looks hopelessly unskilled and unattractive." Mr. Shaw says ho intends to go on writing for the liall.s. He has proved that he can write longer plays than anyone else; now, lie is going to prove that lie can write Shorter ones. Irish Singing Comedian. Allen Dqone, tho Irish singing comedian, who has just completed seasons in Syd- • nev and Brisbane, arrived from Sydney yesterday with a complete company, and will proceed on to Lyitelton to-day. Tho company includes Miss Edna Koiiy, said to bo an actress of much charm,' After Christehuph, a season will bo played in Dunodin. The Wellington season will commence with "Sweet County Kerry" on February lti. ' Miss Dorothea Baird. Miss Dorothea Baird will play Ophelia to Mr. 11. B. Irving's "Hamlet at the Opera House, Wellington, on Saturday, January 27. Like her husband, Mr. Irving, she began as an amateur at Oxford, with tho Oxford University Dramatic Society, playing Iris in "Tho Tompest" and Galatta in "Pygmalion and Galatea." Next she joined Ben Greet's repertory company professionally, where in the English provinces Mr. H. B. Irving was biking the leading roles. Since then she has played most of Shakespeare's heroines, as well as the co-star parts with Mr. n. B. Irving. The appearance of her portrait in one of the illustrated papers suggested to the late George du Marnier that she was exactly liko his own drawings of Trilby, and he accordingly named her to Sir Ererbolnn Tree for the name part of that play. Thus tho stage crration of that famous' part fell to Miss Dorothea Baird. After that the Loudon West End was literally at her to l>2 the most beautiful in Loudon. One of her late successes was Mrs. Darling in "Peter Pan." "Dame Nature." -V sordid tragr-dy of Bohemia is illustrated in this "Damo Nature" (recently played in Sydney bv Miss Ethel Irving and an English Company), especially in the first ac.t, where tho I'roo-a lid-easy denizens of the Quartier Latin people the stage. Bertram, an English painter, wins the coveted Medal of Honour, and amidst the congratulations showering in upon him, promises to marry Lolette, his model, who lias starved with lii.ni in the days of adversity. ' The marriage dors not prove happy. The gay, impulsive little Lolette, translated from her first surroundings to the higher social atmosphere of the wealthy artist's home, perpetrates such gauclieries as to excite tho anger of her husband and the smiles of liis guests. Bertram, a snob—as he himself confesses—is first flattered by tho attentions of the Princess de Chabran, and then attracted -by her. So Lolette, madly in. love with her husband, linos herself dispossessed of him by a rival. In the second act, at a reception at Bertram's English home, comes the first of tho big scenes wherein Lolette is stunned by the revelation of her husband's love for another woman. Coming into the room suddenly, she overhears his avowal. At this point Miss Irving crept un behind the iwiir like a panther, and, throwing herself upon them with a shriek of rage, fell helplessly to tho lloor. All was excitement. Tho startled guest", who hurried into the room, were forced out again by friends. I while Lolctts, lifled to tho couch, cried ,' in an agony of sustained sobbing, Bertram striving in vain meanwhile to pacify lic-r and explain the situation away. "1 run so cold, so miserable! I feel so terribly alone," she moanod._ The desperate Bertram, lifting her in his arms as he would a tired child, carried her upstairs to her room a.- the curtain ft'!!. Mis< Irving has surely done nothing more effective than tlii~ scene, and that of the finale of the third act, and Mr. Exvart also played with nwuirce and determination. There were jnstl.v repeated calls, but it: r-aine a e an nnf.i-ciininx to see the two artists returning lo the room to bow their acknowledgments of Ihv popular applause. There ought to be i "call curtain" liter wr.h tocneav

Lolette, determined to fight for her rights, seek} out the I'liuce do Chabran, a wizened, parchment-laced heathen, vrho talks cynically about humanity—including himself—and, calm in the possession of lli« allowance made hint by his wife, awaits his end smoking Turkish cigarette and surrounded by the portraits of the women ho has loved. Her suggestion is that they should join forces to ikfenu their honour. "If wo do this, we can win." she exclaims. "Win whatr" he blandly—the truth being that the old reprobate is at that moment, arranging ivitii the Princess the terms fur a divorce. All that Mi's. Bertram gels from him is some advice about the art of living, borrowed from the pages of his own peculiar philosophy. Iler inhiition tells her how the laud lies. "[ find 1 have blundered into a plot," she says, pathetically. "I am the stumblingblock, and I must go. Everyone is agreed upon that. What a vile world it is!"

But she resolves that she will not give up without, a struggle. This leads to tjio strenuous finish of the third act. Lolette, discovering Uue I'rincrss and Bertram together, runs the whole gamut of emotion, ridicule, tenderness, passionate appeal, withering denunciation, despair. It gives a quaint touch of humour to the moment that Lolette should characteristically deride tile lovers, and sneer contemptuously at her husband because his tie is crooked. Then there is a pathetic appeal to Bertram, and falling on her knees at the feet of her rival, she wildly implores her to give her back her husband. The Princcss, with the wftrds, "t can't be responsible for such a tragedy," hands Bertram his hat in token of farewell. JTe waves it back. Loletts, perceiving tliis gesture, leaps to her feet in fury. ' She is defeated. Immediately there succeeds absolute resignation. Seating herself at the table, exhausted by the hopeless fight in which just engaged, she writes her consent to the divorce from Jfortram, and then with tho words, "This is tho end!" sorrowfully walks out of the house.

Miss Irving, by perfectly legitimate means, won a triumph in this scrae, as indeed throughout the play, as an emotional actress. He.r nervous impetuosity was remarkable, and her judgment of lights and shades absolutely true. The sensitive nature of Lolette. plunged into dejection l)y ihe least rcbutf, and her excitable . temperament, indicated by her fiery outbursts of passion, were graphically contrasted.

' Mr. Stephen Ewart, as Bertram, shared fully in the honours cf the chief scenes of the second and third acts.—"Daily Telegraph."

Oscar Wilde Again, With Mrs. Robt. Brough, Miss Beatrice Day, Miss Lizette Parlses, Miss Sidney' Valentine, Miss Tempe I'iggott, Mr. George S. Titlicradge, Mr. Harry Pliimncr, Mr. Reynolds Denniston, Mr. Arthur Greenaway. Mr. Harry Sweeney in 1 lie cast the Plimmcr-Denniston Comedy Company is probably the strongest organisation of the lcind in Australasia. With such a raft the production of "A. Woman of No Importance" (with Mr. Titheradge as Lord lllingworth) must be, an artistic treat. The company, which is now playing Oscar Wilde's brilliant comedy in Sydney. commence a tour ot' New Zealand in' September next. The dates arc:—lnvercargill, September 2 and Duncdin, September 1 to !!; Timaru, September 10 and 11; Christchurch, Sopteinbsr 12 to 21; Wellington, September Si to October 2; Napier, October 1 to 7; Gisborne, October 0 to 11: Auckland, October It to 19. As will bo se?n the tour is a flying one, occupying spven weeks in all. This is l on account of having to get lack to Sydney to fulfil valuable dates there. Notes. For the revival of "What Every Woman Knows" at the Duke of York's, London, J. 31. Barrio has written a new and better tag. The piece originally onded with Maggie Wylie (played here by Nellie Stewart) saying that every woman knew that Eve was not'created out of the rib of Adam, but out of his funnybone. This ' not over-funny gag (to do Barrie justice it wasn't his own) lias been cut. and the play now finishes with the sly line for the sly Maggie: "Every man that's high up thinks he has got there by himself; but there is always someone who lias !iclre-:l liijn —every woman knows that." There will be no occasion to ask what the author meant by the play or its title. If a play is to lx> thoroughly understanded of the public, the dramatist cannot be too straightforward and obvious. As Boucieault, the elder, once remarked (and he knew quite a lot about stagecraft): "First tell your audience what you are going to do': then let them see you do it; then toll theni how its done. There's one present-day playwright who wouldn't subscribe to this truism—Bernard Shaw. But I cannot imaginojiim subscribing to anything.—"Bulletin.