THE THEATRE.

Dominion, Volume 6, Issue 1651, 18 January 1913, Page 9

THE THEATRE.

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

[Bt Stlvius.]

"The Girl, in th( Train."

Mr, J." C. Williamson's ! new comic 1 opera company will commence a thirteen c night's ssasson here on Saturday next j with, tho famous musical play in two acts, t with music by Dr. Leo Fall, entitled Ihe r Girl in tho Train." This is one of the v latest of successful comedies, with music s that it would appear enjoy a perennial I popularity. The company, which is an- c iiounccd to bo an especially strong ofte, c includes many favourites, notably, Mr. W, { S. Percy, Mr. Reginald Hoberts, Mr. Vic- c tor Prince, Mr. Fred Winn, Mr. Char cs t Albert, Misses Amy Murphy, Celia Ghiloni.'and Dorothy Brunton.' Three celebrated artists will make first appear- ' ances—Miss Sybil Arundale, mezzo soprano, comedienne, and dancer; Mr. ] Talleur Andrews, a new tenor; _ and 1 Madame Vivian Talleur, a distinguished . premiere danseuse. There is an excep- i tionally fine ballet, a large chorus, and an x augmented orchestra under the baton of ) Mr. Victor Champion. j "Die Fledermaus—The Nightblrds," j Men have been responsible for musical ( comedy librettos until quite recently. \ Now, however, women have invaded the \ field. The first to move in this direction | is Miss Gladys linger, with her adaptation j of Jbhan Strauss's comic opera, "Die , Hedermaus," rechristened_ "The Night- ' birds," the second production of the J. C '< Williamson comic opera company's Wellington season. "I saw 'The Nightbirds in London,".writes a correspondent. _ "It \ was piquant, but witty always—a lively i satire on ( Continental philandering—neat, : subtle, arid audacious. No man could have written it. The woman's point of view showed in all tho situations. Man is at a disadvantage all through the story, and humorously so. Women, will appreciate tho inningS'the sex-has for-once in this class of entertainment.".";' " ,-' Specialised Roles. ■ Tho Australian actor, according to Mr. J'ulius Knight, is surrounded by much more difficult conditions, and much more., is required of him, than his English confrere. In London the actor generally plays one type of parts,.and he may not appear in a different style of: role for ymrs. He is in the groove, anfl he must , stay there, for, having a "specialist," as it were, in a certain kind of. part, ho lacks the versatility that will enable him to handle a diverse- series of roles. Mr. Knight thus gives an example:— "Take the actor in London who'makes a success of mah-about-town' .characters. He will become recognised by managers as the mail to havo when there is a role of this type in any plays they aro producing. Ho;might be capable of other' Work, but managers will not have him' in any other part. It goes farther than that even. Authors, when writing t a play, will turn over in their minds the actors likely to be available for the cast. ; They, will build up characters; accordingly, always considering the range of _ the man they havo in view. You can'imagirio the effect of this upon.tho .drama as well as.tho.. art-of acting." . '.;■■■ i. - .- ,'; ' ' Antony ■andJ l 'Cldbpatralj , V - v, v V[J,lf' ! .'.".-.. -' ; .; way,1 V'Antpny'ahtl-jCko'{ialr'a," ; ■& given •by Mr. pScaf^Asshe;':;ni)ist-.'.ra,np.as;:the' finest serics"of stage pictitres we 1 have, had in Melbourne (says "Table Talk"). There, has been nothing to approach' it in splendour or perfection of detail.' Quite apart from the play, apart 'from tho' actipn, aVa series of splendfd tableaux; alone, "Antony and Cleopatra" should be se.en, for'it will in future rank as one of the recording ' landmarks , in Australian • theatrical productions. '■ .'■ As for the interpretation, that shows •julst.'.ns much, thought and as the, I 'whole- mounting .and production, even to the minor roles. ■ Although the'analytical critic may find hero and.there.a phrase to carp at,, or more tho intonation of a phrase, the public gcriorally- will, have nothing but praise. ■'. Whether' thV student of. Shakesp-earo is agreed.'or not with Mr. Oscar. Asche's creation of An.tony, ho must own it is a • fine consistent interpretation of a strong:man—adomiri- ' ant, forceful 'individuality with the martial qualities, and big" purpceSs. 'His' reverses arid defeats make his.te.mr.er. variable, and quickly aroused at the last, but even in. spite of this it is a great man who is depicted.' Mr. Ascke does not show tho nob!?, 'Wgh' Antony, but rather a brow-beating and insolent one.' His "Sit": is' a command to Caesar, not a courteous 'request or interrogative 'repetition of Caesar's word. His "Giyo mc, thy hand" ---nafain-'is an order, though Limine have i 'thy,- hand,", which"ajmears'in -inany texts 1 'of Shakespeare, implies.' father 'a request : of appeal, surely.. Agaiii, the. lolling upon the'table, here .is surelylins'o.leiice when Caesar is seated''at it, for even to-day it is deemed rather unconventional, and certainly liot correct, for a ceramonipus business meeting. These are but hiinor details, but they-rather 'grate upon one's conception of Antony, though granted the attitud-9 may make for a. more picturesque i grouping.. ; - ' ~' - ■ • Miss Lily Brayton's conception of Cko- • patra is on the tempestuous side. She is I I a jealous,' powerful, autocratic woman, yet . I'apparently she can win.the. devotion of i /her attendants.. A woman of ardent torn-, i psrament, of. warm, pulsing blood,, but/ scarcely subtle 'or the "serjient of Nile"! • that Antony describes her. -.This-is most noticeable in tho first scenes where the; silbtlety seems to be most .called for; afterwards Miss Brayton seems to develop naturally to the woman of one absorbing passion, lost to everything but her love for Antony, and like n ' tigfess over her young in her love for him—jealous, tcm : . " pestuous, and at last despairing when she ' knows Antony'.is no more and her fate.is }. to be captivity. In this acting version the *' uglier, ,ba*er side.of C".?onatra has been; "- cut out=-the scare w'th her tr.?.ifiure'r, for r it has.no actual bearing upon, the story.

Notes. -•• % : ; . / '■'..'■'■ ,'.' .. ;-.-' ' . As Karel Van Bureh, in "The Girl in the- Train," crimes"-Jlr.'. Talleur" Andrews. Mr. Andrews is accou'nred.to'. have a remarkable tenor voice, is an actor, of ability, and' possessed of- a handsome and engaging personality;. He is of French extraction: The great Bouhy, hearing<him : sing, decided "at once that '-Mf.' Andrews had a voios entirely' 'out.of. the .ordinary, and -persuaded his father to send him'to Paris for tuition. When only ID years of age. the young singer appeared as Faust, making' 60 good an impression that his future was. assured. Mr. Andrews has sung principal grand opera tenor roles all over tho world. Ho is claimed to be the ideal Lohengrin and Borneo, his fino physique lending itself to admirable advantage to theso difficult .roles. In "Tho Girl in tho Train." Mr. Andrews will be seen ns tho luckless young husband, Karel Van Buren, who has the misfortune to.be divorced by his wife, Jann Van Buren, through fortuitous ■ circumstances arising out of a misunderstanding. There are some fina singing opportunities.

A prominent Melbourne-barrister, who was noticed in the audience at ,Her Majesty's Theatre on several occasions to see "The Girl in tho Train," was asked by a member of tho management what the attraction was of the piece that it drew him so repeatedly see it. The legal light refererd to confessed that it was tho first act, which takes place.in tho Court of Justice in Amsterdam. "It is not that I take a bushman's holiday when T como to see,that, act,", he .said,-"but there .is; such an admirable spirit of burlesauo in that Court scene that I cannot resist it.. I think that Mr. Percy hafl.caught the humour of it so splendidly that.he must have studied the'routine of a Court pretty thoroughly, and with an eye to burlesque all the time.' You know'a barrister can' take a joko airainst' himself as well as a clcrirynian, and every time I see 'The Girl in' tho Train' I laugh, immoderately over the parody of tho Judge, tho questions that he asK and his general behaviour on the Bench."

When Mr'. Hugh .T. Ward became a member of the J; C-. Williafnson executive directorate,' it wa.s understood that he would supervise the productions 1 of the. management.. This Mr. Ward does. He worked night and day upon the "Faust" rehearsals.'nnd at present the preparations of "The Sunshin* Girl"'occasions darlv consultations with the producing staff, wliile ho has been fertile of suggestion for the features to lv> introduced into the musical comedy. In many jespHs tlicse'will be right awav from the English: renresentation, w.hich Mr. Wand does'not Wliere iii slavishly "following, holding that what may go in England may not aeceearilr do to in Australi*.