THE THEATRE.

Dominion, Volume 6, Issue 1722, 12 April 1913, Page 12

THE THEATRE.

[Br Sylvius.] The World's a theatre; the Earth a stage.—Heywood. "The Blue Bird." At last "Tho Bluo Bird" is to nest at tho Opera House, Tho exquisite dream play of Maeterlinck's was promised about foul 1 years ago, and. just wlion wo were all scanning tho horizon for its coming it was announced by J . C. Williamson, Ltd., that it was found inexpedient to send tho play to New Zealand—this merely because the play had not found favour with Australian audiences. I believe that had ■the English company been sent to New Zealand tho venture would liavo paid handsomely, for never had a play received such an advance "boom" in this country as "The- Blue Bird." Calm deliberation has resulted in tlio formation of an Australian 1 company, which is to open at tho Opera House this evening. Mostly cveryono knows now what "Tho Blue Bird" is. It is a most charming and fantastical dream play. Little Jlytyl and Tyltyl are the dreamers, end it is tho Fairy Beryluno who insists that they sliali search for and find tlio blue bird, which is symbolical of happiness. So equipped with a wonderful diamond, and accompanied by tlio dog, tho cat, Light, Sugar, and Bread (all soulful creatures), they set' out in search for the impossible. Oh; what adventures they ha\el What ,strange places are discovered! ( What secrets revealed! Every object is given understanding—a soul and characteristics. In tho forest all tho trees havo an individuality, and mode a bold attempt to kill tho children, who represent Man, their enemy. Tliei'o is tho I'olaco cf Night, with its awesomo chambers—tho Ghosts, the Wars, the Sickness, the Terrors, the Mysteries, and even old familiar Cold-i n- tlie-Head. Then there ore tho puzzling wonders of the Palace of Happiness, in which tlio Joy of Being Just and Maternal Love appear as characters —but nowhere can the children find the illusive Blue Bird. The graveyard is a pretty scene, and tho Kingdom of the Future has quite a charming accompaniment of very quaint and beautiful symbols in character and dialogue. It is from this kingdom that the children are dispatched to Earth by old Father Time. Here is pathos and fancy extraordinary. An extract: First Child: "Mr. Time, let me stay behind with hex!" . Second Child: "Mr. Time, let me 50 with himl" Time: "Impossible! We havo only 391 seconds left." First Child: "I would not bo born. Time: "You cannot choose." Second Child, (beseechingly): "I shall oomo too late." First Child: "1 shall be gone before she comps down." , Second Child: "I shall never see him again." . ~ First Child: "We shall be alone m the world!" Timo: "All this does not concorn me. Address your Entreaties to Life. I unite and part as I am told." First Child (struggling): "No, no, no. She, too!" Second Child (clinging to First): "Leave him with mo: Leave him!" Time: "Come, come, he's not going to die, but to live. Come along!'' Second Child: "A sign! A sign! Tell me how to find you." First Child: "I shall always love you." Second Child: "I shall bo tho 6addest thing on earth!" She falls and remains stretched on the ground as the First Child is drafted on to tho golden galleon, which floats away on opalescent clouds to the faint accompaniment of tho distant song of gladness and expectation from the mothers of Earth, to be. ' Tho Land of Memory is another equally beautiful and suggestivo scene. Finally the search proves abortive, and just as all tho soul of things bid the children good-bye they are wakened by Mummy Tyl. The play made an enormous sensation in Europe, England,'and America. It should be 1 welcomed in Wellington; 1 . . "Joseph and His Brethren." About fifteen years, ago tho Eov. Georgo Walters, of Sydney, wrote a play round the Biblical' story of Joseph, the son of' Jacob, who, after being 6old into bondage, roso . to eminence ■ at tho court of, Pharaoh. \ It was a fine pageant play, gorgeously produced by tho late Mr. George Rignold,but robbod-of even a fighting chance byMr. Rignold, then--a 15-stonor and well stricken in years, casting-himself_ for the leading role, Joseph. Tho Cast-included Miss Maud Williamson as Potiphar's wife, Mr. Scot Inglis as Ata (a priest), and Mr. Harry Plimnior as Pharaoh. The same story has now been dramatised by Mr. Louis N. Parker, and was produced on January 11 in New York, and from the descriptions of the play iu the New York papers' one would 1 almost imagine that it. is Walter's play transplanted. Says the New York "Theatre :— "If tho production at the Century Theatre, 'Joseph and His Brethren,' were merely spectacular it would not be profitable to its audiences; but it is something more than a pageant play. Louis N. Parker, who has given dramatic form to the Biblical narrative, has treated it with proper sincerity and reverence, adilsuch details 1;o tbfe story and to the happenings as are consistent with tho possible facts. It is hardly necessary to say that none of the available incidents and happenings of the Biblical talo aro omitted in representation. There aro thirteen scenes. The pictorial opportunities of the localities may be readily imagined. Some of the pictures are exceedingly beautiful.. Tho time and skill and research bestowed on them provides such a multitude of details that wo shall not attempt to describe these scenes. One scene of the Pyramids, anothor, of tho Wells of Dotlian, the gardens and the interiors of Potiphar's House, and other scenes of Oriental . life could bo singled out for description in order to give an idea of what the enterprising management of tlio Licblers has put on view. The acting corresponds in sincerity with. the aim of the management to have the production convev the spirit of the story. Mr. James 0 Neill, ,first as Jacob, and then as Pharaoh, was exceedingly impressive. That the twelve sons of Jacob required to be acted with discrimination is a matter of course, and the selection of actors for the purposo was admirably successful. Brandon Tynan was Joseph. Paulino Frederick, as Potiphar's wife, acted with the baleful fire of the kind desired, and was entirely satisfactory in a difficult part. 111 the nature of tho case the cast. is a very largo one, and scores and scores of people are employed in representing the multitudes necessitate such a large action." A New S.he!don ; Play. "Edward Sheldon, who wrote "Salvation Nell," has written u new play entitled "Romance," which has been produced at Maxine Elliot's Theatre, in New York. Savs -the New York. "Theatre" :— 'What the ultimate fate of Edward Sheldon's play, "Romance," will be is a difficult thing to' determine. Many will regard this latest effort of the author of 'Salvation Nell' as the best from his pen. There will be others who will consider it as an inept though original treatment of an old and hackneyed subject. In a prologue a young mail tells his grandfather, a bishop, that lie is about to marry ail actress. The cleric advises against the move and recites an incident of his early life, which becomes the next threo acts of the play. Then comes the prologue.' The young man refuses to be persuaded and the bishop promises to perform tho ceremony. The beginning and end of "Romance" aro finely and neatly sketched, but it is, of course, the drama of the bishop's lifo that makes for action. As the rector of St. Giles, in tho early 'sixties, Thomas Armstrong, at the house of one of his parishioners. Cornelius Van Tuyl, a banker, meets Mine. Margerita Cavallini, Patti's only rival, and a great diva at the old Academy of Music. Ho falls madly in lovo with her. To him sho represents all the graces and virtues, lie refuses to beliove the stories which link her name with Van Tuyl. But touched by his ingenuousness, and really in love with him, sho reveals all tho sordid wretchedness of her early life, as wellas her relations with tho banker. With marriage apparently -impossible, Armstrong resolves to save her soul. But passion again seizes him. Ho goes to her rooms at tho old Brevoort, surprises her at supper with Van Tuyl—sho is breaking with the bunker—reproaches her bitterly. only to express his passion with a fervour quite Scarpialikc in iN. intensity. 'J'ho woman now pleads for his soul, and his choir singing without tho spiritual iu

his naturo again becomes ascendant and they pari. • How real, how sincere aud how dramatic all this is must appeal to tho individual tastes of ench hearer.' Tlio action moves swiftly and logically, tho dialogue is hanpily sele-ited for tho expression of character, find there uro thrills, but except for tho costumes and' accessories there is not much that provides atmosphere of the days before tho war. < Tittell Bruno as Nell Gwynne. Another play on "Nell Gwynuo" achieved (linder that titlo) an apparently extraordinary popular success at tho London Lyceum 011 February IS). The Lyceum has been, a melodrama house for several years past, and the now pieco is of that order, but romantic, entertaining, and splendidly staged. Charles 11, under, nn assumed name, meets Nell ill a little attic room near Drury Lane, justs after ho has wagered Lord Brookwell JCIOO that nothing could make him smilo that night, "that hp was done for evor with wine, womon, and gay life." Nell, with her charm, candour, and wit makes him happy once more, and tho delighted audience sees him toasting her sausages on tho point of his sword, fearlessly rallied by Nell until the ar-' rival of anxious courtiers "gives tho show away." Later, Nell is shown in the beautiful gardens of Hampton Court Palace, and, anon, disguised as a sailor-boy in a thieves' kitchen at Whitefriars, whero 6he unmasks a plot against the life of tho •King. Tho two central characters seem to have been finely played by Mr. Lauderdalo.Maitland, "who was regal without being pompous," and by Miss Minnie Tittell Brune. This clever actress of bo many parts in Australia has evidently rnado a great hit. Tho "Evening Standard" finds her Nell "convincing and full of charm"; tho "Daily Chronicle" says the character was "magnificently acted, a really fino performance, full of heart and humour"; the "Westminster Gazette" adds "for tho part was played by Miss Tittell Brune, who has a personality, and a breadth of manner, and a way of gripping a situa- ' tion which is unusual in plays of this kind"; and the "Pall Mall Gazette" remarks, "Beyond all else, it gave us Miss Tittell Brune in tho part of Nell Gwynne, with all her graces of person and art, in one of. the most attractive and admirablo picce's/of acting seen on the Lyceum boards for many a Ion" day. Sho showed that sho could bo pathetic; again and again sho displayed a comio power which eeti the whole audienco laughing; now and then she sang short, simple snatches of melody 'quite exquisitely; and always sho let us feel tho warm and loyal heart that lay behind all the oddities of the promoted orange-woman. She 'held' her audience throughput, and her receptipu after, each act was enthusiastic." All this is highly satisfactory' to the critics on this side, who know how cleverly Miss Brune played,nrauy parts, and how rarely alio failed," during a long period of years, dating from her Australian debut in Sydney in Rostand's "L'Aiglon," in 1901. During tho past year the American actress has been starring; in tho big provincial centres iu "Tho Easiest Way, but her present success is likely to keep her in London at any rate for some timo to come.