DRAMATIC AND MUSICAL.

Free Lance, Volume III, Issue 155, 20 June 1903, Page 16

DRAMATIC AND MUSICAL.

By Footlight.

MR. George Musgrove's English Comedy Company opened their season prosperously on Wednesday night with Paul Kester's very successful play, "Sweet Nell of Old Drury." The house was packed almost from floor to ceiling, and Mr. Westmacott's managerial heart spoke through his eyes in a beaming smaJe, for was he not assured, of the fact that the box plan was filled, up for a week ahead ? Everything went well on this opening night. Miss Nellie Stewart received a very warm ovation upon her entrance as the barefooted orange^girl, with her basket of fruit on her arm. Applause punctuated the performance right through, and the curtain went down at last amid loud cheers. ■X * * "Sweet Nell of Old Drury" is called a comedy-drama. Its American author has, of course, introduced a number of historical characters, but he has softpned their lineaments, and rather idealised some of them, notably the heroine and her royal master, Charles 11. "Sweet Nell" is the good fairy of a very pretty story. She is quite unspoilt by fortune. In her affluence she welcomes, with effusion the ragged strolling pipers whom she knew in former days, and generously entertainsi them. She opens almshouses for the London poor. She warmly takes up the cause of Sir Roger Fairfax defies and checkmates the schemes of Lord Justice Jeffreys to bring him to the block smothers her own affection for the o-allant young knight and helps 1 him to win his bride and regain the royal favour. That, in a sentence, is the plot which is put into the com-edy-drama of 'Sweet Nell of Old Drury " * * * The play is sumptuously staged. No expense has been spared to make the environments faithful and striking. It is not necessary to draw upon the local dealer for furniture, as is the habit with the common or garden variety of dramatio troupe. This company brings along its own fixings. They are specially constructed for the purpose, even down to the harpsichord that stands in Nell's boudoir and urxvn which she plays so tastefully. You may remember that the harpsichord was the distant forerunner of the modern piano and is not on sale now-a^ days. The costumes are rich, and expressed in much fancy, for the court dames and gallants of the Restoration epoch were strong on silks, laces, and assorted millinery. It needs only to be mentioned that Phil Gfoatcher and W. R. Coleman painted the scenery to convey the idea that the various sets must be all right. They place you before the King's Theatre, at Drury Lane, introduce you to pretty Nelly's boudoir at Pall Mall, carry you into the privacy of Lord Jeffreys' (the hanging iudge's) home, and, finally usher you into a handsome and picturesque chamber in Whitehall Palace. * ■* ■» And now, a- few words as to the personnel of the company and the manner in which the leading parts are played. Miss Nellie Stewart is, of course, the life and soul of the piece. She was ah\ ays a prime favourite in " New Zealand as in Australia. Her forte hitherto has been light opera. This is the first time she has been seen in drama in Wellington. Her success in it is undoubted. She merges her individuality in the part. To all intents and purposes it is Nell Gwynne and not Nellie Stewart you have before you. It is a capital study, full of subtle touches and winsome features. In the st act, you have Nell, the orange-girl, warm-hearted, careless, saucy, sharp of tongue, and just as ready to crack a joke as to slap a tooforward nopmiav's face. Her mimicry of Judge Jeffreys and Mrs. Barry the popular actress, were greatly relished by the audience . also her dialogue •n ith the King, while not suspecting his identity. ♦ • # One of the most oharminer passages in the second act is the tete-a-tete between Nell Gwynne and the King, where, seated at her harpsichord, she plays and smgs to dispel his melancholy. Miss Stewart plays the old-fashioned instrument very nicely, and the speciallycomposed song which she gave was cxc-

cuted with sweet expression and artistic taste. Quite certainly, Nellie Stewart has not gone aft as a, singer since she took to the drama. The actress appeared also to much advantage in the keen encounter of wits that tallies place in Act 111., between NeJl Gwynne and her Court rivals, Lady Castleinaine and the Duchess of Portsmouth. She scored likewise in Nell's impersonation of Judge Jeffreys, her defiance of him when he caught her arrayed in his wig and gow n, and her provoking raillery as she took possession of his sedan chair and was borne off to Drury Lane. In the fourth act, Nell confounds her enemies, and saves her friends. * * Mr. Harcourt Beatty is a very capable actor. He speaks his lines with clear voice and well-calculated effect, and maintains the dignity of the monarch while bringing into relief his fondness for repartee and his easygoing disposition. His share of the dialogue sparkles with epigram, and Mr. Beatty gives it pointed expression. The Xm 2; Charles spaniel, "Little Marquis," upon which the merry monarch lavishes so much attention, plays its little part very docilely. Mr. Harry Hill's Lord Jeffreys is a clever characterisation, thoroughly consistent in all its details. Miss Alice Fairleiffh and Mies Emily Levettez appear to advantage as the Court favourites, Lady Castlemaine and the Duchess of Portsmouth respectively. Miss M. Sadler sustains creditably the role of the Lady Olivia Vernon, and Miss Edith Stewart 19 attractive as Tiffin, a barmaid. Mr. Vernon Steele, in the lover's Dart of Sir Roger Fairfax, speaks and bears himself as a gallant knight and true lover should while the Lord Rochester of Mr. Webster Lawson and the Lord Lovelace of Mr. Sydney Stirling are capital types of the fashionable beau of the period. A special word of praise is due to Mr. Alfred Tapping, who makes 1 a decided hit in the role of Percival, a prominent actor, much given to spouting Shakespeare and very far down on his luck. * * • ' Sweet Nell of Old Drury" is sure of a good ran, and will therefore hold the stage until further orders. • # • Drx's Gaiety Company, at the Theatre Royal, are flourishing like a. green bay tree. That diverting comedian, Steve Adson, who is probably the brightest bit of human kind recently facing 8 Dix crowd, comes u for two minutes and stays on for fifteen. Steve sings a song about "Adam Missed Her," which isn't a circumstance as a poem, but which infused with the Adson spirit, is like new wine. "Mary the Fairy" is next in order of merit, and, as Steve does a grotesque dance during heir adventures, she is welcomed uproariously. Steve's patter is of a pattern peculiar to Adson and <-everal things he says I don't remember having heard for some months. » • • Sherwin, the musical maniac, manages to have a great deal of "Fun in x Turkish Bath " with his quaint musical instruments and his assumed lunacy. tie is good for the "vapours." The great Arnoldi is ringing the changes in his tncks with exhilarating results and the Galardi girls are stall the girls with the merry winks. Marvellous what yellow-back volumes are in a seines of winks w^hen they are artistically produced. • » • Miss Emmie Smith, the graceful singer assisted by the gay Galardis, gambols through a coon song, yclept, "I'se Waitin' Fer You, Ma Honey" (by the way Galardi is spelt with one "1' this week). Jack Kcarns, Ida Roslyn and the faux Vera are still conscientiously grafting for the benefit of the public, and the grown-ups do that immortal bit of comedy in which there is a terrific railway smash. They manage the dear old friend excellently. Vera voices the sentiments of a boy w r ho "played up just becas' they put me into trousers " to the huge delight of the crowd. * * # Mr. Ernest Kill, the profound youth with the voice, tells us all about "The Deathless Army," in artillery crescendo. Ernest frequently has to appear several times, owing to the vociferous demand for more artillery. The Flying Moultons put in an appearance last night too late for notice. They are credited with doing one of the best "turns" obtainable in the colonies. # # • Fuller's Entertainers, at the Choral Hall, have the advantage of being camped on a spot around which the bulk of their patrons havej their habitat. Consequently, the hall is nearly alwaiys as full as it can possibly be. The deep, mysterious, young conjuror, Dr. Rowe, has been persuaded to bring his properties back to Fuller's, and is, at present, going over the old ground with pleasing results. Many of his

special feats are novel, and have not been seen here before. • w * Denis Carney is usually billed to smg a song, and he is always forced to sing five. He is an excellent eccentric dancer and his "gag" is novel, in that it is often new and original. That funny man, Will Stevens, is "absolutely the best end-man in Australasia." So says the management, and it ought to know, surely. - Anyhow, he is a host in himself, amd he suffers much from encores. • * • In Mr. Harry Hart, the Fullers have a tenor smgeir who takes a great deal of beating. His "Clorine" is still his finest effort, although, a song about the rather hackneyed "Ole Virsrfnny" is close up. The Musical Mintons and the Effervescent Elmores still anpear in the bill. The Mintons are excellent dancers and the Elmores are dressed to slay. Their business is brisk, and voices good. 'The Coal Heaver's Revenge," a sombre tale, in which the dramatic powers of the company are given full scope, puts the finishing touch on a bill of special drawing power. • * » The Manst Brothers' Old Boys' Drain atio Club were blest with two very comfortable "houses" at the Opera House on Monday and Tuesday last. Everyone knows Bqucicault's "Colleen Bawn." The moving story found apt interpretation by the amateurs, and at times members of the club rose to fine dramatic heights. Most conspicuous, by reason of its naturalness, was the part of Miles Na Cop^aleen, excellently done by Mr. E. Twohill. As the rollicking, devil-m<"--care Irishman, he was perfectly at home although he occasionally eabbled his lines. His lack of self-consciousness entitles him to high piaise • *■ # There were many -oints of excellence in the impersonation of the heroine, Eily O'Connor, by Miss Ada Gurney. She has a melodious speaking-voice, and if she burnished u^ the Irish venacular one could hardly wish for anything more winsome. She is strong m pathetic parts, and her two incidental songs were very nicely sung, both getting encoies. • * • Mr S. G. De Vine, the sepuchral but aristocratic Hardress Cregan, husband of the. slighted Colleen, invested the part with sufficient gloom. His speech isi excellent, has voice telling and impressive and his manner dignified. He is able to ma,ke the audience hate the hero for not appreciating his pleasant wife which, perhaps, is what is desired. Miss Jean Pascoe. as the hero's mother, is an emotional actress of some ability. With some necessary furbishing and the exercise of greater care in speaking hear line®, she* would enhance nhat was a very picture of the proud Irish lady. • « * Mr. Tom Marshall, as Danny Maim, showed capability, although m lus dying scenei he let the brogue co by the board. Miss Violet Taylor as Anne Chute, has the colonial vowel sound to live down. Otherwise she- was equal to her part and managed a difficult role with some vivacity. Confidence marked Mr. F. Hendry's Kyrle Daly, and one lost none of his lines. • • * One of the brightest patches w as the Sheelah of Miss Nellie Twohill. Her biogue has " time ring, and in Danny's death scenei she surpassed herself. Mr. C. Mackie as Father Tom, made a dignified priest, and the Squire Comgan of Mr. W. Kelly was 1 capable, especially during the improvised court scene, m which the '"dead" Colleen is bi ought in bv Father Tom, assisted by Miles. The piece was extremely well dressed, staged and managed, the orchestra was a good one, and the result satisfying to the enereretic people who took this method of raisins; funds for ropaiis to the Manst Brothers' School.