PLAYS AND PLAYERS.

New Zealand Times, Volume XXXVII, Issue 8355, 15 February 1913, Page 10

PLAYS AND PLAYERS.

OPERA HOUSE. In season-—Hugard, illusionist. February 37-March 6 —Hickards’ Vaudeville Co. February 28-March 10—J. C. Williamson. May S-17—Marlow Dramatic Company. THEATRE ROYAL. FuiUer-Brennan Vaudeville (permanent). PICTURE SHOWS. New Theatre, Manners street. His Majesty’s, Courtenay place. Empress 'Theatre, Willis street. People’s Picture Palace, Manners street. CONCERT CHAAIBER. In season—The Follies. TREE AND W^ DHAM It is further Indication of Mr J. C. Williamson’s, desire to give Australian theatregor, rs the best players, as well as the Last plays, that ho has been negotiating with Sir H. Beerbohm Tree and Sir Charles Wyndham to spend a season out here. “Tree would come,” he said in Sydney last week, “if he could let his theatre while h© is away. It is on© of tho biggest in London, and one of tho most expensive to keep up, and up to the present ho has been unable to make the necessary arrangements, which such a long absence would entail. But I am hopeful that he will yet make the trip. As to Wyndham, Charlie and I are very old friends, -and nothing would give me greater pleasure than to get him out here. As a matter of fact, I have been negotiating with him for some years past, but one thing and another —tho illness of his leading lady, or something else—has always blocked it just when I thought I had him. ‘Charlie,’ I said to him, ‘you are the most fascinating vacillator I ever met.' You may not know it, but I was playing comedian in Wyndbam’s Company at Wallack’s Theltre, in New York, be fore I came out to Australia in '75.” Air Williamson has something of interest to say about tho modern play. “There are very few good plays beinc written at the present time,” be said. “Why, I cannot say, because there is always a demand for good plays. I was disappointed with most of tho plays I saw; but wo have bought the rights of the best of them, both in England and America. Air Tallis and I have both been busy. The typo of play may change, but in every plav that is to succeed there must bo heart interest. Give mo the play that gets you below the collar-stud. It is the human interest story that catches the public. Where are our ‘Silver King’ writers nowP Ther© has been an attempt in London to secure a public for one-act plays, but it failed. Barrie, Pinero, and Shaw each wrote a cne-act play, and the three were put on at the on© theatre. A dismal failure’ Barrie’s ‘Rosalind’ was the only one that succeeded. Fads, fads, fads I I don’t think people want oneact plays.” SHAKESPEARE AND KALIDASA. The Maharaja of Jhalawar, presiding at a meeting under the auspices of the Indian Art, Friendly Society, London, recently, when “Kalidasa and Indian Drama’’ formed tho subject of discussion, declared that as England justly felt proud of her Shakespeare, India had a just claim to glory based on the works of her ablest poet, Kalidasa. His Highness said he was not a ’ great enough scholar to compare these two immortal poets and dramatists. They lived in such different , ages and under such different atmospheres that a comparison was rather undesirable. But he must say that even at such, n remote age as about 2000 years ago Kalidasa wrote dramas which in their dignity and artistic consummation could take rank with any other play yet in existence. He was fully aware of the difficulties the English public must feel in appreciating the poets of Indian literature, but that could be overcome if they took the same interest in India as they did in tho classics of Greece and Rome. A RIGNOLD STORY. Clement Scott, in “The Drama of To-day,” tells a curious story about Air George Rignold, the actor-manager, whose death was announced recently. John Oxenford, the critic of “The Times,” had been seriously ill, but, hearing of Rignold’s anxiety for his opinion of the performance, good-natur-edly go up from his sick-bed,. “accompanied,” says Mr Scott, “by one of the most distressing and, hacking coughs I have ever heard within the walls of a theatre. When the cough started, it was barely possible to distinguish one word spoken on the stage.” The cough grew louder and louder, and Rignold at last came forward and said he could not go bn acting “unless the old gentleman m the private box can suppress his distressing but evidently depressing cough.” Oxenford at- once left the theatre, and after the curtain fell, someone said to Rignold, “You have sent away John Oxenford, of ‘The Times,’ who enmo out of a sick bed to help, you at your own special request!” MISS NELLIE STEWART. According to Air James AI. Glover, the pantomime, conductor at Drury Lane, Miss Nellie Stewart paved the way for the rag-time craze m London. Chatting the day after the latest production, “The Sleeping Beauty,” on December 26th, Air Glover Said; "In a short time no doubt ragtime will bo succeeded by some other craze. But as to the first introduction of tho fever into this country—tho matter is not of Imperial importance—Aliss Nellie Stewart, the well-known Australian prima donna, did a ragtime, drum solo in her Drury Lane pantomime engagement, now fourteen years ago. For a long time-about the same period two artists, Griffin and Dubois, bad an ‘act’ to the same irritating syncopation. So there is history for you." The pantomime to which Air Glover refers was “The Forty Thieves.” The Drury Lane engagement followed Aliss Stewart’s appearance at the Shaftesbury Theatre, London, under Air George Alusgrove’s management, in •‘The Scarlet Feather.” The Austra lian actress learnt how to play the drum while she was in tho first Australian cast of “La Fille du Tambour Major.” That was in 1881. Aliss Stewart was the drummer-boy, Griolet, before she took over tho principal part in tho comic opera from Aliss Pattie Lawerne. Last year the popular artist went to Europe to secure attractions for the ’Theatre of Varieties which is being built in Bayswater road, Darlinghurst. She will (says a Sydney paper), return to Sydney in April. Aliss Stewart will be associated with Air

George Alusgrove in the management of tho new theatre when it is opened in September next.

FLORENCE YOUNG AND A LOST DIAMOND.

Aliss Florence Young has a story of a mislaid jewel that is enough to give a thief lockjaw in Ifcth hia hands to hoar (remarks the “Sydney Sun”). The popular prima donna did not go to New Zealand with the Ne\y Comic Opera Company, but has l> C u holidaying at her harbour-side nomo in Sydney pending the production ; n Melbourne of “The Co’jut 0 f Luxembourg.” Her last appearance was in her part in “Night.,rds” in Alclbourno. In this musical play Aliss Young wore a diamond in her hat. it is her own property, and is valued at over £3OO. She gave instructions to her dresser to have tho diamond placed in the safe deposit with her other valuable ornaments. Naturally, Miss Young believed this had been done. Now for the sequel. When the company presented “Nightbirds” in Auckland a week or two ago, tho wardrobe was unpacked and placed in the various dressing rooms of the artists. Aliss Amy Alurphy was cast for the part of the Countess, and wore Miss Young’s costumes. She played tho part tor several performances, and each evening placed tho famous black and white hat on a peg in her dressing-room. One evening someone remarked what a fine “property” the hatpin was. “It looks like a real diamond.” was tho comment. This was said while several members of the company wpre standing around. One of them recognised It as Miss Young’s magnificent diamond. The jewel has been returned to Sydney, and is now in the safe deposit. How Aliss Young feels about it few of us are in a position to state, never having had a diamond out of our possession without a ticket that informed us exactly whore it was. GOSSIP There arrived by the Ventura from America under engagement to tho Brennaa-Fuller management, the vcCharles King and Virginia Thornton Company, who have commenced an Australasian tour at the National Amphitheatre, Sydney. Their feature is half-hour dramas, all written for tho principals by leading American dramatists. “The Fortune Hunter” in the title role of which Air Fred Niblo will appear in Sydney at the conclusion of the New Zealand tour of “Goi-Rioh-Quick Wallingford,” is a comedy by the stage adapter of “Brewster’s Aiillions.” It deals with a young city man’s expedition to the country, with the view of marrying a girl with money.' This is done upon the advice of a friend. How the “fortuneminter” faros in his rather ignominious quest is the theme of a delightful play. Air Niblo played the name role for over two years in America, while Miss Josephine Cohan appeared as the girl in the country town who hadn’t any money. Those clever comedians and singers, “The Follies,” make tueir bow again ru a Wellington audience to-night in the municipal concert chamber. During their, recent short season in Wellington “The Follies” proved conclusively that they are in the first flight of entertainers. During this return visit they will offer a number of new sketches aud burlesques. A new, member has been added to the company, Mr J. it. Ferguson, who comes with a reputation from Alelbourho. “1 am breaking up a happy home,” said Mr J. B. Atholwood last Week to a Sydney “Sun” interviewer. “Snakes, lizards; and other crawling creatures have had undisputed possession for thousands of years of the gorge i acquired some time buck at Watson’s Bay, They arc rather averse to giving me peaceful enjoyment of the spot, and I feel like a modern St. Patrick banishing the reptiles. . . . No, 1 don’t think I can grow anything there. Perhaps 1 could raise frogs for the French colony. ' There’s a pool of water from a natural spring, and by the- noise ot the Croaking there must be about three million frogs in it. So far, howevei, i have only seen two of thorn. Peraaps it’s a noisy minority. When it comes to natural history, the fauna of my estate is really worthy of inori attention than the flora. There’s nothing of the latter worth talking about, except a little dry moss bn the rocks, the property adjoins the cemetery, sc. I see no chance of unearned increment. It would have made an eligible site for a smuggler’s retreat in tho ola Jays. A writer of uncanny stories might find it a source of inspiration for creepy effects. I’ve never seen a place offering a better setting for a murder .mystery. There is Soinetlung delightfully diabolical about it on a dark night. The sweep of the Bout.. Head light only intensities the blackness of the place. If tnero ever comes a day when 1 can retire from the stage ib am bo to tma guicn. i'll road gar Allan Poo aud other writers ot non ible crimes at nights there by rushlight.” Air Julius Knight will shortly produce “Della Donna” and piay the part of Dr Isaacson at the Criterion Theatre, .Sydney. Tho title role will bo assumed by Miss Irene Browne. This is the piece that was put on at the bt. James Theatre, London, a year ago, in December, 1911, merely in the hope that it would servo as a stop-gap, a temporary substitute for a play that had not succeeded. But. as is often the case with plays that are regarded only as temporary expedients, “ Bella Donna ” ran for nearly , twelve months at the St. James Theatre, and was one of the few genuine successes of London’s last theatrical season. This was largely because “Bella Donna” as a novel had earned in the beginning—\vhat It retains to a good extent even now—an enormous reading public in all English-speaking countries. Its author has handled with almost photographic fidelity the strango beauty, the Oriental mystery and magnificence, the deca. deuce, the wisdom, charm, and horror of Egypt. Even those only slightly informed about modern novelists associate Robert Hiohens inseparably with Egypt. “ Tho Garden of Allah ” first thus classified Air Jaichens, and then camo “ Bella Donna ” to Orientalise him in the thoughts of people who read current fiction. According to tho New York correspondent of the jumdon “ Stage ” ; “ Haddon Chambers is over here, and has been giving his views on things in general to tho interviewers. He apparently realises that the American dramatist has a much better time of it than the nritish individual, since the market is so extensive. I understand that ho has come over mainly for the purpose of consulting with Charles Frohman regarding a new play. Winthrop Ames has acquired tho American rights of John Galsworthy’s ‘ Eldest Son.’ and proposes to present it on the earliest opportunity, which, however, may not lie until next season. There is considerable kicking nnent the new practice for charging ten cents for programmes. instead or giving them free gratis for nothing, as formerly. Alany of tho patrons of the theatres condemn

it as a paltry attempt at extortion, and it is possible that the outcry against it may cause its discard. On the ether hand, there is just the possibility that it may remain. One soon gets used to skinning, even the eels.” Miss Ethel Irving—the run of “Tho Turning Feint” at St. James’ Theatre having concluded —is to appear at tho Strand in a new piece by Aliss Gladys Unger, entitled “The Son and Heir.” The other leading part will bo played by Norman Trevor. “Tho Son and Heir,” which is to be produced by Air muis Aleyer, presents a typical picture of English country life and of an old English family divided against’ itself, its younger members risin'g in revolt against the old-fashioned ideas and prejudices of their elders. Aliss Unger, it is said, has worked out her theme on original lines, and the development of the story is described as entirely novel. “Hindlo Wakes” one of Stanley Houghton’s ultra-mod* rn pieces, has boon purchased for Australia by Allan Hamilton and Harry Plimmcr. This firm also possesses “The Turning Point,” a drama from the French, which Las passed its 100th night at the St. James’s Theatre, and is shortly to he replaced by “Tazandot, Prince of China.” This is a new Chinese play, by Dr Karl Yollmoeller, in which Aliss Evelyn D’Alroy and Air Godfrey Tearlo will play the leading parts. Sir George Alexander stands out of the cast. This evening the J. C. Williamson management will introduce “Bella Donna” at the Criterion Theatre, Sydney. Air Julius Knight is directing the production of the emotional drama, which, being founded on Robert Hiohens’s novel, 'deals .with a case of slow poisoning by a treacherous wife, the full cast- being as follows: Dr. Meyer Isaacson, Air Julius Knight; the Hon. Nigel Armine, Air Alartin Lewis; Mahoud Barondi, Mr Hugh Buckler; Dr Hartley, AIT Arthur Greenaway; Sir Henry Grebe, Mr Harry Halley; Ibrahim Ahmed, Air Leslie Victor ; Hamza, Air J. Plumpton Wilson; Hassan Ben Achuled, Mr Victor Tatnall; Alonks, Air Charles Alorse; Airs Chepstow (afterwards Airs Armine), Aliss Irene Browne; Airs Alarchniout, Aliss Grace Armytage Noble; Alane, Aliss Dorothy Camming. Mr Bernard Shaw’s latest objective is to induce audiences to refrain from interrupting by applause or laughter, except at the end of the play. He says they will thus get out of tho theatre half an hour earlier, that the interruptions are disconcerting to the artists on the stage, that people look much nicer when they smile than when they roar witli laughter, or shout excitedly, or sob. He seems to forget isays a Sydney critic) that audiences very often applaud, or laugh, or cry, to relievo their feelings. Tlicy do not always have tho chance of retort offered to the denizen of the gallery who, when the Shakepearean actor declaimed the familiar line of Clarence’s dream, “Oh, 1 have had a miserable night 1” shouted in reply, “What price us I” Air Ben Fuller gives some Interesting particulars concerning his firm, and tho more enterprising policy it now proposes to adopt. “We have now- established booking offiejs in England and America in charge or gentlemen who are acquainted with the, tastes of our trons,” ho says. * “The result is beginning to be felt. On board tho Ventura the first American contingent arrived. Alanagers have strict instructions not to engage an act until they have seen it in public, and they have almost unlimited license as far as salaries arc concerned. We have ten theatres of our own to keep open all the year round, and there are several silb-oir-ctiits to supply. The acts from America also play Honolulu either coming or jii the return journey, and we are thus enabled to offer contracts ranging from twelve to twenty-four months—which is longer than can be obtained upon most of the big American and English circuits, Although we have decided on thoso largo importations, it does not' nean that we will drop the local article. There are still Several good Australian tots, and it will at all times be a pleasure to place them, provided they can offer something worth while. It will be noticed that our admission tariff has been slightly increased. That is caused, of course, by the Very heavy extra expenditure involved.”