THEATRICAL NOTES.

Te Aroha News, Volume VII, Issue 461, 9 April 1890, Page 6

THEATRICAL NOTES.

(FROM OUR LONDON CORRESPONDENT.)

London, January 17. The mediaeval comic opera of “Marjorie” by Messrs Clifton Dilley and Slaughter which took the place of “ Paul Jones ” a the Prince of Wales’ Theatre on Saturday evening last, appears to be a mediocre production of much the same class as the “Red Hussar” and “Doris.” There are pretty scenes, pretty dresses, pretty dances, a crowd of pretty faces, and an inordinate number of watery ballads and waltz duets. The plot is simple. Marjorie, the daughter of a dilapidated gentleman of the period (a.d. 1217), has three lovers—a strangely assorted lot—including Ralf Earl of Chestermere, whose body servant’s record of his master’s amours might rival that of Don Giovanni’s Leporello ; the second lover is Gosric, a rich farmer ; while the third and favoured swain, Wilfred calls Gothric father, and Ralf his lord. It will easily be understood that under the peculiar social conditions of the thirteenth century the “ triangular duel ” of the three rivals is not fought out quite fairly, and we must add that the exercise by Earl Ralf of a mediaeval prerogative went very near imperilling the opera.on Saturday night. This noble lord, who is cheated into marrying Gosric’s niece, Cicely, a moment before taking the field against an invasion, returns home to find everybody more or less engaged in thwarting him. What does he do ? We have hitherto seen him, in the person or Mr Hayden-Coffin, a gay and careless gentleman; he is now a baron, who hurls his friends and neighbours into the deepest dungeon beneath the castle moat with a promptitude and comprehensiveness worthy of a Itadcliffian hero. Off they go, one after another, from Gosric to the Earl's own sister, till nobody is left save Ralf, himself, and Wilfred, whom the authors hold in reserve as a deus ex machina. Of course, all ends happily. The Earl, when Wilfred has effected a general gaol-delivery by force of arms, makes it up in the most facile manner with his successful rival ; every Jack has his Jill, and the curtain descends upon univeisal satisfaction. Parallel with the main thread of the argument run others of a subsidiary nature—the successful plotting of Gosric’s sprightly niece, Cicely, to become Countess of Chestermere, and the love adventures of the Earl’s mature sister, Lady Alicia, who eventually marries the wealthy farmer. As the amorous “Earl” and the lively “Cicely,” Hayden-Coffin and Phyllis Broughton were distinct successes and received the bulk of the applause. On the other hand, Miss Agnes Huntingdon (who played “ Paul Jones ” so artistically) made a complete fiasco in the part oi “ Wilfred ” which did not suit her at all. The title role was played by Miss Camille D’Arville with plenty of chic and brightness, and Harry Monkhouse did all that was possible with a depressingly comic character.

Amongst the best features oi the music are a ballad “In the Still Silent Night,” sung by Miss D’Arville, a catchy drinking song for Coffin (twice encored), and a comic duet between two elderly lovers. The run of “ Sweet Lavender” at Terry’s Theatre ends to-morrow. Edward Terry, it is said, has made at least £36,000 out of the piece, whilst Pinero’s share of the London profits (only) amount to £7,000 odd. Pinero, of course, has also been drawing a steady and substantial income out of the provincial, American, and colonial rights of the piece for the last two years. Even now there are three “Sweet Lavender” companiestouringGreat Britain.

George Alexander’s season at the Avenue Theatre will commence on Saturday next, when Hamilton Aide’s comedy drama, “Doctor Bill,” will form the principal item in the programme. The company does not read very strong, Miss Fanny Brough, Miss Marie Linden, and Mr Fred Terry being the best known members.

It is just 21 years since Byron’s “Cyril’s Success,” which will be revived at the Criterion Theatre to-morrow evening, was produced at the Globe. The principal comic parts were played then by little Johnny Clarke and David Fisher (now, alas ! both dead), and the young lovers by VY. H. Vernon and Miss Henradi. The latter characters will be represented at the Criterion by Mr Leonard Boyne and Miss Olga Brandon; David James playing “ Matthew Pincher,” and Mr Elwood Fisher’s great part, “ Major Treherne.” “ Cyril’s Success ” used to be considered Byron’s masterpiece and a model of wbat a drawingroom comedy should be. We shall see how it suits the modern taste. Mr Jerome’s reckless assertion that “The Profligate ” was a failure financially at the Garrick Theatre, has brought Mr Hare severely down on him. As a matter of fact, says the manager of London’e newest theatre, “The Profligate” drew over £20,000 (or an average of £l5O per night) to the Garrick during its limited run. Mr Hare withdrew it at last reluctantly because his agreement with Mrs Bernard Beere left him no other alternative. The “Tosca” ought to have been produced in September, in fact for seven weeks Mr Hare paid Mrs Beere £6O a week for doing nothing. Naturally this couldn’t go on for ever. The laudatore* temporis acti who have constantly thrown “ Cyril’s Success” in our faces as an instance of what a brightly written comedy telling a sympathetic story should be, were sadly chagrined at the Criterion Theatre last Saturday evening. Instead of a complete success the revival of “ Byron’s masterpiece” turned out a dolorous failure. No doubt the company were absurdly nervous, and an awkward contretemps (viz., the non-appearance of the letter in which Cyril’s wife announces that she has left him) spoilt the most dramatic cur-, tain of the four. Still these catastrophes would not have seriously injured the "play had it been really first rate. Truth to tell, “ Cyril’s Success ” won’t stand comparison, for a moment with pieces like “The Middleman” and “The Profligate.” Recalling Pinero’s polished incisive dialogue, always natural and to the_ point, yet glistening with good things, the talk of Byron’s characters sounds stilted and artificial. Besides, ; many of the dramatis personae are quite out of tune with 1890. We have no doubt fast overdressed boys nowadays, but they don’t in the lease resemble the Hon. Fredk. Tite boy, who was a. special product of the sixties. In the same way, the cynic and mysogynisb, Matthew Pincher, was no doubt a diverting character at the birth of the Woman’s Rights movement, whereas he seems now something of a bore. ; B’Oyley Carte’s new theatre in Cambridge Circus is a most imposing bui.m’in

lb will be managed by a syndicate headed by Carte himself, and £20,000 has already been banked to cover the- expenses of the opening season next autumn. Signor Masini, the great Italian tenor and rival of Tamagno, has at length consented to sing in' England, and will be heard at Covent Garden in “ Otello ” some time this next season. The great man’s terms are modest, only 3,000 guineas a month. Misß Dora Labouchere Labby (owes’ daughter) will, give a birthday party en the 10th prox.,at which a fairy play written by 1 Mrs Labby (erstwhile the sprightly Kate Nodson), with a prologue by Clement Scott, will be performed. The music introduces a waltz specially composed for the occasion by Sir Arthur Sullivan, and a song composed by Mdme. Adelina Patti. The Intter will be sung by Stedman’s choir. Mr Percy Anderson is the youngster’s dresses, and Mr Paul Valentine arranging incidental matters.