AMUSEMENTS.

Gisborne Times, Volume XXVII, Issue 2449, 13 March 1909, Page 12 (Supplement)

AMUSEMENTS.

HIS MAJESTY’S. LOCAL FIXTURES. March 31 to April 3.—Mcynoll and Gunn. Easter Week—Maskelyno and Levant. “The Devil” is tho name of a new play, which is said to be rivalling “The Merry Widow.” It is computed' £5,000,000 lias been spent by theatregoers in seeing the play. Mr. W. Anderson and his wife, Mies Eugenic Duggan, leave Melbourne- lor England by the Oinrah on April 20. They will be absent six months, ano return to Australia via America. MisDuggan hopes to appear on the stage in London during her visit, but if sir cannot she will make arrangements to do so later. . A -sense of humor often wins a point in business, -and so it proved when one of the actors in “xhe Bearlet Pimpernel” approached a mem nor of the J. C. ’Williamson firm last week and -applied for a rise in salary. am.doing more in the play than I dui when it was last on,” he urged, ai.u yet I am getting the same money." “What are you doing now?” he was asked. “I’m playing a leading part, said the actor; “I lead the horse on in the first act.” Miss Beatrice Day, the leading lady of the Julius Knight Company, confesses that it is one of her >ambition*• to play Shakespearean heroines in Australia. She has appeared in seic—-ra-1 of these roles in England, her iavorite being Portia, it is difficult ti name any description ot part in viiicn she has not -appeared. Mrs. Wiggs p raved, “O Lord, keep me irom gettin’ sour”; Miss Days prayer is “Lord, keep me from becoming a oncpart actress.'’ Thus she has nguiCw in melodrama. Shakespearean, amt modern comedy, iarce comedy, aii't now in romantic drama, bhe consiaer.s she has been very lucky in having such excellent managers as Ikerbohm Tree, Kendall, Weedon Grossmitn, Robert Brough, and Herbert Flemming. She says that _she nas hot cultivated versatility without profit t : herself, as during her stage career sirlias boon continuously in engagement Her counsel to beginners is not to an - at being associated with a partieu,a. kind of part, but to develop re-.-outo-fulness and all-round capacity. -L ■ that way will'one be ready lor tue oig opjiortmiity when it. arrives.

When the late Charles Warner fir appeared on the stage in England 1868 ho received a salary cf oightec shillings per- week for some thirteen parts weekly. In iSfe

when in Australia during a two years' sojourn, he is reported to have divided profits amounting to £35.000 with k: management., while his share for one week alone during the run of "Handj Across the Sea” amounted to. £60.ss. But mining and land speculations afterwards ean.ved him to regret the latter class of business. Y\ arner tint appeared in Sydney at the Theatre Royal on July 28. 18S3, great role of Coup can in “Drink.” He ws; supported by the late Herbert/Flemming and R. E. (“Bobby”} Waison. Warner -also played "1 ho Lady cf Lyons” and “Hamlet.” He appeared in Sydney on April 6, 1889. in “Macbeth.’’ with Miss Augusta Dargon athe Ladv. On Boxing night, December 26. ISSB. he created the original role in Australia of “Hands Across tho Sea.”' This piece ran to January to of the following year—rather a long run in these days. He last appeared in Sydney on April 12. L c c9. at a matinee performance. Tills mu-.t have lieen a regular theatrical least, for .se-

lections wore given from “Romeo an Juliet.” “School for Scandal.” “Lad

cf Lyons,” and “Othello.” Miss Gnoie Warner, a daughter of the u i arced, also appeared in a number of th productions’ with her father, and created a favorable imprerdon. Deceased’s last London engagement was to play Kleschna in “Leah Kle&ehin” at Wyndhanr s in 1905. ,

MADAME MELBA

IMPS ESSION S OF A USTE -V LI A

Madame Melba, who is now touring Australia, was interviewed at Fremantle recently. The prima donna said: “I can say that I am most happy to reach Australia. My manager in England told me that I was very foolish to suffer pecuniary loss, but 1 meant to make a thorough tour of Australia, and it is my purpose to sing at every important and unimportant town in the Commonwealth. 1 think lam physically lit for that. 1 shall stay is Australia- six or nine months, -and after filling several engagements in England and America, will return again in 15 months’ time; that is, if you will have me again. You see my great ambition is to produce grand opera in Australia on a grand scale. When I arrived in Naples l-ast April, on my voyage- back to England,, I mentioned the idea to Signor do Sana, director and proprietor, of the San Carlo Theatre there. He is a leading impressario in Italy. The whole scheme was discussed, and Signor de Sana promised his co-operation, but when the scheme seemed to be assured a complete success 1 received a telegram from Naples to the effect that Signor de Sana had been stricken with paralysis. The whole plan, therefore, fell through, but .1 shall have it perfected by the time I come out again next year. Nearly every role will be filled- by famous artists, and while I am in Australia this time I shall endeavor to collect a few basses.”

“What singing partly will you take?” “It’s hard to determine vet; but I shall probably fake the part of Elsa in “Lohengrin” and Elizabeth in “Taimhauser.” besides my usual singing parts. Before leaving England I received the following message from the King and Queen:—“Their Majesties the King and Queen of England express best wishes for your enjoyment of the Australian tour. Wo are greatly disappointed that wo will not be able to.hear you at Covent Garden next season, but we will look forward with the greatest pleasure to your return in 1910.’ The Prince of Wales also sent me a similar message.” Regarding Australian artists, Melba

said slio had heard Glywds Edwards, of Western Australia, sing in London. “She had got temperament, sympathetically, and ifc bound to get • on. if she takes my advice and goes to j France. Miss Tancrcdi, of New Zealand who has a charming voice, and: Vlr Cecil Outrim, of Melbourne, are h inon ,r the brightest of the students.” • Asked what age Australian girls should end up the serious routine of voice- culture, Melba said she should not consider serious training till about. 17 or 18 years of age. Before that tune even a moderate share of work is likely to interfere with the proper development of the vocal organs, and perhaps cause serious injuries. Only , t.i ie other dav Madame Marehesi re-/ Cl hl et i the fact that the too frequent use of her marvellous voice m bad prematurely impaired the middle re-'istcr of Jennv Lind. If one so rFvbteiy "ifted as she suffered through prodigal use of tlie voice during early H ars how imperative must be the necessity for care in tlie case of those who■•'e endowment falls immeasurably inflow her -.unique standard. Madame Marehesi, of Paris, is the best toach- , in mv-opinion, but whatever Australians do let them beware of certain terchc-rs. Home male teacmers have ruined many promising voices. In i-uA there should be a standard to which all teachers should conform.