The Billboard 1909-09-25: Vol 21 Iss 39 (1909-09-25)

' ! 1 ; 12 The Billboard SEPTEMBER 25, 1909. London Lendon Bureau of The Billboard, 179 Temple Chambers, E. C. A Harvest of New Plays: Pinero's Latest Sets all London Talking—A Wonderful Emotional Melodrama. FIR weeks of deadly dullness we have reached the time all the theatres seem to be breaking out into new plays together. Every night this week has seen a fresh piece pro A duced, and apparently this is to go for at least another fortnight. The cold, bad weather seems to have driven people back to town early, and throughout the new plays have been presented to large audiences, Of them all, far and away the most import ant has been the new drama of Sir Arthur Pinero, vroduced at the St. James’ Theatre. The production of a Pinero play is always an event in this country, but this one looks like creating even more interest than usual. It helongs to his gloomy category of plays, and is a tragi-comedy of selfish, childish old age. Its leseon can be gathered from the parable that one of the characters, Peter Mottram (C. M. Lowne) tells quite early in the story: “Abwit half way and Boulogne there’s a shoal. Le Colbart the French call it. We call it the Ridge. D’ye know I've never encountered that blessed shoal without experiencing a most uncomfortable time. o’-sorts-hatin’ myself and hatin’ the man who is sharing my cabin with me. But the senestion hasn't lasted long. Gradually the beastly notion has died down, and in a quar ter of an hour or so I've found myself pacing the same deck, arm-in-arm with the traveling compenion I've been positively hours before. My dear pals, there's semblance between that and marriage. The happiest and luckiest of married couples have got to cross that Ridge; sooner or later there’s the rough and tumble of mid-channel to negotiate. But it’s soon over—well, over, if only Mr. Jack and Mrs. Jill will understand the sit a re ution; if only they will say to themselves, ‘We're on the Ridge, we're in mid-channel; in another quarter of an hour our boat’ll be steady again—as steady as when we stepped on the gangway.’ ”’ Rut the story has no happy ending of this charecter. Zoe and Theodore Blundell are a childless couple—by agreement—and although married fourteen years are yet scarcely middle aged. Put they have come to the critical point that Mottram speaks of, and he comes along and endeavors to make peace and pilot the Blundells over the Ridge. coeds Matters are patched up and they decide on ea holiday. But then there is a dispute over the hotel, which ends up in another fierce qmarrel, and the first act ends with the husband leaving the house In a violent rage. Zoe goes off by herself to Italy, and is followed there by Leonard Ferris, one of the ‘tame robIns’’ she has had fluttering ‘round her in town. Meanwhile. Theodore. bored with himself and everything else, stays in London, and amuses himself with a woman be picks up there who is a Mrs. Annersley, a notorious person. Then scandals begin to get associated with Zoe snd Leonard, whom the author mekes an iInsnfferable little cad. They g0 about together for some time, and then Leonard gets engaged to a nice eligible ingenue. who can give him a comfortable future. After a time. through the good offices of Mottram, Zoe and Theodore, who are really both anxious for a reconcilation, come together again. But after the pust escapades neither can really forgive the other and in the end they once more part in anger, Theodore telling her that he will make it essy for her to obtain 3 divores, provided Ferris will marry her. Zoe goes off to Leonard's flat to find that ~Ferris’s fiancee and her mother, Mrs. Pierpont, are there having tea. They do not see her but He all but suec she has an interview with Ferris in another room when he tells her of the engagement but promises despite that to do his duty and hers if she wished him to do so. But while they have been talking FPilundell and Mottram have arrived in the flat determined to see that Ferris behaves as out to see room Zoc an honorable them bnt when he has gone. She has to spoll the life of the young girl and has pnt an end to all things by throwing herself from the balcony into the street below. As the indicates, the play is not a pleasent Rut it Is brilliantly written and brims over at times with satire and epigram. Rut it’s painfulness is more than apparent the whole time. Neither Zoe or her husband are bad people—as she says with children she might have been a happy wife and mother. He. too, although bullying and overbearing at times is good at bottom. But deapite the good offices of Mottram, the worldly philosopher—delightfully played by C. M. Lowne—they make an entire wreck of everything. Pinero seems to be conveying two messages, the one indicated in the parable I have quoted above, and the other contained in Zoe's speech to her husband, when for the last time they are trying to forgive and forget: “Our marriage wee doomed from the time when we agreed that we would never be encumbered In our career with any ‘brats of children.’ Every thing was «acrificed to our getting on.”’ From every technical point of view the play Is fascinating. I the eves of the public It may meet with the criticism that practically all the characters are unpleasant. Rut in any case, the acting stands out magnificent. It is Coubtful whether any other actress conld have played the part of Zoe like Irene Vanbrugh. It gives the fullest scope for her fine intellect and unfailing sympathy, and she makes the most of it. Lyn Harding Is excellent as the rongh hnsband, and Erie Matnurin, as the unpleasant Leonard, no one could help admiring. The only other character of import man. He goes returns to the determined not story one. between Folkestone | I've begun to feel fidgety, restless, out| | of bad character sufficiently unpleasant and is | a great foil to Zoe. The play was extremely well received by the first night audience, and altogether it seems likely to cause more discussion than even Pinero’s plays have been in the habit of doing. As a change to Pinero the light-hearted com edly, A Sense of Humor, by Beryl and Cosmo Hamilton, comes particularly pleasant. This play has been produced at some special per | formances before in London, but this is the first loathing a few | ence Is that of Mrs. Annerly. played by Miss | Nina Sevening. She makes this schemeing lady ' time that it has been given a run of its own. The story is laid in the Isle of Mull, but despite this it has a particularly Continental atmosphere. It concerns Major Archibald Hay, and his old friend, Sir William Hutton, who take a fishing cottage on the island and bring their wives thither. The Major is completely absorbed in his fishing. The baronet, on the other hand, gets bored to death and diverts Limself by flirting with the wife of his friend, who is likewise bored. Major catches them kissing each other in the garden. He gets annoyed and goes to Lady Hutton, and tells her that his heart is broken, his faith in woman completely destroyed, and he intends to divorcee his wife forthwith. Lady iiutton tells him not to be a fool and make a lot of scandal. He is just as fond of his wife as ever, and the best thing he can do is to win her back. So she suggests that they should exercise a little sense of humor and pretend to be in love also. He agrees to this, and ihe baronet, coming in a little later, is annoyed to see his wife throwing her arms around the Major’s neck. Mrs. Hay, when she finds out this counter-irritation, is equally burt. She had only started out with the intention of making her husband sufficiently jealous to render him a little more ardent. and this turn of affairs takes her by surprise. Then each couple plots and counterplots to excite jealousy in the other quarter. But each goes a little too far, and before long it looks as though real trouble is brewing. Finally in the evening—-the hus bands having exchanged wives, and each still nretending to the other that he is setistied— Lady Hutton requests the Major to take her to her boudoir. Then Hutton gets real mad, starts smasbing up the furniture an@ finally Eventually the breaks Inte the locked boudoir, where eventually he learns how he has been fooled. Then in the end everyone gets recenciled to everyone else. As can be imagined, the. atmosphere Is quite unconventional at times, and the audience were disposed to agree with Lady Hutten when, sitting In the boudoir, she tells the Major she fee's ‘‘quite Freneh.”’ and later indignantly askes What is the goed of keeping ber nerve when she is khsing her reputation. But. throngheut the play is extremely brisk and the dla logne the smartest beard In Londen for some time. Beryl Faber, Auriel Lee, Guy and Leslie Faber play the respective Lady Hatten, Mrs) Hay. the Saronet. amd all are extremely Miss Feber. Two new ventures inte actor-managersbip are exciting great juterest here just now. One ts H. B. irving, whe ts taking the Queen's Theatre and running a season of his own He starts eff with a revival of The Bells, and besides playing many of his father’s old parts, he is alse bringing out as many plays by modern anthers as possible. He has very strong finanelal backing, and bis reputation has increased so enormously in the last two or three years that the enterprise is pretty sure to be a great sTrecess The other venture is at the Savoy where Tl. W. Werkman, who has played the Grossmith parts in Gilbert and Sullivan operas parts of Major and the good, especially so long. ts taking on himself the mantle of D'Oyly Cartes. For his first preduction, however, he Is putting em a new comic opera by Reginald Semerville, after which be will com mence reviving Gilbert and Sullivan. There are nopes, also, of a new opera by Sir William Gilbert and Edward German. In any case this will net be seen until the spring of next year. The Savey has such a distinctive cli entele of its own, who era, that Workman is Most of the old Savoy gaged. Anether event of this busy week has been the prodretion of Arsene Lupin. As the play is being preduced en yeur side as well, 1 need say nething about it except that never miss a single oppretty sure of snecess. Javorites have been en (Continued on page 45.) Paris Week By Week Paris Bureau The Billboard, 121 Rune Montmartre. Show Shops Opening Up Now Have You Done for the Theatre have Come to Stay—Here are Responses from Some of France's Foremost Dramatists Given in Reply to the Question: What That Cool Weather Seems to of 1909-19102 HE amusement shops are opening up like morning-glories under the dew and sunrise. They have cause. The (T hot weather has taken a permanent sneak, and overcoats have come to stay. Which means, of course, that it’s getting to be good theatre weather. The frost is on the pumpkin, and the sum mer is on the blink. This village is a kind of market place for plays. France is not by any means last itn the niey-making business, and American managers of stars always keep an eye on this corner of the hemisphere, seeking that which they may devour. Many a success bas come out of Paris, and many another is on the way. Therefore, with an idea of giving those who need the information a little peek into the future, The Filboard has asked some of the leading dramatists: “‘What have you finished in the play line for the coming season, and what are you working on which will be produced soon?’’ Below are some of the responses. I can’t give them al] this week, for every periodical—no matter how liberal and big—has its space lim‘ts. There'll be more to come—ater. Maurice Donnay, of the French Academy, says: “Just only at present I have definitely in view two revivals; but as my mother used to say: “Better a revival than a gap.’ Lysistrata will be used to reopen the Bouffes Parisiens, under the direction, and with the interpretation of, the actress-directress, Cora Laparcerie RicheAmants will be one of the plays at the Comedie Francaise. As you ask me news of Marriage de Telemaque, I will say this: My collaborator, Jules Lemaitre, has concluded his portion of the comedy, and my friend, Claude Terrassee, has put the finishing touches on the score. As for Armande Bejart, this work will ultimately have its outlet at the house of Moliere.”’ Jean Alcard, also one of the ‘“‘immortals” of the Academie Francaise, has this to say: “Town in Southern France the tradition runs to this day. Gaspard de Resse is still remembered with a note of sorrow and admiration mingled. He was a jaunty rogue, a Beau Krummel adventurer, a dandy highwayman. And when he was executed he was well wept. All Aix eried of tenderness for him. ‘What a pity to harm such a dear, who never himself injured anyone!’ they sald. And instead of clothing him in the ordinary garments of the confemned, he went to the gallows clad in a ravishing ontfit of silk in pigeon-breast colors. “Here is the man whom I have put into a play, in verse, and which will be finished shortly.”’ Mignel Zamacolis replied: “IT have a plece In four acts, in verse, which has been resting Idle in my workshop for some years even. It will be put on at the Comedie Francaise, It is purely a fantasy, filled (1 hope) with both galety and emotion. The title is At Liberty! That Is to say, 1 haven't canght It yet.’’ From Fernand Vanderem comes this response: **In addition to the comedy which the Com edie Francaise receives from my workshop, I have in more or leas complete form a play in one act, commanded by one of the first comedians of France, but whore name I must not now reveal; a play in four acts, for which the scenario is entirely complete and the which will take but a short while to put Into complete form; in collaboration with another play wright. a play in three acts. All these will he seen—barring the unforseen, of course—thts winter.’’ Iiere is what Paul Ferrier said: “Experience has taught me the fragility of programs. Otherwise I should say that 1 shall be applauded more than ever the coming season. What I can say, however, is that in collaboration with my daughter, I have done a lyric drama in three acts, called Noel. The music for this is by Frederick Erlanger, and it will be staged at the Opera Comique. Under the same conditions I have finished a three-act comedy, entitled La Cornette, destined for the Athenee. I also have in preparation several operettas, but these I shall not bring out until I am sure of a public which I believe will uo derstand better what I am driving at I have, at last, a four-act drama, in verse, called Chicot, and an adaptation of Faust, in four acts end fourteen scenes. Chicot awaits the proper interpreter; the other, the proper manager."’ Tristan Bernard: “I'd rather not after the name somewhat the interest I ought play. It ceases to be new to me, like a piece long produced. I can say, though, that I have a play practically finished for the Athenee, one mention names, has been made now, public to have because 1 lose in the for the Michel, another for the playhouse of Jules Claretie (Comedie Francaise), a four act drama in which Marthe Mellot will play the principal role. and a comedy in three acts for one of the Boulevard playhouses, the which I'm not allowed to say just at present. The author of Trains de Luxe, which Mme. Rejane played with with so much success last season, has a musical comedy and another play for the star just mentioned on his list. Said Abel Hermant: “I am collaborating the book for a lantiques with France Nohbain on musical plece entitled TransatThe music for this will be done by Claude Terrasse. There are to be three acts and four scenes. In addition to this, I am working on a pilav. less fantastic. and Instead of three acts, will have four. This play will be submitted to Mme. Rejane as soon as she returns from her South American tour. I shall also see a revival of My Trains de Luxe this winter, the actress having promised to put it on again.’’ Max Maurey’s response was short but Interesting He wrote: “I am finishing an adaptation of David Copperfield.”’ Speaking of adaptations, I can do no better than follow Maurey'’s plans with those of Pierre Decourcelle: “What of mine is to be produced this season?" he repeated. ‘“‘At the Porte Saint Martin Rol sans Royaume will be revived toward the last of September Then I ahall see an adap tation of mine produced at the Athenee It is from the American play, Brewster's Milijons. Tt bas had a big success in both the United Stetes and England, and as it stands Is the ab soluteiy perfect vehicle for Andre Brule, of the Athenee. Brule is to create the title role. I have mede quite a number of changes In the play, fitting it for the French stage. I am making at the same time, a comedy of manners, in four acts, Andre Maurel collaborating with me. In this we have had the good fortune to have promised for the main part, Mme. Vorel, and the theatre will be the Vaudeville. The tithe is La Rue du Sentler."’ Here are the plans of Georges Thurner: “Director Franck is to produce a play itn four acts of my writing, and at Gemler's, there is alreaty my La Gloire de Chantenelles.” Grenet-Daneourt: (Continued on page 45.) Standing | Gerald du | er's } atre Berlin A New Musical Wonder in the Capital City—T hree New Operas Shortly to be Produced—Notes of Interest. ERLIN has a new musical wonder. Rudolph Berger, the celebrated baritone, member of the Royal Opera House, is now a tenor, and made his debut as Lohengrin at the Royal Opera with surprising success. man responsible for the remarkable chenge is Oskar Saenger, of New York, well knewn veeal teacher and orchestra leader, Last year, when Berger sang at the Bayreuth Festspiele, he asked his friend, Saenger, how he liked his voice. ‘“‘Splendid,"’ he replied, ‘*but you are no baritone.”’ “‘The answer worried me,"’ sald Berger. “I consulted friends, authorities in vocal matters, who declared that I might be able to develop my baritone into a tenor, but noms dared to undertake the ex periment. When Berger, after his Bayreuth engagement returned to Perlin he continued his “tenor experiments.’’ and finally cabled Mr. Saenger, who, in the meantime had returned to New York, If he would undertake to instruct him in tenor roles. Saepger cabled an affirmative answer. Berger was given leave of absence by Count Huelsen-Hassler, intendent of the Royal Opera, and reached New York to September of last year. There, under Mr. Saenginstruction his voice was given a most thorough training, and when the former baritone, a few weeks ago, again returned to the German capital he was ready to appear in bis oew role. The case was unique in the history of the operatic stage in Germany, and has therefore caused widespread interest. + One of the interesting dramatic events of the capital is the appearance at the Apollo Theof Severin, the great French mimic, who made his local debut in the pantomime Conscience. The piece deals with murder, repentance and explation Severin finds opportunity in this role to play the gay pierrot—the plerrot tortured by conscience. The contrast between the white painted face, this personification of the clown, and the tragie accents of his mimicry. is of powerful effect. Mimic tragedies in white paint! The plot of the new pantomime is very simple. Plerrot has knowledge of a murder, committed by a banker. laid at the door of an honest mechanic. Travail, oe friend of Pierrot. The latter blackmails the banker out of a large sum of money which he spends in riotous company. But then his conscience awakens. Travall h#s been convicted. In horrible vision Pierrot sees the guillotine, sees how Travall, his friend, with head under the glittering, descending knife, accuses him, who knows the truth and refuses to save him. Pierrot is siezed with repentance, he hurries Sefore the judges, confesses the truth and the guilty one is imprisoned. Pierrot has saved friend, and bravely bears the punishment he is to receive for blackmalling a murderer. Severin’s art is something wonderful. His audaudiences forget that no word is spoken, his xestures and mimicry express even the smallest nuance In the dialogue and monologue, One seems to hear him, though his lips are silent. For humor and trony. mockery and sarcasm, frivolity and galety, for all the varying degrees of self-torture and the gnawing conscience be has the plastic gesture and mien to affect bis audience as the spoken word would. Mons. Severin is supported by an excellent company and is making an immense sucess with his splendid performances. uis In connection herewith, It is Interesting to note that negotiations have been concluded for the appearance of the Max Reinhardt ensemble at one of the prominent Paris theatres. The repertoire will include classic and modern dramas, and Berlin hears that the French capital is deeply interested In the comic dramatic event, the first of Its kind for ages. Never before has a German company of the artistic capabilities and renown of the Reinhardt ensemble. gone to France to appear in German drama, played in German It reminds one forcibly of the time when Richard Wagner was being introduced to the intranslegent Parislans, who 1wooted the first performances, until finally the international character of all art = trinmphed over national animosities Berlin does not in the least fear a repetition of those scenes; times have changed, and men with them. No doubt, Relinhardt’s artiste will recetve a full and fair hearing in art loving Paris. It ts most likely that the company will appear at the Theatre Marigny, where some years ago the company from Dusseldorf played for a short time, with very Indifferent success—indlfferent, because the various members of the ensemble did not come up to expectations, The Richard Wagner Festsplele In Munich, at the Pringregenten Theatre, which commenced shortly after the close of the Bayreuth Festepiele, has not been a noteworthy success, Oniy the firet two performances can be considered above serious eriticlem Metstersinger was under the leadership of Franz Fischer, and Tris tan under the great Felix Mottl Tannhauser, with Roehr as director, suffered with an impossible chorus, and a very poor rendition of the title part The Ring cycle was directed by Mott], and would have proved an artistic suc cess, had not Schmedes, the tenor of the Vienna Opera and the New York Metropolitan, dlsap pointed as Slegmund. A lack of rehearsals is made responsible for the partial fallures, but the house was sold out at every performance. The andlence was the usual Munich tnternational audience. The French Invasion of the German capital is not Mmited to Severin, At the Urania, DIrector Roubaud, of Paris, is to bring out, as to (Continued on page 45.)