box 15/3
uene Kakadu
Der
9. 3 eeeneeen
—
Cutting from
Ihe
Wailn News & Tender
—Date of lssue 44:722 75
2
S
A NIGHT OF THRILLS.
Vaudeville Plays that Make the
Flesh Creep.
The managers of the Vandeville Theacre
are now presenting a program in the Grand
Guignol manner, with a prelude of
Vinnocnons eongs by Gertrude Rolffs and
Anton Dressler, of the Cabaret fame. Had
the Fat Boy in" Pickwick“ aspired to
che management of a theatre he would
have certainly monnted Hermon Quld's
Between Sunset and Dawn.“ and the
end of" The Green Cockatoo“ would have
satisfied him.
The Dialect of Mayfair.
Mr. Ould (or, from internal evidence.
Miss Oul4) dus rather eleverly chosen
the old theme of the husband, wife, and
lover, and set it in East End life. Until
the very end the play might have been
translated from## dialeet of Mayfair.
Liz Higgins rur ay from her husband
because he treats so badly. She takes
Frefuge at a
doss-housn, kept by the
drunken Mrs Harris Jim Harris, her
son, who spenks to his mother with a bru¬
tality calenlated to make our flesh creep,
is really a good sort, and takes pity on
Liz. When her husband appears (for he
knowsthe Harrig family) Jim protects her.
and prevents the husband following the
distraught woman.
Having nowhere to go, she returns, and
Jim öffers to take her nway. Liz is, how¬
ever, a respectablis married woman, and
only consents aftet
struggle. She
actually returns home. but her Ausband is
suspicions of Jim and does not believethat
there is nothing hetween them. He sud¬
denly threatens tü murder der and she
escapes. Again she vieite Jim Harris who
mue
set beeause ehe did not tell her
husband the truth.
The Truthat Any Oost.
Jim
stickler for truth, and thinks
she should not have told a lie, even to save
her life. He believes, ##n, that ehe really
loves her husband, and, #. ce be cannot let
her go he sticks u knife: lo her back as
he embraces her. From ## earlier refe¬
rence in thorplay I gathere that Jim's
father was mad.
fcourse, the whole shing is meant to
give the audience an uncomfortable thrill.
and it certainly succeeds. Whether it is
worth doing or not depends entirely on
the point of view. Personally, 1 think
“ Between Sunset and Dawn“
very
unpleasant little play, and one can get
much more real thrills on a Saturday
night in anv slum of a big city. Mr.
Norman Mekinnel acted very powerfully
as Jim Harris, and his gradual madness
was terrible to watch. Miss Alice Mans¬
field as old Mrs Higgins, and Miss Adn
King as Mis. Harris, were real East End
people, but Miss Mav Blavnev and Mr.
Edmond Breon, as Bill and Liz Higgins.
were too genteel, although they acted the
emotions of their parts with considerable
power.
∆ More Subtie Thrill.
Schnitzler's“The Green Cockatoo,“
which was produced a little while ago by
che Incorp ted Stage Society, gave the
ludience a 5 more subtle thrill. The
stage at the Vandeville is rather #wall for
he play. and the suecess of the production
a riumph for Mr. Mekinnel's man¬
gement of the epace at his command.
E. A. B.
1e
t-
hlication
Rr#ge
VAUDEVILLE THEATRE.
TBETWEEN SUNSET AND DAWN.“
A Play, in Four Scenes, by HennoN Ouen.
The people of the play in the order of their appearance.
Mrs. Harris Aau King.
Jim Harris Norman MeKinnel.
An Old Man. Ernest G. Cove.
Harold Bradly.
Curly Tom
May Blayney.
Liz Higgins
A Respectable Woman.. Florence Harwood.
Bill Iliggins Edmond Breon.
Alice Mansfield.
Mre. Higgine
Mrs. Lansdowne Ethel Marryat.
Scene I.--Kitchen of Mrs. Harris' Doss House in
South London, 7 p.m.
Scene II.—The same, midnight.
Sceue III.—Kitchen at Bill Higgins’ House at Dept¬
ford, 12.30 ulm.
Scene IV.—As Scenes I. and II., 2 a.m.
CTHE GREEN COCKAT00.
A Grotesque, in One Act, by Aurnun SchNITzLER
Translated by PENELorE WHEELER.
The people of the play in the order of their appearance.
Grasset (Philosopher) Edward Rigby.
Harold Bradly.
Lebret (Tailor)
Prosper (Innkeeper, for¬
merly Theatre Manager) A. G. Poulton.
Inspector of Police E. Cresfan.
J. Cocke Beresford.
Grain (Ruflian)
Ernest G. Cove.
Seaevola
Douglas Munro.
Jules
Norman MeKinnel.
Henri
Léocadie (Henri's Wife).. Mary Clare.
Françols, Vicomte de
Edmond Breon.
Nogeant
Albin, Chevalier de la
E. Evan Thomas.
rémouille
Miale Maund.
Michette
Hilda Davies.
Iipotte
Malcolm Cherry.
Emile, Duc de Cadignan
Arthur Cleave.
uillaume
F. Mayeur.
1
The Marquis de Lansao.
Sarah Brocke.
Séverine (his Wife)
Henry Hargreaves.
Rollin (Poet)
Bouise Regnis.
Georgette
Loslie Carter.
Balthazar
Geoffrey Goodhart.
Stephen
Gordon Bailey.
Maurice
Scene: The Green Cockatoo, an underground
Itavern in Paris.
Time: July 14, 1789,
The two plays produced by Norman MeKinnel.
The programme presented last night by
Mesers. Norman MoKinnel and Frederick
Whelen is more estimable than most that have
been produced this senson. But one fears that
it would better serve the Incorporated Stage
Society, of which Mr. Whelen has for years been
a shining light, than a management that looks
for support to the general public. First Anton
Dressler and Gertrude Rolffs sing jointlv or
severally half a dozen songs. Now, excellent
artists as they are, they are handicapped by
their foreign accent, by what sound to be in¬
different English words, and by their gaiety
being just a trifle heavy-handed. Their efforts
were well received; moro than that one cannot
say. Then follows“ Between Sunset and
Dawn,! a play in the curious form of four
scenes—they are really short acte-—by, as far as
is known, a new author. Liz, a pretty
and civil-spoken young woman, is married
to Bill Higgins, who presumably has some
lowly occupation in which nothing short of
delirium tremens is regarded as a disqualisica¬
tion. When toroughly drunk he knocks her
about, and she has got tired of it. So she comes
to the doss-house kept by Jim Harris. a large,
morose, blasphemous creature, who has had
nothing to do with girls. He has, however, his
good points. He knows Bill to be a blackguard,
pities and, later, loves Liz, whom he addresses in
language that one would have thought rather
bevond his means. When Bill comes to drag
Liz back to her singularly neatly-kept home he
is twice or thrice knocked down by Jim, and re¬
tires discomfited and with the seeds of a suspicion
that there is something on between Liz and Jim.
On Jim’s proposing to Liz that they
should retire to the country together sho,
alver some uncertainty, decides to return to her
husband. She does, and there is another scene.
Maddened by drink, heacouses his wife of having
in Jim a lover. She denies, somewhat unncces¬
uene Kakadu
Der
9. 3 eeeneeen
—
Cutting from
Ihe
Wailn News & Tender
—Date of lssue 44:722 75
2
S
A NIGHT OF THRILLS.
Vaudeville Plays that Make the
Flesh Creep.
The managers of the Vandeville Theacre
are now presenting a program in the Grand
Guignol manner, with a prelude of
Vinnocnons eongs by Gertrude Rolffs and
Anton Dressler, of the Cabaret fame. Had
the Fat Boy in" Pickwick“ aspired to
che management of a theatre he would
have certainly monnted Hermon Quld's
Between Sunset and Dawn.“ and the
end of" The Green Cockatoo“ would have
satisfied him.
The Dialect of Mayfair.
Mr. Ould (or, from internal evidence.
Miss Oul4) dus rather eleverly chosen
the old theme of the husband, wife, and
lover, and set it in East End life. Until
the very end the play might have been
translated from## dialeet of Mayfair.
Liz Higgins rur ay from her husband
because he treats so badly. She takes
Frefuge at a
doss-housn, kept by the
drunken Mrs Harris Jim Harris, her
son, who spenks to his mother with a bru¬
tality calenlated to make our flesh creep,
is really a good sort, and takes pity on
Liz. When her husband appears (for he
knowsthe Harrig family) Jim protects her.
and prevents the husband following the
distraught woman.
Having nowhere to go, she returns, and
Jim öffers to take her nway. Liz is, how¬
ever, a respectablis married woman, and
only consents aftet
struggle. She
actually returns home. but her Ausband is
suspicions of Jim and does not believethat
there is nothing hetween them. He sud¬
denly threatens tü murder der and she
escapes. Again she vieite Jim Harris who
mue
set beeause ehe did not tell her
husband the truth.
The Truthat Any Oost.
Jim
stickler for truth, and thinks
she should not have told a lie, even to save
her life. He believes, ##n, that ehe really
loves her husband, and, #. ce be cannot let
her go he sticks u knife: lo her back as
he embraces her. From ## earlier refe¬
rence in thorplay I gathere that Jim's
father was mad.
fcourse, the whole shing is meant to
give the audience an uncomfortable thrill.
and it certainly succeeds. Whether it is
worth doing or not depends entirely on
the point of view. Personally, 1 think
“ Between Sunset and Dawn“
very
unpleasant little play, and one can get
much more real thrills on a Saturday
night in anv slum of a big city. Mr.
Norman Mekinnel acted very powerfully
as Jim Harris, and his gradual madness
was terrible to watch. Miss Alice Mans¬
field as old Mrs Higgins, and Miss Adn
King as Mis. Harris, were real East End
people, but Miss Mav Blavnev and Mr.
Edmond Breon, as Bill and Liz Higgins.
were too genteel, although they acted the
emotions of their parts with considerable
power.
∆ More Subtie Thrill.
Schnitzler's“The Green Cockatoo,“
which was produced a little while ago by
che Incorp ted Stage Society, gave the
ludience a 5 more subtle thrill. The
stage at the Vandeville is rather #wall for
he play. and the suecess of the production
a riumph for Mr. Mekinnel's man¬
gement of the epace at his command.
E. A. B.
1e
t-
hlication
Rr#ge
VAUDEVILLE THEATRE.
TBETWEEN SUNSET AND DAWN.“
A Play, in Four Scenes, by HennoN Ouen.
The people of the play in the order of their appearance.
Mrs. Harris Aau King.
Jim Harris Norman MeKinnel.
An Old Man. Ernest G. Cove.
Harold Bradly.
Curly Tom
May Blayney.
Liz Higgins
A Respectable Woman.. Florence Harwood.
Bill Iliggins Edmond Breon.
Alice Mansfield.
Mre. Higgine
Mrs. Lansdowne Ethel Marryat.
Scene I.--Kitchen of Mrs. Harris' Doss House in
South London, 7 p.m.
Scene II.—The same, midnight.
Sceue III.—Kitchen at Bill Higgins’ House at Dept¬
ford, 12.30 ulm.
Scene IV.—As Scenes I. and II., 2 a.m.
CTHE GREEN COCKAT00.
A Grotesque, in One Act, by Aurnun SchNITzLER
Translated by PENELorE WHEELER.
The people of the play in the order of their appearance.
Grasset (Philosopher) Edward Rigby.
Harold Bradly.
Lebret (Tailor)
Prosper (Innkeeper, for¬
merly Theatre Manager) A. G. Poulton.
Inspector of Police E. Cresfan.
J. Cocke Beresford.
Grain (Ruflian)
Ernest G. Cove.
Seaevola
Douglas Munro.
Jules
Norman MeKinnel.
Henri
Léocadie (Henri's Wife).. Mary Clare.
Françols, Vicomte de
Edmond Breon.
Nogeant
Albin, Chevalier de la
E. Evan Thomas.
rémouille
Miale Maund.
Michette
Hilda Davies.
Iipotte
Malcolm Cherry.
Emile, Duc de Cadignan
Arthur Cleave.
uillaume
F. Mayeur.
1
The Marquis de Lansao.
Sarah Brocke.
Séverine (his Wife)
Henry Hargreaves.
Rollin (Poet)
Bouise Regnis.
Georgette
Loslie Carter.
Balthazar
Geoffrey Goodhart.
Stephen
Gordon Bailey.
Maurice
Scene: The Green Cockatoo, an underground
Itavern in Paris.
Time: July 14, 1789,
The two plays produced by Norman MeKinnel.
The programme presented last night by
Mesers. Norman MoKinnel and Frederick
Whelen is more estimable than most that have
been produced this senson. But one fears that
it would better serve the Incorporated Stage
Society, of which Mr. Whelen has for years been
a shining light, than a management that looks
for support to the general public. First Anton
Dressler and Gertrude Rolffs sing jointlv or
severally half a dozen songs. Now, excellent
artists as they are, they are handicapped by
their foreign accent, by what sound to be in¬
different English words, and by their gaiety
being just a trifle heavy-handed. Their efforts
were well received; moro than that one cannot
say. Then follows“ Between Sunset and
Dawn,! a play in the curious form of four
scenes—they are really short acte-—by, as far as
is known, a new author. Liz, a pretty
and civil-spoken young woman, is married
to Bill Higgins, who presumably has some
lowly occupation in which nothing short of
delirium tremens is regarded as a disqualisica¬
tion. When toroughly drunk he knocks her
about, and she has got tired of it. So she comes
to the doss-house kept by Jim Harris. a large,
morose, blasphemous creature, who has had
nothing to do with girls. He has, however, his
good points. He knows Bill to be a blackguard,
pities and, later, loves Liz, whom he addresses in
language that one would have thought rather
bevond his means. When Bill comes to drag
Liz back to her singularly neatly-kept home he
is twice or thrice knocked down by Jim, and re¬
tires discomfited and with the seeds of a suspicion
that there is something on between Liz and Jim.
On Jim’s proposing to Liz that they
should retire to the country together sho,
alver some uncertainty, decides to return to her
husband. She does, and there is another scene.
Maddened by drink, heacouses his wife of having
in Jim a lover. She denies, somewhat unncces¬