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THE BROUGH COMPANY.
SOWING THE WIND.'
Grundy's play, Sowing the Wind, was repeat ed for the second and last time in the Theatre | Royal on the 6th_inst. before another full house, whose reception of the piece, especially in the third act, was enthusiastic to a degree, every detail of the passionate scene between Mr. Brabazon (Mr. Brough) and Rosamund (Mrs. Brough) being followed with rapt atten- tion. It may justly be claimed for this act that it is one of the best ever seen on the stage of
the local theatro.
over,
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THE HONGKONG WEEKLY PRESS AND
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old lover. That is the skeleton of the plot. | Written by an ae or as it is, the play does not possess to any degree the features that generally characterise the productions of an actor-play wright. As we have indicated, it is not "stagey' -a nasty word, but there is no equivalent so ex ressive. When We Were Twenty one is a fine play in every sense of the term. Its movement is on the surface easy, its motive is subtle and its environm...nt domest o. Played by an indifferent company, one could imagine it a wholly unattractive piece. There is in it nothing of melodrama. The "curtains "are arranged with the skill which we may expect an actor to bring to bear upon his work. น WHEN WE WERE 1WENTY-ONE.“ But they would be thin in the estimation On the 7th inst. Mr. Brough put on yet of a provincial manager. The most powerfal another new play. When We Were Twenty-one scene is that in which Phyllis taunts Carewe has not been produced in these parts before It with his supposed infatuation for the "Firedy enjoys a great reputation in England and it undoubtedly would be a worthy "curtain." America. Only natural it was therefore that | But no; Mr. Esmond lets the act close with, in there should be a crowded house to witness ils our opinion, a less effective scene, the "Imp' first representation. There was uo dubisty flinging out of the room in a rage with his four about the reception the new piece got, for it guardian. The first act is colourless with the was very cordial and altogether appreciative. exception of the last episode before the curtain Within the four acts of When We Were Twenty-falls; the second really contains the climax of one, Mr. H. V. Esmond has contrived to the story; the third is consequently weak; and concentrate many of the clements which go to the fourth is, as all last nots in this kind of consti:ufo a dramatic suc-css: the manner, how- plays should be, placid and full. We should rather than the matter is what makes like to see When We Were Twenty-one in a for that felicitous result. It is with something setting of the Forties. It would strengthen of a sigh that one turus one's back upon the the flavour. As it is, Mr. Esmood's play stage when the curtain finally drops. There is a
is a play the presentment of which calls longing left unsatisfied. The ending is too much for no mediocre abilites on the part of the like the last page of some Thackeray novels. persons presenting it. We are fortunato in And now, children, the play is ended; let us having had it brought out under the aegis of put away the puppets and go to bed." Wo can Mr. Brough. The representation of it which not forget that the play is ended, cannot grasp the Brough Company gave, was wholly a fixed idealisation 83 beloved of the pit, which admirable. There are three parts in it that after all is the articulate pulse of the house. can be called principal. First of all is Mr. It is the romance of the play that chiefly makes Carewe; this character was assumed by Mr. it attractive. The author does not depend Brough and done in a manner that in the opiniou much upon effect. It is in the love story that of some eclipsed all his previous efforts. the charm lies, while the interest is adequately ride gives opportunity for the exercise of those sustained by the play of the human passions high talents of characterisation aud finesse presented by the conflict and contrast of the possessed in so eminent a degree by Mr. characters. It may be excusable to glance at the Brough, and of these opportunities he did not plot, though it is perhaps well enough known, let one pass. His acting was splendid and called Richard Car we and three friends of his under- forth repeated tokens of admiration. Miss take the responsible task of bringing up the fou
Brenda Gibson as Phyll's acquitted herself most of an old friend of theirs who died. Young hope- notably. Phyllis is the best thing she has done ful is known affectionately as "The Imp," and so here. much do his ongoings belie the carefulness of his early training that the pet appellation can well be applied to him in a sense in which it was not originally beglowed. He is engaged to Phyllis Ericson, a pretty girl, one of Carewe's household, much to the satisfaction of the four godfathers, who by the way are in the habit of referring to themselves as the "trinity," with the same disregard of numerical accuracy that "The Three Musketers" of our acquain tance so egregiously displayed, and with such entrancing results. But to return: the Imp becomes entangled with a music-ball star who glori s in a scarcity of sk rt and reputation and who manages to inveiglo the enamoured youth into secretly marrying her, she thinking that he is rich. The "Luip's" secret is discovered through the "Imp" dropping a letter from his inamorata, which missive bis four sponsors as well as Phyllis become acquainted with the .contents of, with electric effects that may be imagined. But Phyllis does not know that the "Imp" is the person to whom the letter refers, and Carewe, in a chivalrons endeavour to spare her the pain the disclosure of the real state of thius might engender, aflows her to conclude that it is he himself who is entangled with the lady of the music-hall; and a powerful scous-the scene of the play-occurs betweon Carewe and Phyllis in which Phyllis (auuts him almo t te madness about his queen of the footlights. Meanwhile the trinity" try to rescue the "mp" from the consequences of his rashness, but their efforts are of no avail; he worships the "Firefly" as she is called and denounces the "trinity" as traitors for dououncing her, In the midst of all this convulsion it becomes apparent to Carewe and Phyllis that they love The changes constantly taking place in the each other she has never really cared for the productions by the Brough Comedy Company
· Imp' and after some charming love passages attended as they are by the most gratifying and a clearing of the air with regard to Car-results, furuish striking proof of the versatility ewe's real position, they ultimately get engaged and resource of the clever organisation at pre whilst the Imp' adheres to his belief sent in occupancy of the Theatre Royal. The and faith in the music-hall girl and is Liars, Henry Arthur Jones's play, had its turn only disillusioned when she, finding that on the 10th inst, and throughout the whole of he is not a man of fortune, deserts him for an
its four acts a common sentiment united players
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Her pourtrayal of the character was charming, and this added to her charms of person made the house welcome her every appearance ou the stage and feel that omething was lacking wheu she was off In the part of the "Imp" Mr. Ernest Vere shone with unmistakable lustre and provod again if need wire the versatility and forcefulness of his powers. His Imp" was admired by everyo e. Mrs. Brough did what little she had to do as the "Firefly" excellently. Miss Susie Vaughan brought all her accustom d finish and conscientiousness of method to bear upon her cha acter study of Mrs. Erico. Mr. Leslie Victor as Eir Horace Plumley, Mr. W. T. Lovell as Colonel Graham and Mr. Percy Walshe as Dr. McGrath were uniformly clever, ad the Doctor's brogue was delightful The other parts were well filled by Miss Gillies Brown (Budgie Ingram), Miss Temple (Babeffe), Mr. Or ando Daly (David Hirsch), Mr. M. McLean (Hughie Helmont), Mr. McIntyre (Wallis Brundall) and Mr. Churles Hartly (Herbert Coirie). The setting of the play was of a piece with the traditions of the Broagh Com- piny, excellent, Mr. Clande White is to be congratulated upon the success of his scenic
fforts.
On the 9th iust. the Brough Company garo a repetition of H. V. Esmond's play When We Were Twenty-ons before a crowded house. The piece go: a flattering reception and the princi- pals were warmly applauded. Miss Gibson and Mr. Brough were very successful in the respective parts of Phyllis ard Carewe.
* THE LIARS."
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[March 14, 1903. and audience, the author's grasp of the require- ments of the average theatre-going publio 1 sing one of its clearness by the interpretation · put upon his work. Mr. Brough appeared 18 Colonel Sir Christopher Deering, and acted with his usual skill and thoroughness, as did that other "tower of strength to the Company, Mr. W. T. Lovell, who assumed the rile of Edward Falkner, Mr. Orlando Daly and Mr. M.McLean, stage brothers in the parts respectively of Gilbert and George Nepean, created very favourable impressions, and clever also were the Freddy Tatton of Mr. Leslie Victor and the Archibald Coke of Mr. Percy Walshe. Mrs. Brough's characterisation of Lady Jessica was exceedingly good and quite in line with her other successes daring the present season, which has also given us opportunity to admire the talent possessed by Miss Susie Vaughan, whose Mrs. Crespiu was another finished exhibition of her powers. Miss Temple's contribution to the success of the cast was unmistakeable, and the Dolly Coke of Miss Brenda Gibson was given in the best style of the charming impersonator of Phyllis Ericson in When We Were Twenty-one. The minor parts wore all creditably filled and wered atributed as follows:--Waiter at the "Star and Garter." Mr. McIntyre; Gadsby (a footman), Mr. Higson; Taplhin (a servant), Mr. Edwards; footman at Cadogan Gardens, Mr. Harrison; Beatri e Ebernoe, Miss Helen Pogle; Ferris (a maidy, Miss Gillies Brown. The play was admirably mounted, the scenic effects reflecting high credit upon the artist, Mr. Clande Whaite. Amongst the au- dieuce were II E. Sir Houry and Lady Blake and party from Government House.
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"THE SECOND MRS. TANQUERAY.” In the play which the Brongh Company stage l on the 11th inst. at the Theatro Royal we have an expression of dramatic art that was viewed with mixed regard whon originally set forth for the test of public dixerimination; but in what- ever light it may have been viewed at first and iu spite of the hostilo criticism levelled against the play, there ja no questiouing the fact that Mr. Pinero stuck a grand, tine, powerful note in the accomplishment of this wo derful work. The Second Mrs. Tanqueray is as potent an attraction to day as when it boro the pristine flush of novelty, nor is the story of Paula one to be likely soon to disappear from the stage. The hour is past for the discussion of the right and the wrong of the problem play: It has brought is own justification in that it has never lost but rather gained ground in the public favour. It may shock some supersensitive minds, but it lays baro the human heart and passions as they are; it may teach morality only by negation, but it does not vant. Of such is The Second Mrs. Tanqueray. Its re- prereatation by the Brough "Company last evening was worthy of the play and worthy of the Brough traditions. As Paula Tanqueray Mrs. Brough had a part to play which makes onerous calls upon the exponent. Her treat- ment of the role was admirable. In the lighter passages no less than in the heavy her acting was splendid, and in the great scene of the play she
A
ruso 10 aboight of dramatio fervour aud power that carried the house away. Mr. Brough as Andrey Tanqueray made an appearance that was nothing if not excellent. All the other parts wore capitully done. The setting was of the customary good quality. Appeuded is the full cast :→ Sir Geo gu Orreyed, Bart Captain Hugh Ardale Aubroy Tanqueray Cayley Drumm'e Frank Misquith Gordon Jayne, M.D. Morso..
Mr. Cortelyon Lady Orreyed
Eller.n Paula.
"NIOB
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Mr. Orlando Daly Mr. Ernest Vero Mr. Brough Mr. Lealle Victor Mr. Percy Walsho Mr. Molniyre Mr. M. McLe in Mies Temple Miss Sulle Vaughan Mies Brenda Gibson ...................... Mrs. Brough
Ni be—”ali smiles”—attracfed a full house isst As was to be expeď od, the performance of night, and it goes without saying that the Brough Company did ample justice to the piece. Mrs. Brough in the title role fulfilled every expectation and thoroughly delighted the audience. No less succesful in his interpreta- tion was Mr. Brough as the manager of