Extravaganza.

In letting one's mind stroll pleasantly back over the night at the Extravaganza, and rest in peaceful contemplation over it, one's impressions fall easily into three groups. In the first place the production itself was good—exceedingly good—even in comparison with the best of the extravaganzas of past times. There was plenty of colour and brightness. The leggy first act was a genuine joy Obviously great efforts had been made in the training of the actors and chorus, and the result was pleasing. Too much praise, indeed, cannot be given to Mr. Evans and Miss Richmond. Undoubtedly the honours of the evening lay with them, and if the Students' Association is wise it will grapple them to its soul with hooks of steel, for the greater glory of future years.

As regards the acting, this year the Association was fortunate in having the services once more of Chas. Gramble of happy memory, and A. J. Mazengarb. Bert Egley was another survivor happily captured from the past. So far as I can recollect, this was the first appearance of Mr. P. J. Smith, and he was a genuine find. Both page 28 in the first and third act, Mr. Smith was in his element. I enjoyed him even when he forced upon an unwilling Russian an Irish brogue that one could easily have carved with a blunt shillelagh—if that is how the confounded word is spelt! Without singling out any particular individual for criticism, a. word might be said with profit on the necessity, in a theatre so large as the Opera House, of speaking at any rate in a tone louder than that in which one retails to a bosom friend the latest raciest story. Even when quite close to the stage, a difficulty was experienced in catching much of the dialogue. In the third act, not one word could be distinguished in the songs of Messrs. Pringle and Rishworth. Miss Willcocks and Miss Wilson acted well together in the first act, and were ably assisted by Miss Cameron. I am not acquainted with Mr. Theo. Tresize, and am therefore not in a position really to judge Mr. Free's representation as a parody; but judging from the enthusiasm of the audience, his performance must have been excellent. In the second act, it was pleasant to see our old friend Mr. Eichelbaum on the stage once more. In Miss Milesi and Miss Bailey the committee had made another happy choice. May one see more of them in future years! The third act was remarkable for the most truly striking explosion seen on the stage for many a long time. It paralysed not only the actors, but many of the audience.

One of the features of the Extravaganza most appreciated by the audience during the evening were the songs of Mr. Evans and Miss Pigou. These, and one of Mr. Mazengarb's songs, were specially composed by Mr. Stainton, and their catchy music contributed largely to the success of the piece. The fourth act was undoubtedly the most successful of the four. Finally, a word as to the play itself. Frankly, I must confess to disappointment. I have a copy of the play before me as I write, and I am inevitably forced to the conclusion that the authors, in attempting too much, achieved too little. It misses; it halts when it should gallop; it is weak, when there was every opportunity for strength. The authors have seized on four ideas, waved their hands in the air, and, apparently, sat back, expecting the finished work to emerge from airy nothing. I think that, without exception, every extravaganza hitherto produced has been the work of those who have had some practical experience on 'the stage—or at any rate have assisted in the staging of a capping play. Perhaps that may account for the failure this year on the part of the authors really to have made a genuine success of their play, qua play. Let me make my meaning perfectly clear. The production was a success—real, undoubted, and deserved; but it was a success due to the producer, not to the author. It was bright and entertaining and amusing; but how the Dickens could it be otherwise, when one considers the bright, entertaining, and amusing gels, damme! by whom it was presented?

Mr. Henry Arthur Jones may be right in saying that a play is written not for the study but for the stage, and must be judged by its success thereon; nevertheless, one can assert, without fear of contradiction, that the play which will not stand examination will vanish very quickly into the night of time. That, I am afraid, is the fate of "Done to Death." In their preface the authors state: "Under the frivolity of our extravaganza is deeply hidden a philosophic germ." It was indeed, too deeply!