STAGE JOTTINGS.

Auckland Star, Volume XLIV, Issue 58, 8 March 1913, Page 14

STAGE JOTTINGS.

HIS MAJESTY'S THEATBE. February 24 to March B—"Get Rich Quiet Wallingford. March 10 to 22—Allen Doone. ■March 22 to August IS—"Tie Blue Bird." PICTUBES. King's Theatre. Boyal Albert Hall. Lyric Theatre. King George—Dorham Street. Newton Picture Palace (Continuous), yueeu's Theatre (Continuous,). Ulobe Theatre—Queen Street (Continuous). VAUDEVILLE. Opera House—Nightly. Mr Ben Fuller, general manager of the Brennan-Fuller vaudeville concerns, who is at present on a visit to New Zealand, stated to a Wellington interviewer that both the Fuller-Brennan and Rickards management have recently raised their prices in Sydney without any diminution, numerically, in audiences. So popular was vaudeville in Sydney and Melbourne, Mr Fuller said, that the time was not so far distant when two performances a day would have to be given, and in view of that contingency the contracts of all artists to arrive provided for twelve performances a week. The latest star turns secured by the Fuller-Brennan management are the Heraidos, a clever team of aerial acrobats (now on their way to Australia); the Banzaie, a team of seven Japanese acrobats; the Franklins, Schepp's Circus (which included ten doge, a cat, a monkey, and four ponies); De Lea and Norman, sketch artists; and King and Thornton, sketch artists. These performers will all visit Now Zealand during the present year.

The original producer of "The Blue Bird," to be staged here on Easter Saturday by J. C. Williamson, Limited, in London must have been just as much of a genius in the matter of stagecraft as Maeterlinck in poetic drama. The way the fairy play is presented shows many touches of inspiration. The stage artist has aimed at atmosphere, and this he has most successfully created by beautiful lighting effects. Always there is poetic suggestion in the treatment of the scenes. The Land of Memory is a notable instance. It is approached by a mysteriously lit forest, in -which the dance of the mists takes place. The dancers are mere filmy shadows, and strangely ethereal. Then the mists are cleared away, apparently dissolving in the warm golden light in which the cottage of the dead grandparents is revealed. Again, in the Kingdom of the Future the wonderful azure halls are lighted with sky-blue, but more remarkable still is that all the shadows cast are cerulean. The lighting "plot" for the electrical staff has almost as much written in it as the play itself, and the directions cover thirty closely-typed pages of foolscap.

The J. C. Williamson management ha 6 now operating throughout Australasia seven theatrical attractions —"The Sunshine Girl" and "Bella Donna," in Sydney; Oscar Asc-he and Lily Bray-ton and "Puss in Boots" pantomime in Melbourne; "Ben Hur" in Perth; "Get-Rich-Quick Wallingford" in Auckland; and "The Girl in the Train" in Christchurch. "The Blue Bird" follows "Wallingford" at Auckland at Easter; then comes the Julius Knight Company. producing "Milestones" a.nd "Bella Donna," to be followed in turn by the annual pantomi n)e n B | qp4s,,"after which, about Christmas, we .may expect Tne Quaker Girl" Company, and later Lewis Waller ■and Madge Titheradge in "Henry V." and "The Butterfly on the Wheel."

Miss Irene Browne is regarded by Mr Julius Knight as a certain winner of star rank within very few yeans. He considers her performance of the title role of "Bella Donna" a terrific piece of acting. "I don't know of anyone on the English stage to-day who could have given a performance of so amazing a quality—ami it is that when you bear in mind her youth—as hers," he says.

Charles Zoli, the Dago impersonator at the Sydney Tivoli, tells a story of a vaudeville artist who was in the habit of "gagging." Somebody came in while the audacious coniedian was speaking his piece. "You are late, sir," the comedian said, and raised a laugh. And there was a louder lough when the late-comer turned and said: "And if I had known you were on I woirld have been later."

Miss Florence Young, who handed in £20, was the most successful collector for the Captain Scott Fund in the theatrical "raid" in Sydney. In the general collection 3,003 pennies and 1,248 half-pennies were received.

There is a movement in America just now to bar not only suggestive dances, but also vulgar songs. In pursuance of thin crusade, notices were posted in all V.M.C.A. and Y.W.C.A. branches throughout the country prohibiting the playing and singing of songs such as "Hitchy-koo," "Bow, Row, Bow," and "Everybody's Doing It." Such songs, it is urged, are suggestive, and not at all in keeping with the ideals of Christian associations.

Mr George Edwaxdes had under consideration two different pieces for production at the Gaiety—one of a German comic opera, the other a musical piece by Mr Paul A. Rubens. It is upon the first that his choice has definitely fallen, and it will succeed "The Sunshine Girl" soon after Easter. <c Filmzauber" ("The •Wonders of Films") was originally done at the Berliner Theatre, Berlin, in October of last year, and has since been successfully played throughout that country. It is frankly described as a farce, and, as its name implies, the cinematograph is an important factor in the development of the story. After all, it is only fair that the dramatist should endeavour to get something of his own back from the picture theatre. Mr J. T. Tanner is to take the original in hand and adapt it to the requirements of the Gaiety stage, while the German score will be reinforced by the addit'.oif of half a dozen new numbers.

M.iss Da-isie Irving, writing in "Theatreland," says owe of the funniest letters ever sent to her w-as from a little girl, and began: "Dear Mias Irving.—l do love you so. Will you send mc a picture postcard? I think you are so like my mother. She is in a lunatic asylum."

A former actress and militant suffragette recently made a statement in the Bow Street Court, London, on being sentenced for giving a false alarm of fire. Three years ago, she 6aid, she appeared in the same court for breaking a window. She did that, she said, in order to attract public attention to the conditions of the stage, which made it almost impossible for a woman to earn an honest living. It was an unwritten law that a woman who wanted to go straight could not make her way on the stage. She challenged the Actors' Association to deny the truth of her statements. Since then she had been practically boycotted out of the profession, and had been obliged to turn to other employment. She got work as a domestic servant. As such she was employed in several places, but was promptly discharged when her past became known. Driven from piHar to post, she had turned on a false alarm of fire purposely to be arrested.

Two well-known men about London, sitting in the club smoking-room window, heard a noise "in the street below. Said one, "Can you tell mc if the tune that man is singing is 'Home, Sweet Home' or 'Rule, Britannia.'" The other could not say for certain, so an appeal was made, to a waiter to make inquiries, after a bet had been suggested between the two friends. In due course the waiter returned, with the remark that "no one was singing; the man was 'awkin' 'errins!"

A well-known Lancashire entertainer tells this story. He was leaving England for a tour in Australia. Crossing Liverpool, he was hailed unexpectedly in Church Street by an old friend from Manchester. "Hello! 'Where are you off tot" was his friend's greeting. "Australia," was the rather staggering reply, but the friend was equal, to the occasion,, "Oh," he said, turning about, "well, 111 walk a tit of the way with you!"

. The visit of Mr Rose, a prominent American, to Australia solves the question as to the true identity of "Saharet," the dancer, who has become famous on the Continent and in England as an Australian. " 'Saharet,'" said Mr Rose when asked if he could throw any light on her identity, "is a lady Lean talk about, for, strange to relate, she was my wife until we were divorced a few days prior to my sailing for Australia. 'Saharet' was born at Ballarat, which city she left when .13. Her only appearance in Australia was as a ballet dancer in a Williamson pantomime. I first met her in America, when she was playing in a burlesque called The Night Owls' at a salary of £7 a week. We married shortly afterwards, and I secured her an engagement in New York at £30 a week with Edward Rice's French Maids. She played one season in New York, then left to appear at the London Palace at a smaller salary, in order to get a footing. Since then • her success has been phenomenal, and her salary is now £300 to £400 a week, with a share of the takings. Against my wish she acted for motion pictures, for she is essentially a dancer, not an actress. She received £750 for one picture and £1,000 for another. She is always billed as an Australian, and is certainly a credit to her country." Allan Hamilton and Harry Plimmer, who havi* reorganised their company, and at the same time strengthened it, will revive "Dr. Wake's Patient" with an excellent cast, when the company begins operations in Sydney on March 15. While Miss Beatrice Day will again appear as Lady Gerania, and Mrs Brough in her original role of the Countess, there will be a new Dr. Wake —H. R. Roberts, while Arthur Styan will appear as Arthur Wake, G. S. Titheridge as the Earl of St. Olbyn, Sidney Stirling as Duff Winterd'on, Harry Plimmer as the Bishop of Se.lby. Lizette Parkes as Harriet Bronson, Muriel Dale as Mrs Murdoch, and Katie Towers as Mrs Wake. It is further announced that Pellissier and his original Follies Company from the Apollo Theatre, London, will tour Australasia next year under the direction of the new firm, which is clearly beginning work in a spirit of enterprise. "Milestones," with Julius Knight in the star role, has achieved an absolute record for Australia. When the J. C. Williamson management put the piece on at the Criterion, Sydney, it was to the accompaniment of a chorus of doubtful prophecies from people who went so far as to say that Australian playgoers did not want comedies with sentiment in them. How far these forecasts of failure went astray, and the extent of the public appreciation of the play, are indicated in a practical way by the 10 weeks' run achieved. "Milestones" could have been continued for some time yet, but for the firm's desire to present "Bella Donna" before the close of the season. The death of Van Biene. the famous composer and player of "The Broken Melody," was tragic in its suddenness. He was playing on the stage at the Hippodrome in Brighton, when he fell back in his chair. No one in the audience knew that it was more than the prescribed dramatic finish to the scene. The stage manager, however, noticed an unaccustomed realism and the curtain was rung down more hurriedly than usual. When the stage manager went to the actor he found that he was past human aid. Death was attributed to heart disease. Unable through illness to fulfil a music-hall engagement, Mr Van Biene had gone to Brighton against his wife's entreaties. His son was conducting the orchestra at th<» time of the father's death. Prominent amonsst the new London pieces is " Turandot" at St. James's Theatre. It appears to be remarkable chiefly as a display of Eastern pageantry. Turandot is a Princess of China; and the play, a fairy tale, first produced by Professor Reinhardt, is presented by Sir George Alexander in gorgeous Oriental setting, and with noteworthy music by Busoni, the distinguished pianist. Altogether the occasion seems to have been of unique interest. Mr. Evelyn d'Alroy was the Princess, and Mr. Godfrey Tearle who visited Australia some years ago, appeared as Turandot's lover, a Prince of Astrakhan. Amongst others in a talented cast was Mr. Edward Sass. Mr. Cyril Maude's new production at the Playhouse is " The Headmaster," a piece in which Mr. Edward Knoblauch (author of "Kismet") is again in collaboration, this time with Mr. Wilfred Coleby. The hero of this story is Dr. Sanctuary, a truly mirth-provoking pedagogue, it appears. The piece is farce, but at the same time is described by the " Telegraph " as vastly clever. It presents a grotesque picture of school life, with a widow who has marked the headmaster as her own as a prominent figure in the unravelling of the plot. Mr. Cyril Maude has arranged to tour America for five months, under the management of Liebler and Co.; but as this engagement will not begin till October, the new play will have its opportunity for a run. The first production in Australia of "The Count of Luxembourg," the music of which is by Lehar, who wrote "The Merry Widow," will be at Her Majesty's Theatre, Melbourne, on Easter Saturday night. The New Comic Opera Company will go straight to Melbourne after its New Zealand tour, and will open in a revival for a few nights of "The Chocolate Soldier." Miss Florence Young will appear as Nadine in "The Chocolate Soldier." The popular artist ha 3 a big part in "The Count of Luxembourg." Harry Lauder, whom J. and N. Tait have engaged to appear in Australia at a salary of £1,000 a week, is the hero of a story in which he appears as an impromptu social reformer. Once when he t was giving his famous sketch, " Fou the Noo," a humorous homily on alcoholic tippling, a young drunkard in the audi- | ence was so impressed by the spectacle of ; the artist as a bottle-nosed boozer, that he then and there promised to give up drinking, and adopt the blue ribbon as his badge for life. To the artist's surprise the man kept his word, and eventually he became a useful member of society with a pronounced leaning for temperance and social reform. " Why 1 knocked off the beer," he later explained, " was because Harry Lauder looked so horrible and convincing as a drunken man. Sooner than ever look like that, I vowed I would be a teetotaller—and I am."