STAGE JOTTINGS.

Auckland Star, Volume XLVI, Issue 68, 20 March 1915, Page 15

STAGE JOTTINGS.

Mr. Harry Plimmer. in an interview published by the "Dominion," gives some information as to the New Zealand tour of the Plimmer-Deuniston Company on behalf of the Belgian Relief ] Fund. Of course, the main consideration in such an undertaking is finance, and on thig head Mr. Plimmer says:—"The artists we have engaged have met Mr. Hall and myself in a most generous spirit, and all are as keen to do all they can for the cause as we are. Before •leaving Sydney we submitted our expense sheet to Mr. Hugh J. Ward, of the Williamson management, and he then stated that he would write to bis New (Zealand friends assuring them that the tour had been arranged on the most economical basis. We have got together a highly-capable company, and are to present two capital plays in Oscar Wilde's comedy, 'Lady Windermere's Fan' and The Mummy and the Hum'raing Bind,' so that we are not asking for something for nothing." In an English production of Bernard Shaw's "Pygmalion," Eliza DoolitUe is played by Miss Dorothy Disc, who was seen .in Australia in a number of productions,' including "Ben Hur," "The House of Temperley," and "The Speckle*. Band." One of the few new plays produced in London of late is "Mietres* Wilful," in which' Miss Julia Neilson and Mr. Fred Terry are appearing; at the Strand Theatre. "Mistress Wilful" is described as a play ot the "Nell Gwynne" type, and would appear to be suited to the ! talents of Miss Nellie Stewart, who has of lato 'been complaining of a lack of I plays of the kind she requires. 1 When the last English mail left, Fred Leslie, described as "Australia's musical comedy comedian and specialty dancer," and Ivy Schilling, "Australia's premier danasuse," were appearing in Milton ■ Bode's pantomime of "Aladdin," at the Prince of Wales' Theatre, Birmingham. Leslie was the Grand Vizier and Ivy Schilling, Pekoe. The dance being featured" try the clever couple wa« "Ju-No-Rata." The George Willoughby, Limited, pantomime, "The Babes in the Wood" concluded .an eight-weeks' season at the Adelpbi (Sydney) on February 12. Hundreds were refused admission on the two closing nights. They have since played at Newcastle and in several Queensland towns. The company was ! to have left Sydney for New Zealand yesterday (March ID). The Dominion] tour extends over ten weeks, and finishes at Auckland on May 22. Barry Lupino, who has reintroduced the harlequinade into Williamson's pan- | tomime, claims an aristocracy for this art. "One night, in a pantomime called The Harlequin Student,'" he says, "the actor playing the 'Harlequin King was indisposed, and a young wine merchant put on the dress and played the part., This was in 1741, and the young wine merchant waa David Garrick. In 1857, In '80-Peep,' at Edinburgh, Henry Irving played the Policeman to my grandfather's Clown. Ellen Terry once appeared as Columbine. Lady Bancroft (Marie Wilton) has appeared at Harlequin; so bat the late W. 6. Gilbert. Joseph Jefferson, the creator of Rip Van Winkle, once played Clown. Wilson Barrett appeared on one occasion as Harlequin. These are only a few who hays worn the motley, amongst others being Kate Terry, Nellie Farreu. Fred Leslie, and Edward Terry, E. J. Lonnen, Geo. Laurl, and Edward Lauri (my cousin)." Ethel Dane, who is the star of " Ths Glad Eye" and the "Chaperon" Company at present in Auckland, is in private life the wife of Cyril Keightley, well known ; 'on the Australian stage at one time. He I j is now in America playing in "The Song of Songs," and played leads with Miss Dane in "The Chaperon" in the original London production of that laughing play. The Christchnrch Musical Society, under Dr. J. C. Bradshaw, is setting about rehearsing "Faust" for its work during the coming season. Geoffrey Elkington, the youthful sport who owns a sheep-run in Maoriland, has annexed the charming Ella Young. She was "Bunty" who Pulled the Strings in the play with the deep Scotch accent. Just now the M.L. run* holder i* in this town (says the Sydney "Bulletin"), and he hopes to claim "Bunty" permanently in a few months. (Ella Young has been behind the footlights only about a Tear. She is the daughter of an Edinburgh lawyer, and this is positively her first engagement— except as "Bunty." Grace Palotta, writing to "The Theatre" from the G.0.H., Colombo, says she is happy in her Indian engagement on the Warwick Major, circuit "We've been playing two shows a night," she states, "with a change of programme every Saturday. You can imagine how busy we are! The natives have taken quite a fancy to us, and they're very appreciative; and we 1 (Edward Nable as the other half of the act) thoroughly enjoy playing to them. We go on from here to Madras and Bangalore, and then Calcutta, whene we stay about eight weeks. Everybody has called on mc, and if I \ only had time I'd never feel lonesome. Mr. Chandler, the manager of this. hotel, is an old friend of mine, and he and ihis' wife cannot do too much for mc. I've apartments fit for a. queen— j bed, bath, and sitting room (with piano) ! all facing the sea. The sitting room generally looks like a garden, with all the flowers kind friends leave mc." Russia is to the fore with a new religious drama, particularly interesting on account of GlazounofTs incidental music. The title ot the drama is "The King of the Jews," and the author is the Grand Duke Constantin. It has also been styled on oratorio or Passion play. The music is said to be built on a grand scale, with powerful orchestral expression, and gives a good contrast between the storm and stress of the opening acts and the lyrical sweetness of the finale. The musical numbers comprise: Overture to Christ's entrance into Jerusalem, with effects seeming to come from a distance and growing nearer, and a choral finale of hosannaa and hymns of praise. Next is a strong "a capella" Song of Praise by the disciples. There is an interlude at Pilate's Palace, portraying the power and grandeur of the Romans; a sunrise scene, with fanfares of the Levites in the Temple; a fihalo for the second act, including a strong chorus, "His blood be on us and our I children"; an interlude for the third 1 act, a sort of funeral march to Calvary; | the same again contrasted with tight, I wanton music from the palace; dances 'of the Syrian slave-girls at the palace, j interrupted suddenly by the storm I and eartheruake of the crucifixion, j j which in turn are followed by the 1 light of day; music for Easter I Eve; the same continued, with a j shepherd's song, and finally a hymn celebrating the news of the Resurrection. | Many of these numbers are stated to be suitable for symphony concert proI grammes. THE DEADHEAD.