THE LONDON STAGE.

Auckland Star, Volume LVII, Issue 114, 15 May 1926, Page 28

THE LONDON STAGE.

ROBUST AND HEALTHY. MPROVED TONE AMD GROWTH SOME PLAYS OF THE DAY. (By BEATRICE BUDD.) James Agate, the well-known dramaic critic, recently remarked that out f the 50 or so shows now on in Lonon. only six could be classified as poor roductions. By this he meant that hoy were cither rubbishy or obnoxious. " Tho ("Jreen Hat " was obviously an sample of the latter class.) Considerig the millions that make up the Lonon theatre crowd, and their inultiarious tastes in entertainment, this . loans a very high average of good lay?, and jroes to show that the Eng- , sh stage is in a very robust state of ealth. This is a particularly pleasifr condition, after the sickening deluge f sentimental dreams and risque revues urinjr and after the war period. Gradully the profiteering theatrical producers f mushroom growth—the inevitable pro-' net of the war—have either found heir niche in the bankruptcy court or aye turned their attention to business eals which' pays higger profits, and the Id theatrical profession has come into ts own again. In London to-day, there s farce, comedy, drama and vaudeville or highbrow and lowbrow alike; and veryone seems reasonably content. The "Little Theatre" Movement. During the last two or three years, suite a number of new theatres have prung into being. For the most part, hey are attractive buildings and not 00 large, thus preserving the intimate tmospliere of the theatre. Another ■cry noticeable growth is the Little 'heatre movement. Enterprising subirbs. such as Barnes, Kβw and Hamptead, have their own little theatre, rhere plays like Tchekov'a " The Cherry )rchard" and "The Seagull,"' Ackerley's • Prisoners of War,' , and Hardy's ■ Tess," are tried out with a few nights' un. Covent Oarden boasts of a little .alon, where the plays of present-day )laywrights are given a fortnight's seaon, by jarood players, and before an audience of subscription members. The iubscription is a low one. As for Sunday nights, the London theatres are l-hum with friendly and enthusiastic ■oteries, who try out new plays before heir fellow actors and actresses and itage critics. In New Guise. | Another interesting development is ,he success of a group of artists like 'The Co-Optimists," now in their fifth rear. They are really a glorified eon«rt party, or the old seaside pierrot roupe, served up with extra garnishings .0 tempt the more fastidious London ippetite. Here is a group of artists, ,vho can keep the audience entertained >y singing, dancing, and humorous turns, •vhether singly or collectively, without slaborate stage effects. \ Then there ire the revue companies, which differ \uite considerably from their wartime lioneers. To-day, the revues are less spectacular, but just as effective, and certainly much less vulgar. They give nore scope for individual talent, whatever the turn may be. A company like ' By the Way," under the clever manage-, nent of Jack Hulbert and Ciceley Court- j neidge, was able to run for nearly a; rear, with a programme of topical and jomie sketches, good dance numbers, and Dne or two straight eongs, and now it is continuing its success on Broadway. Another new departure on the London stage is Balieff'e "Chauve Souris," an entertainment which has become almost 1 fixture at the Strand Theatre, and plays nightly to enthusiastic and almost ecstatic houses. Certainly, it is i show on its own. Before each item, Monsieur Balieff, of the rotund ■ figure, broad, smiling face, and caustic wit, introduces each turn in 111* pigeon-English without damaging the point of his epigrams. Then up goes the curtain, and the most astonishing scene is revealed. Simplicity is the keynote of each setting, and the result is a perfect harmony of colour and atmosphere. The "Chauve Souris" show is like turning over the leaves of an immense picture book, gorgeously coloured. *■ First, there is. a humourous picture, then a tragic one. followed by burlesque, sentimental, quaint childish, satirical and grotesque pictures. "The Birth of Christ" is given as a legend in quaint language, and against a background of conventional design, perfect in its simplicity. The Lord Chamberlain, anxious to uphold his office, forced Monsieur Balieff to arrange a short interval before this turn-, and stipulated that "Aye Maria" should be played to induce the right frame of mind. Metamorphosis of the Lyric. Any survey of the growth and development of the London theatre during the last few years,' however casual, ;annot pass over the metamorphosis of the Lyric Theatre, Hammersmith. Until a few years ago, this theatre was oik if the lowest and vilest amusement places in London. Nigel Playfair searched all London for a theatre in which to try out his scheme for the improvement of the public taste in plays. In despair, he came to the Lyric Theatre, Hammersmith, with its odious •eputation, 6et in a neighbourhood more ikely to patronise a Palais de Danse :han an idealistic theatre. Finding legotiations fairly easy, he decided to -ake it, and put his plan to the test. [t was, indeed, an acid test in a ;heatre of this calibre. The results of | Playfair's work were amazing. Within | i year, this theatre had lost its former I aint, and had won a reputation that

approached the ideal. It became the home of a high standard of playa, admirably acted, and artistically produced. In spite of its being some distance from the theatrical centre of London, it attracted large and enthusiastic audiences. John Drinkwater's "Abraham Lincoln," and Gay's "The Beggar Opera" are two examples of phenomenally long runs at this theatre. Coming to the universally popular shows, musical comedies are naturally in the foreground. Those which have had the longest runs and drawn the largest audiences, such as "Xo. No. Xa""*TP." "Rose Marie," "Mercenary Mary," "Katja." and "Betty in Mayfair," are undoubtedly entertaining. They are attractively produced, with, usually, a well-trained chorus, catchy songs, good <lance numbers and popular humour. Good, clean comedies, such as "Thr> Cuckoo in the Xest" and "The Unfair Sex" have also had deservedly long runs. A comedy in a class by itself is Ashley Duke's "The Man With a Load of Mischief," which, besides being well-constructed comedy, is undoubtedly literature. As to drama, a most inviting repast is offered. To mention a few, there are Granville Barker's " A Madras House," particularly interesting, in that it is produced by the author, who stands in the foremost rank of producers; "Henry VIII.." with Sybil Thorndike, and "Juno and the Payeoek," the truly remarkable and excellent play by Scan O'Casey. the Irish bricklayer, played with well-nigh perfection by the Irish players* Truly, a feast is set before the London theatregoer. Another sign of these good times is , the gradual abolition of the theatre queuo. No longer do long-suffering folk stand for hours outside every theatre watching, sometimes with horror, sometimes with amusement, the human dre?s of London's streets, making attempts at entertainment for a few coppers. In many theatres now pit seats can be booked, and since St. John Ervine's recent campaign in the "Observer," more theatre%re following their example. The theatre shows the trend of civilisation as truthfully as any other public institution, and the high standard of eertainment in London to-day is a sure indication of the advance in intellectual and artistic development.