LONDON'S THEATRES.

Auckland Star, Volume LXIV, Issue 304, 26 December 1933, Page 6

LONDON'S THEATRES.

INDEX TO PROSPERITY. (By tfELLE M. SCANLAN.) LONDON, November 14. London theatres are &o full that even Bernard Shaw cannot find a home for the production of his new play "On the Rocks." In hard times we cut out the luxuries. The first people to suffer when trade is bad and money scarce are those who cater for our pleasures. We must eat, but we can forgo entertainment. The theatre is one of the sure barometers of our financial condition. ■ For several years past the English theatre has suffered severely, and actors, singers and musicians have had a hard fight to live. They have swelled the ranks of unemployment, handicapped by their specific training, and their story has been tragic. With reduced incomes and increased taxation, the public, which once supported them, turned to the cinema; it was so much cheaper. During the experimental years there was a serious threat to the legitimate stage in the improvement in the talking film. Many predicted the eclipse of drama and the spoken play. The depression gave emphasis to this trend in modern modes of entertainment. A year or two ago play after play failed; some ran, a few weeks, others were taken off after a few nighte. The staging of plays is a costly 'business, and managers were prepared to "cut their losses" rather than incur ruin, and the financial condition of the country did not warrant "nursing" a play to success. I can remember a dozen or more important theatres being empty at one time, and the cinema enthusiasts pointed to it as a sign of their coming extinction. To-day, however, you may read of Britain's financial recovery not only in trade improvement,, in the cold statistics of banks and business houses, but in the amazing picture in the theatrical world of such famous dramatists as Bernard Shaw seeking and not finding a house in which to produce a new play. And he is not alone. London's Unsated Demand. Future scientific discoveries may tell us why an idea occurs simultaneously to several writers, without any event to give it point. Call it thought transference, or what you will, but it is daily being exemplified. Someone writes a play about the Brontes, and you find two or three other dramatists at work on the same theme. At the moment there are three plays about the Brontes finding audiences in London. The Tudor Kings and Queens have also leapt into the limelight, in a surprising way. Charlee Laughton is playing Henry VIII. in "The Private Life of Henry VITL," and Frank Vosper is playing Henry VIII. in "The Rose Without a Thorn." Charles Laughton is also starring in the film aibout Henry. 'The Tudor Wench," an admirable play about Queen Elizabeth as a girl, has 'been eo successful at the Embassy Repertory Theatre that a valiant attempt has been made to find a West End home for it. The position was hopeless until Sir Oswald Stoll saw the play and offered the Alhambra, a theatre which has not housed a straight drama for a generation. The other day there was a rumour that one of the present plays was to come off, and there was a queue of managers waiting next morning to" negotiate for the , theatre. The position is almost unprecedented. A year ago many lessors of theatres would gladly have not rid of their responsibility. To-day the whole aspect is changed, and London is den anding more theatres. Some of the theatres are just holding their own, but many are-making good money. One musical show I know is earning £000 a performance, and has juet sold the film rights for £14,000. Special typ.es of plays require special theatres, and the recent tendency to biiild large theatres has killed their claim to stage intimate dramas or comedies. Ivor Novello has done the hat trick, as they ?all it; he has three plays running at once. "Proscenium," which is going steadily, "Fresh Fields." which is one of the most popular comedies o-f the moment, although Australians resent the amusing vulgarity of the newlyrich Australian woman, and this week "Sunshine Sisters," his latest, had a spectacular first nijrht. The play is vastly amusing, good entertainment, but a bad play, and many of the critics have been frankly scathing, despite the unroaiious laughter. "Ten Minutes Alibi" is nearing its 350 th performance, and "While Parents Sleep" has been running steadily for nearly two years. Both of these started at the Embassy Repertory, which puts on a new play every fortnight. "Afterwards," which Walter Hackett has written for his wife, Marion Lome, is not quite so successful as .his earlier ones (all written for his wife), as he has introduced a serious note on spiritualism, which , drops the pitch towards the end. Noel Coward's "Hay Fever" is having a revival, and Matheson Lang lias again resurrected "The Wandering Jew." "Night Cluib Queen ,*' which is based on the life of Mrs. Meyrick, who died recently and was famous for her repeated periods in gaol for breaches of the law, and whose daughters have all married into society, opens next week. Edith Rharpe. who played Miss. Trent in "The lood Companions," will play the Mrs. Mey•iok part. The producers had a long search for in actress who could suggest that "ordinariness" required. No Pantomime? Edith Evans and Cedric Hardwicke still hold the St. James with "The Late Christopher Bean," but it is not Edith Evans' best part; her admirers do not find the old charm in the Welsh servant girl. Marie Ney, who lias finished her run in "The Lake," is playing Portia at Manchester during a Shakespearean season. The farcical comedies and musical shows ire doing well. The county is coming up to town to "do its Christinas shopping, and after i tiring day avoids the grim and the sordid; they prefer light amusement. J. B. Priestley lias a new play, which received an excellent report from the provinces, where it is being tried out. It is called "Laburnum Grove." ind deals with middle-class life. Cedric Hardwicke has produced it. Naomi Royd-fSmith's "Mrs. Siddons" at first included practically the whole Thorndike family in the cast, but Sybil's husband. Lewis Dasso'n, and Eileen and Russell Thorndike have had to fall out. Sybil Thorndike and tier two daughters, Mary and Ann, however) still remain. There is some talk that London may bp without a single pantomime this year, but "Peter Pan" and "Where the Rainbow Ends" will be put on as matinees. I hear that little Princess Elizabeth will see her first play this Christinas, as ehe is being taken to "Peter Pan." . lart Hay and A. E. W. Mason are collaboriting on a new play, which opens early in December, and is to be called "A Present From Margate." Mr. Cochran is producing a new play by Margaret Kennedy, the author of "The Constant Nymph." It was all complete Sxcept.for the title, and they could not find a suitable one. Then Miss Dodie Smith, author )f "Autumn Crocua," supplied one—"Escape Me Never." Two new plays starting early in November are "Up In the Air," which leals with aviation, and "Please," to be put >n at.the Savoy. A healthy English theatre is encouraging lews to dramatists, and never before was it possible for ain unknown writer to win icceptance so really—provided the play is light..