STAGE JOTTINGS.

Auckland Star, Volume LXVI, Issue 22, 26 January 1935, Page 8 (Supplement)

STAGE JOTTINGS.

AROUND THE FOOTLIGHTS. THE WORLD OF THE THEATRE. New Zealand will be one of the few parts of the Empire which have not seen "White Horse Inn," when ail English company arrives in South Africa and Rhodesia for an extended tour early this year. The play, revolving stage complete, has had great success during its recent Australian season, but prospects in the Dominion were so poor that it was decided not to bring it over.

At the close of the "Wind and the Rain" season, which commences at ITis Majesty's Theatre on Monday night, the J.C.W. London dramatic company, which has been presenting the mystery-drama "Ten-Minute Alibi,'' will continue its tour via Hamilton, New Plymouth, Hawera, Wanganui, Palmerston North, Hastings and Wellington, with a South Island tour to follow. As in Auckland they will probably stay a fortnight in Wellington, spending in all about eight weeks in the Dominion. They are then to return from Wellington—without a return season in Auckland —to Sydney, where it is possible that J.C.W. may incorporate the company in another production before allowing them to return to disperse.

A favourite musical piece of last centujjv and the Edwardian period, "Viktoria and Her Hussar," has been revived by J. C. Williamson, Ltd., in Sydney. "The Firm" is staging it at present at the Theatre Royal, with Sylvia Welling, who captured tlie hearts of Aueklanders not so long ago in "The Dubarry" and "Waltzes from Vienna." With is that ever-popular comedian, Cecil Ivellaway, also Nellie Barnes, Sidney Burchair and the youthful Jack and Sylvia Kellaway. F. J. Blackmail is the producer.

It has been said that Shakespeare is nowhere so unpopular as in the West End, London's theatrical centre. That was, remarked an English commentator recently, until London's idol of the moment -— John Gielgud — pitted his popularity and ability against the strength of this anti-Sliakespearean feeling.- He made a definite success of the "Hamlet" play at the New Theatre, achieving what George W. Bishop described without a blush as "his finest part." Scenery and costumes for the play were designed by "Motley," the name that hid the identity of the young artists who staged "Richard of Bordeaux," with music by Herbert Monges and Mr. Gielgud himself as producer.

American play-goers have been seriously affronted by Noel Coward's last effort, "Conversation Piece," which has. recently been staged there after its splendid London season, with Miss Yvonne Printemps. Affecting a dcgr»e of Coward-worship which impressed Mr. C. B. Cochran 011 his recent trip to NewYork as being only a little less than than accorded Shakespeare, Broadway critics are surprised and even disappointed at the "slightness" of the piece. However, says Mr. Cochran, the serious nature of Mr. Coward's latest play, '"Point Valainc," will possibly help to restore the balance, for I understand that it is a tragedy. It was to have been staged in America in January with Lynn Fontanne as a hotelkeeper, and Alfred Lunt as a bartender.

Sydney lias boon vastly amused over the New Year holiday by the evergreen Gus Bluett in the London musical comedy sensation, "Nice Goings-On." Another old staler in Phil Smith, comedian, father of Mono. Bailee (Mona Barrie, of the Hollywood screen), is 011 the boards with him. Phil paid a professional visit to Auckland a while back, and others in the same company appearing at the Criterion, where "The Wind and the Rain" was staged towards the end of last year, are Charles Norman, Don Nicol, Erie Bush, Noel Boyd and Lois Green —all of whom arc established in the eyes of Auckland playgoers, having visited this city within the past year or so. "Nice Goings-On" is supported by the ballet of the spectacular "White ITorse Inn," which was to have visited New Zealand last Christmas had the prospects of success gleamed a little more brightly.

The rigid control of dialogue and scones in theatrical productions in London is brought to light with the prosecution in November of the licensee of a theatre, the producer, business manager and patron of a play, three of the accused being fined heavily. The piece was "West End Scandals," which had previously run for 140 performances —an excellent season—at the Garrick Theatre. The three defendants who were fined had pleaded guilty to charges of having caused to be acted part of a play after the Lord Chamberlain had disallowed it, and of having caused to be acted part of a play before the same had been allowed by the Lord Chamberlain. The offences had occurred only on the first night of the production, and the defence as to dialogue used was that the comedian had learnt it and forgotten to omit it, his fellow-comedian having to continue the error in order to "save face."

"I took my harp to a party, and nobody asked me to play." To many who have laughed at Grade Fields' tale of trouble, the musical evening is merely a legend of Edwardian days. The war dealt home-made music a staggering blow. Cheat) (and good) gramophones gave it another. And wireless apparently finished the job. That was what most people felt. The minority was divided into two camps —those who regarded mechanical music as the enemy of art, and those who believed that, given time, it would educate people into a love of good music and stimulate music in the home. This last section is proving correct. The head of a famous girls' school says that when wireless first became popular, there was a tremendous drop in the number of pupils studying a musical instrument. Gradually, however, reaction set in, and now more than half the girls learn the piano. But —and here is the difference—they no longer learn because it is "the thing. - ' They learn only if they are really keen and show talent. Nor is the piano the only favoured instrument. The school orchestra boasts a membership of 50, and beside the usual string instruments the flute, clarinet, oboe and drum are well represented; and a race of enthusiastic amateurs is coming into being, keen to play as well as to listen. Publishers, piano-tuners and composers may, I believe, take heart. Home-made music is coming back." —Nancy Morrison, in the London "Evening Standard."