My Musical-Comedy Memories

Auckland Star, Volume LXIX, Issue 136, 11 June 1938, Page 2 (Supplement)

My Musical-Comedy Memories

No. 1. rIEN I read in an oversea* paper the other day that dear old Daly's Theatre was no more I felt sad, for my thoughts went back ever 30 years, to the days when that grand old home of musical comedy was the scene of theatrical triumphs. What a cavalcade of productione I can recall. I shall mention just a few of them in order of their presentation. First of all (provided my memory serves me well), "An Artist's Model," in 1895. It was in this popular light opera that dainty little Marie Tempest made her bow to the patrons of Daly's, and eo successful was she that she, remained there continually until 1900, during

which times ehe played leading parts $n "The Geisha/' "A Greek Store ,, end "San Toy," of which more anon. After leaving Daly's, Marie Tempeat went over, exclusively to comedy; and how well she has succeeded' is already known to theatre-porrs all over the world. She has been seen in New Zealand on more than one touc with her equally famous actor husband Grahame Browne, who took his final curtain juet recently. Reverting to Daly's Theatre, it was. in 1896 that perhaps one Of the greatest favourites in musical comedy was staged—l refer to Sidney Jones' tuneful light Japanese opera, "The Geisha." Thie wae the opera in which Marie Tempest appeared, ae 0 Mimosa San, Huntley Wright as Wun Hi, and Haydeu Coffin was' Fairfax. What a production and • what a cast, and, what is more to the point, what audiences! Those of my ||l|raadere who were fortunate enough to delightful production mitet still : J^ ¥ ffi memories of the music. Chin, Chinaman"

A FootUght Parade By Frank Broad An Old "Pro."

magnificent voice charming us all with hie rendition of "Star of My Soul," and the toy duet with the following refrain: Click, click, I'm a monkey on a stick. Anyone with me car. play. And my antics they'll enjoy Till they find a newer toy. Then they'll wish me a polite good-day. Those days are gone, but it is great to know that we have the recordings of most of the old musical comedies to fall back on. "The Geisha" has been revived on several occasions. The first

revival took place nearly 10 yean after at the same theatre, again on June 18, 1906 and'-then again on June 1, 1931, still at Daly's. Aβ recently ae April, 1934, it wa* presented at the Garrick Theatre. It was and is still a great favourite with amateur operatic societies and has been performed all over the world. Just here I would like to emphasise that, in compiling these reminiscences of mine, I am trying to be strictly correct as to dates, places, names, etc., but like anyone else I am not infallible. Musical comedy of a bygone day was not confined to Daly's Theatre. Other well-known theatres, such as the Apollo, Prince of Wale* and the dear old Gaiety, all catered for lovere of light opera. One of the first musical comedies I saw and loved was produced at the Apollo. It was "The Girl from Kay's," a delig'rt' ful musical shov- witu a well-known London emporium ae it? theme and background. Kate Cutler, a household name on the musical comedy stage in those days played the part of Norah Chalmers. "The Girl from Kay's" was received moet enthusiastically, and Mr. George Edwardes, that celebrated producer of

over 1000 musical eomediee, sent thrpe touring companies out into the provinces. I wonder how many oldtinurs reniPinber those early musical comedies, "The Gaiety Girl," "The Circus Girl" and "The Shop Girl." Sidney Jones composed the music for "The Gaiety Girl." "The . Circus Girl" and "The Shop Girl" were both from the pen of Lionel Monckton. I have no intention of starting any controversy on the merits of the work of those other-day composers compared with those of to-day, but I do think that the music of to-day's light operas ie not quite eo tuneful and catchy ae that of the days about which I am writing. Such men as Sidney Jones, Ivan Caryll, Lionel Monckton, Leslie Stuart and Alfred Cellier certainly gave us music that will never die. In looking back through the years I often etop to try to recapture the atmosphere of those early shows, of the dayi when Phyllie and Zena Dare— those talented, much-photographed musical comedy queens—had all London at their feet. "The Circns Girl" had lilting music and clever dialogue. Just to mention one or two oi the lyrics, such a«s the one that dear old Connie Ediss used to eing. I think I can remember the words of it—yes, here they are; Though I never care to make a fut>e, Unless a thing was positively itiady. If it happens to me again I em sure I shan't complain, But it's not the proper way to treat a lady. Then again there was the never-to-be-forgotten little song, something about "Just a little bit of string, tied ae

tightly as a string could be"—remember it, readers? Relics of just a bygone day, but to those ot' us who remember, what a relic. In ""Hie Circus Girl" Mario Studholme ("laved the title part. How ] recall the days when she and others were portrayed on cigarette cards, postcards and chocolate boxes. Only the otber day I was transported back to the year litOO by looking through p. very old but much-prized postcard alb'.im wherein reposed the photographs of Marie "Studholme, Camille Clifford (the first "Gib.ion Girl"), Ruth Vincent, Phyllis Dare and her equally beatitiful .sister Zena. Kvie Greent.-. Gertie Millar, Lily Klsie and many othere. To the young bloods of that generation the}' were everything that was beautiful. They get the hearts of all the etage-doar johnnies beating just a little faster. "The Circus Girl/ , by the way, first saw the light of day on December 5, 1596, 42 years ago, and as far as I know has never since been revived. "A Country Girl," perhaps I would be correct in saying, is to-day as fre«h in our memories as ever. What a delightful collection of melodies it contained. }Icve are just a few: "Johnny Came from London Town," "Under the Deodar," "The Rajah of Bhong," "List to the Song of Coo," "Molly Married the Marquess." "The Country Girl" wae first produced at Daly e in January, 1902, was revived in the early months of the war and again in September, lO.'Jl-. Principals in the original cast were as follow:— Geoffrey Challoner . . . Hayden Coffin. Uajali of Bhong . . Rutland Harrington. Bnrry Huntley Wright. Madame Sophie .... Ethel Irving Nan Evie Greene. Shades of Grossmith! What a caet! "The Country Girl" has been selected time and time again ae the annual production for various amateur operatic societies. (To be continued)