My Theatre Memories

Auckland Star, Volume LXIX, Issue 142, 18 June 1938, Page 2 (Supplement)

My Theatre Memories

No. 11.

IT was in the Apollo Theatre, London, that many of the old musical comedy favourites were staged. Coming to this theatre from the Coronet, where it had run for 12 months, the lovely French light opera "Veronique" began a revival in 1904. Ruth Vinccnt played the >ading part, which was undertaken in the last revival <>f 1931 by Winifred Melville, who with her husband helped to make this pro diK'tion such a welcome return t<> theatregoers. This liurht opera was composed by Messager. and. as reader* will remember, contained some von beautiful musical numbers. anionwhich can he mentioned the popular duet, "Trot Here and There" and "The Swing Song." Both of these songs are still featured to-day and much beloved by musical folk. Ruth Vincent was one of the "big six" and as such could always be depended npon to attract large audiences. In the original cast Kitty Gordon played Madame C'oquenarde; Maude Darrell was Denise; George Graves, the celebrated comedian, was M. Coquenard; Fred Emney (another name to conjure with) was M. Loustnh, the bailiff; Ruth Vincent, female lead, was Helene de Solanges. . Magical Names The production was under the personal supervision of George Edwardes. Now then, readers, here are some names that will make you sit up and remember, names that 30 or 40 years ago were, to put it in modern language, "the tops" in stageland. First one is Louie Freer—remember the talented little musical-comedy actress who always excelled in "slavey" roles? Sh< it was who went such a long wav in putting over "The Chinese Honeymoon." Then, in tile same production at the Strand Theatre, on October 5, 1001, there were the late Marie Dainton and that sterling all-rounder. Kate Cutler, who played the part of Princess Soo-fioo. "The Chinese Honeymoon" was turned out under the collaboration of Dane and Talbot and was revived in January 1915, being presented at the Prince of Wales Theatre to vast war-time audiences. And now we come to one who in all probability was the queen of all musical comedy actresses, none other than the glamorous Lily TTsie, the girl who had all London at her feet through her marvellous performance at Daly's in Lehar's world-famous light opera,* "The Merrv Widow." The "Widow" was first pro-

Footlight Parade,

-ByFrank Broad, An Old "Pro."

duced at Daly's on .Tune 8, 1007, and put up what was in those days something of h record in the nature of a long run. It is perhaps interesting to note that this opera has been translated into several languages and presented in the leading theatres of Europe. "The Widow" has been revived three times in London alone at Daly's. Max-. 102.'t: Lyceum. May. 1!»-_»4; and. lastlx. on August _»!>. I o.'t2. Theatregoers here in New Zealand have had the opport tin it x ot seeing it many times under the .1. ('. Williamson direction, xvith Australia's very own Gladys MoneriefT as Sou in. W lien I lie Widow" was origin. illx produced in Loudon iu those far-axvav days of 11107 the days of hansom .-a lis and stage-door johnnies—it, imiiiediatelv caught on, due no doubt to Lily Elsie, who just two years previously had made a name for herself in Paul Reuben's lovely opera, "The Cingalee." T wonder how many people know that this won <1 "ful actress commenced her stage cateer on the music halls, touring as a child artist under the name of Little : lsie. She also did well in pantomime, and it was in pantomime that she made her first appearance- it was. I think, as "Little Red Riding Hood" at the (Queens 'J heat re in Manchester in December. 18«<i. Quite a few musical comedy actresses graduated from the pantomime, including Phyllis and Zena Dare. Mova Maiinering,' Gertie Millar and Marie Studholme. dancing through niv rough notes I am greatly struck with the record of Kate Cutler. Kate, it seems to me, appeared in nearly every musical comedx of importance, and I find that she was the original Malaguene in Planquette's pretty opera, "Paul Jones," at the Prince of Wales as far back as January. 1880 Then, in 1803, we find her at the Gaiety in the opera, "In Town." From there she went to the Prince of Wales again to star in "The Gaiety Girl " This appearance was followed in rapid succession iu "The Shop (iirl" at the Gaiety "Gentleman Joe" at the Prince of \\ales in the same year, with further roles as Connie in "All Aboard" at the Criterion immediately afterwards. In 1807 she was playing' at Terry's Theatre as Suzette in "The French Maid." Looking back over this wonderful woman's career, it would i>e very difficult to select Kate Cutler's most successful role—she excelled in all of them - but I do know which character she liked playing the most. Her fax'ouritc role was that of Lady Angela in Leslie Stuart's ever-popular "Florodora," which she played hundreds of times. She once told me that Ihe more she played Angela the better &he liked the part.

Such a tjniversal favourite was Kate that she was commanded to appear at Windsor Castle before the late King Edward in the play, "A Man's Shadow.' in which she played the important part of Victoire. It was about this time, I think, that she pave up the musicalcomedy stage for the legitimate, her last appearance on the former being Baroness Papotichc in "The Spring Chicken'* at the tibiety in May, 1900, thus proving very conclusively that she Mas one <>f till? finest ali-rouuil actresses on the Knglish stage. "Florodora" Music "Florodora'' will alxxav* be mx fa \- otiiilc musical comedy.' Jt J lH d '~\er< . thing to make it so -beautiful music, i lex ei dancing and glorious sceuoi x . xviiu a really good libretto. Leslie Stuart s I>< »I -i 1 1 ji r opera was first produced in November, JS«M». and tl„. |. v ,ie Theatie xxas the one chosen for its prcmicie, with the following cast of talented folk: Ada Ueeves. Kate Cutler, Kvie Gr "'lie Ldouui, Sydney Maiinering I AlHville St«*\vart. It rr\t liiiiM i'l>oiit. -Florodora" is forgotten-and I tlunk this is luirdly possible on.' exccipt I nun it will alxxaxs rema.ii Jresh in our hearts, and that is the lovely sextette, -Tell Me. I'retlv Maiden.'' This number has been Hii;g all over the world, and even to-dav il is seen in a film, where it has Imtu introduced, not so much on account of its particular suitabilitv to the film, but because of its tuneful music. Whilst speaking about Kate Cutler, I think I referred to the musical coinedx, "(»< ntleman .loe." This was one .. t the funniest shows of the da v. It told ~f the adventures of a lian-orn rub diixei, which part. 1 think, xxas played by Willie Kdouin, and was a great favourite wit 11 theatregoers. This li-lit opera wa«composed by Walter Slaughter and xx ;i - lii-t produced at the Prince of \\nles Theati e, London, in 180,">. I-o much enioxed the show that 1 per.-uailed my parents in take me several times. About the sane* time as "(ientleiiuiii .loe" \vas licit',' shown at the Prince of Wale* Theatre, "J he Artist s Model" was running at Daly's. I xxas also taken to see this show, but for the life of me I cannot remenilier very much about it. I haxe an idea, however, that there whs a -on_» in it that I can faintly recall, the words of which were as follows; 1 fieri come, my lmly fair. Come Kirk M Xlt i 11. I soiijrhr thee everywhere, but sought in vain. With ImiclnK heart I wait and worship f h«*«\ Ah, do not hoHitnto, but com* to rue. Now, readers, if I"\e s 1 i|>jhm 1 tlioro Mint the song doesn't In'long to "An Ai tint 's .Model,' deal not harshly with n.e. lor it may Ik- from "The Gaiety Girl." Anyhow, f can remember the tune. In my next instalment I shall talkabout "Dorothy," -Sail Toy.'* "Our Mi-s Gibbs," "The I>uehess of Dantiic' 1 and other oM favourites. (To be concluded.)