"WHITE HORSE INN"

Press, Volume LXXII, Issue 21707, 14 February 1936, Page 9

"WHITE HORSE INN"

J. C. WILLIAMSONS BIG PRODUCTION .

Applications for preferential booking for the approaching season of J. u Williamson, Ltd.’s stupendous musical play, “White Horse Inn,” which te to begin at the Theatre Royal on Saturday, February 22, will be received until noon to-(iay at the D.1.C., and the . ordinary box plans will be Tuesday mornmg next at 9 o clock. Anticipating the same large, demand for seats as that which has happened m other parts of New Zealand, the management will have a staff of ushers in attendance at an early hour to assure that the earliest arrivals may have first choice of seats. From time to time, extending over a period of years, the directors of J. C, Williamson, Ltd., Jiave presented to playgoers a number ex remarkable, spectacular productions, including “Chu Chin -how,” “Rose Marie,” and “The Desert Song,” but it has been generally acknowledged they have surpassed all their preview Efforts in- the representation of the mammoth musical play “Whitei Horse Inn,” which for sheer magnificence completely overshadows any stage pro- v duction previously seen in New Zealand. When thb London director. of J. C. Williamson, Ltd., saw the original S reduction at the Coliseum Theatre e immediately concluded that it would be impossible to reproduce it in Australia, but eventually, at a cost of over £30,000, “White Horse Inn” was staged in Sydney and Melbourne, ■where in each city it created a positive sensation, and attracted record audiences for more than 12 months, thus justifying the enterprlMs of the Williamson, Limited* management After Its run in those cities the whole of the scenery and effects were stowed away because a tour of New Zealand with such a mammoth production seemed Quite impossible. Quite recently, however, the principal producers, mechanists, electricians, and technical experts attached to His Majesty’s Theatre, Melbourne, were called together, .arid after discussion which went on from day to day for a week, it was decided that all obstacles could be overcome by duplicating several of the biggest effects, including the revolving stage, and local playgoers will now have an opportunity of enjoying, in their own theatre, an exact replica of the gigantic London Coliseum theatre production of “White Horse Inn.” Three complete staffs of mechanics, electricians, and technical experts have had to be engaged, one to travel a week ahead of the company, one to travel with it, apd the other ,t'o remain behind after each season in'order to pack Up one of wie two revolving stages. The enormous expense which this alone Involves can be imagined, and, even If the various theatres are taxed to their utmost capacity at the prices charged for the London production, it would still be difficult to make a profit from the New Zealand tour. There are no less than 15 magnificent scenes in “White Horse Inn,” but the comprehensive revolving stage will obviate any waits between them. When'“ White Horse Intt” Was produced at the Coliseum Theatre, London, It marked a new era in stage presentations, and It was acclaimed as an effective reply to the talkies. The same remark may now be applied to the New Zealand production of this mammoth musical play. The artists to appear in “White Horse Inn” include a number who, are well and popularly known in New Zealand, among whom are Romola Hansen, Herbert Browne, Alfred Frith, Don Nicol, Marie Cohan (a noted London artist), Miriam Lester, Jeanne Battye, Leah Miller, Alban .Mack, Colin Crane, and cuarles Albert. Altogether there are more than. ,150 people concerned In the production, including a full operatic orchestra and