JUVENILE OPERATICS.

Dominion, Volume 1, Issue 70, 16 December 1907, Page 8

JUVENILE OPERATICS.

HOW A COMPANY-• IS FORMED.

interesting . talk with. ; mr, tom pollard.;:;' "It isn't-what it used', to bei" said Mr. Tpm.Epilard, when asked.lby.aDominion representative to say something:, about the ",w.ay he does things" when-forrning -a juvenile opera company. The-na.rne of Tom.Pollard carries with it a good share'of theatrical enterprise in New Zealand for tho past generation, and no oneVcan speak with more;authority or more interestingly on.the subject of juvenile endeavours on the Colonial stage- . ..■ . ■;. :' .'• , '•:.. ' -.- ,"]ii the old days I used to-'get hold of the youngsters myself, .take.:a, hall-, in Melbourne or Sydney t and train them right .from the start, .but that is all done-...with, . thank heaven I The hack work of training, boys and girls.in stage work. has. been'-.taken in hand by different schools in Australian cities, which train the youngsters' in singing, dancing, deportment,' and elocution, and'you simply go to thesoplaces, pick'out the talent, yon require, make arrangements with, their parents, .and ..start rehearsals. This nfatter was..so assured., through the existence *of these schools that I did not, need Jo go to Australia .myself., The engagement.; of the conipany. was left .to. the judgment of; Mr. Ernest iSohatz.' Most of the", good dancers — and there are a few good ones—come from Mr. Tom Donnelly's school in Sydney', , .and others from the. establishments of Mr ..'..Edwin Leston and Miss Brennan, who .make « business of preparing children for a-.stajie'career. Organising a Company. ~,,,.•. "When I started my old:company I don't think any of them had been-on ,1 the stage, except, perhaps, .Harry Qnealyy:: but it is a idifferent proposition entirely; now.'" Wo now go to the schools, and see and-neiir the chi' .dreu, find out those wo want).and without .consulting the children themselves at all, go straight to their parents'; , and 'make an agreement with them, insisting; s 'that the parents, hot the" children,' mutf-sign. Each .child is under an-agreement, but no particular line of business or parts are assigned them —that comes later. •...-..■:.>,'■ :; "Then I take.them individually and see what they .can do, and get'a good general idea of their capabilities. .-After a-few tests I decide on, the company is taught tho first opera. The'principals' are selected and handed over. to the ballet mistress-to. learn the dances and to be taught the music. Meanwhile, the chorus is learning-the music, and words. Having loarnt the opera, pretty well, I take them in hand, and teach them the .'business', of the opera,- the positions, actions, entrances, aud exits.", . "Do you find them apt?"..;'. "I find them too quick altogether—they are wonderfully receptive, and terrifically .enthusiastic. I have to be..very.;careful what I.say in instructing thom,~;.for they never forget, and. it. is necessary. .'to,..,say exactly :what I. want right-at the start,'for.you can never recall anything. They remember everything, . and altering lines,.;or:-; hnsiuess once they have learnt them only leads to confusion in the , juvenile mind. .'.:...'•'. ..' Learning the Came. . ; : ' ',- "1 -. say the lines and .for them oxactly as I want it done,'and the aroso :roady in imitation that. J.; see. myself . reflected, at,- once—so one ■ has ito. be pretty careful. Then when chorus, ballet; and principals have a good idea-of what is expected of them, they are welded together in g'en-> oral ■ rehearsals, held . with the asistance of a piano at first,: aud, as '. the dato. of production dro.ws near, with tho full orchestra." "Do. any of them suffer from stagefrigbt?" ■ ' ;'-.■■ ■ "None of the present company, but Lhave known some who never got over .a certain norvousness—good -perj o. rjners,-i too !!j' > ■ •. -~;. "Is it any strain on them, do you think?" ■ "Strain, I.should think not. It is asmuch as I can do to keep them from-giving a hop, step, and .a jump when they come 'oft;' They are children again as soon as they lose the glare of the footlights,, and. want to dance and chatter as'-. children naturally would. One thing I never have any trouble with—l don't have to keep a call-boy. They all know their cues, and never, miss taking them up promptly, which is somewhat different with adult companies." ■ • How.the. "Actresses" are Controlled. . "And what about tho care-of! the children?" ■ .; : ';v.V - ■ , "We have four matrons,-each> of whom has a. certain, section to- look after. • They are responsible to me .'for the behaviour of the children at the hotels,' for;their 'cleanliness, -and thejr - supervision <aV all ■: times. But, while a strict control is .kept over them, tbey.'are allowed out of'!an- ; afternoon, but each '• matron must know;.' where they arc, and what they are. doing'. - '. They are-asked out n good deal, and no bar-,is, placed on their, accepting such .-invitations, . providing the- matrons are satisfied'that, they'.will', be looked>.after, and returned ; in" good order and condition for the evening's -performance. They ai;e never, allowed out after-dark when not performing, niy'> permission. They. go to the theatre together, and leave the theatre together, but never leave until I give the word. - lam always , the last to leave ■the theatre. .- :?:•:;V- ; ■ . '•. -, "After they have got; through : the first ,opera or two, the real stage .training commences.' Regular ballet.lessons'are given.; they go through a course of :pliysical culture and drill. The conductor teaches them vocal production, and the ballet; mistross keeps their feet at work. Our "istaiF-rincludes, a wardrobe mistress', to look after;, the dresses, but each child is made' resppusible for its own clothes/ and each lias a large bag or wrapper to keep them iii, wfth ; their names on,-so that there is no-difficulty in'findin'g each .bundle when they are unpacked'from the trunks." ;: • ~'•:

The Children's Ages. ' • " "What are the ages of the children —generally?". . .. - ! - ; ■ "i'rom fourteen to sixteen years,' most of them. Home of the smaller- ones are "from eight-to'-twelve years. The boys' Nicholson and Drummbnd. (Blib .and.-'Blob)'.are fourteen years of age. . . . „..'■; .. # "There are fifty-eight. people travelling with the.company—we say sixty in, the advertisements to make it a rouii'd number," said Mr. Pollard, smiling. . .-. .;;;>' ' ■" "Have ; you many applications?"- ■ "They simply pour in. :I could raise a I company of .500. in a they were needed —from the best families , ,' too. It would surprise you. ■ Many of-them want:to come for the stage training; -they receive, with a view to a career, but are attracted by the , alleged glamour .of the stage, and have, little. t0... recommend them otherwise." ■• ... .f :■,■■■ : ■■■ ,

The reporter closed his notebook,;.and was expressing his gratitude,<forvgetting such good copy from the ' genial aqtor-manager-pnoducer-rastructor,, when ihe, remarked that if anyone, of decent standing,.>';of .course, wished to see "how the wheels; went round thoy wore quite welcome to. visit;the theatre at any time. ■ ••. f . ■;■ ; . • • :