Films and the Stage.

Dominion, Volume 21, Issue 84, 7 January 1928, Page 21

Films and the Stage.

Miss-Gladys Moncrieff has been engaged for the title-role in the Fullers’ production ,of the new musical play, "Rio Rita.’’ The noted Australian musical comedy star was engaged by Mr. John Fuller in New York, and in May next. Miss Moncrieff will return to' Sydney under a two years’ contract to -Fullersl Theatres, Ltd. Miss Mon- . crieff, says Sir Benjamin Fuller, is to receive the largest salary paid to an Australian musical comedy artist in her own country. In ‘‘Rio Rita,” the theme of which is taken from the romantic Rio Grande, there is ample scope for Miss Moncrieff’s delightful voice.. The production of the piece, as now v running at . Ziegfield’s theatre, New York, is to be followed by the Fullers on the same scale of magnificence. Another Australian has made a hit fn New York. This time it is Margot Lester, ' a little Melbourne girl, who has been three years in New York waiting for her big chance. It came recently when she was cast for the lead in Lord Dunsanay’s “If,” which Was played at the Little Theatre, New York. Gladys Cooper played the lead in this show in London, and it is sufficient index to what others think of the job to point out that immediately after the appearance in “If” Margot ■was offered contracts by Winfred Ames ■and Frohmalin. Names to conjure ■with in American theatrical circles. Pantomime seems to have gone out of favour in Australia, writes, a correspondent to the Sydney “Bulletin,” but it annually provides Australians, Hmong others, with good salaries in ■England. Kitty Reidy was principal boy in “Humpty Dumpty” this Christmas at the Palace, Manchester. Another ‘Humpty Dumptv,” at the Empire, Liverpool, introduced Vera Pearce and Wee Georgie Wood in the leading parts.

“Archie,” the musical comedy success nt Fullers’ St. James Theatre, Sydney, is coming to Wellington some time in February, and will be staged under, the Fuller management at His Majesty’s Theatre. Miss Elsie Prince, Jimmy Godden and Charlton Morton, of “No, No, Nanette” and “Lady, Be Good” fame, are the chief principals. Miss Elsie Prince, who was to have left for London at the conclusion of the run of “Archie” at the St. James Theatre, is to remain, having signed a new contract with the Fullers’, and- will later tour New Zealand with the company. She will also be seen here in “Sunny” ■and “Mercenary Mary,” two great London successes. The New Zealand season of “Archie,” “Sunny” and “Mercenary Mary” will be looked for with unusual interest.

There are few of the adult generation who can forget the stir and indignation that the exploits of the German raider Emden aroused during the beginning of the World War, and there will not be many who will not remember the wave of relief which swept oyer the Allies when news of her defeat ■was received. The various adventures of this enemy ship, and of her intrepid and brave commander, Captain Karl von Muller, who earned the encomiums of the whole of the British na-

tion for his never-failing humanity .and his merciful methods of warfare, have been recounted for the appreciation of theatregoers in the remarkable film which is soon to be released, “The Exploits of the Emden.” From that time when the Emden was first heard of, and the consternation that arose as ship after ship was captured and sunk by her, has been faithfully and impartially reproduced in the film, which, made under the aegis of the German Admiralty, yet gives proper value to her absolute defeat and ultimate burning by the Australian cruiser Sydney off Cocos Islands.

Some Ihighly-favou ruble criticisms have been evoked from ministers of 'all religions in Australia upon viewing “The King of Kings,” Cecil B. De Mille’s wonderful production, which is a remarkably reverent and beautiful study of the highlights in the life of Christ. The Rev. Herbert Cox, of Sydney, says: "‘The King of Kings’ is so vast a subject and is depicted so wonderfully that the sheer beauty and power of the scenes will quickly hush all petty criticisms. Where it has been shown already, thousands have watched, entering with laughter and fav conversation, atid some two and a half hours later, coming away again in silent, subdued, thoughtful, often with faces tear-stained. At the private screening which I viewed in Sydney the same effect was remarked, and yet this was a critical, almost hardened, audience, this being up to a certain limit a trade exhibition.”

In the midst of the thrills and mysteries of “The Ringer,” the sensational Edgar Wallace drama coming to New Zealand this month, Miss Mary Macgregor and Miss Eileen Sparks find time to don several very handsome and striking frocks. During the ac-tion-of the play Eileen Sparks, as Ann Milton, makes several changes •of costume, and all are most ‘ artistically designed and beautifuly made, with an attention lo detail that gives ‘undoubted evidence of the most careful workmanship. Mary Macgregor, as Mary Lenley, is also handsomely garbed, and for her first entry weafs’ 'A particularly striking French preatiotij

Acknowledging Edinburgh’s gift of the. freedom ol the city, Sir Harry Lauder sang a verse of a patriotic Scottish song. He apologised to the provost for breaking the pledge never to sing again, made when his wife died, but pleaded that he bad only broken it a “wee, bittie.”

Maud Allen, one-time classical dancer, is in London, according to latest advices, seeking a suitable playlet in which to bring her voice at last into action, presumably in a vaudeville theatre.

Miss Mary Macgregor, who plays an . important role (that of the little typiste) in “The Ringer,” the thrilling drama to be staged by Moscovite!) and the specially selected J. C. Williamson company at Wellington on March 3, is one of the sweetest, most engaging, and popular girls on the stage to-day. Off stage she is a very pretty girl, with brown hair and blue eyes, and the softest speaking voice imaginable. She confesses to having a liking for very modern flapper roles, in which, indeed, she excels. Like many artists who have reached the front ranks of the profession, she got her chance with a repertory theatre society, in which she displayed such conspicuous ability that she was brought under the notice of the heads. Then came her big opportunity, when she was cast as Jill in “The Skin Game.” That she justified the confidence placed in her, and that she possessed the necessary histrionic ability, have been proved by the fact that she has played important parts ever since. In “The Ringer” she gives one of the most finished performances of her highly successful career.

Grand Guignol has arrived in Sydney. Last Saturday night a new' and venturesome trio, consisting of Gaston Mervale, Ton Maxwell, and Floie Allen, presented five of the famous potted. dramas and comedies, translated from the French , at the St. James’s Hall. “Three’s a Crowd,” “Cupboard Love” (both comedies in which Floie Allen appeared), “The Mask,” with Hilda Dorrington, “The Second Ash Tray,” with MisS Gawler, and “Honour Thy Father,” will be the first week’s programme. “The Second Ash Tray” was played in America for two years by Nance O’Neil.

Are English musical comedy actresses lazy? Opinions are divided. Mr. Robert Courtneidge, after a trip to America, has. very distinct impressions about the merits of American and English musical plays and about the artists. “The American musical play is vastly overrated,” he says, "but they get over, because they are lavishly staged, and the players never spare themselves for a moment the whole evening. English players w.ill not work bard enough. Otherwise, apart from dancing, the American cannot beat us. Actors in America pay for dancing lessons. The result is that whole troupes will perform complicated toe and other dances that call for the intensive and relentless training of the ballet.”

Blanche Sweet plavs the leading role in “Singed,” the Fox attraction at the Queen’s Theatre this week. The story deals with an ex-dance hall, girl and her partner who take shares in a wildcat oil well. It proves a more than payable proposition, and the couple move to the fashionable circles of San Francisco society.

“Ben-Hur,” the story of ancient Judea, is showing at the De Luke Theatre for a second week. The picture portrays the life a o young Jew, who is falsely a ccused of a crime and condemned to a life of slavery in the galleys.

Mr. Barrie Marschall, general manager for Metro-Goldwyn-Mayer (New Zealand). Limited, who was to have left Auckland on January 17 to attend the International Convention of the organisation at New York, has cancelled bis passage, owing to pressure of business. '

In “Rose Marie,” that entrancing musical romance of the Canadian Rockies, Harriet Bennet:—pretty, vivacious, and altogether alluring—finds more opportunities for her undoubted talents than in “Lilac Time” or any other of the musical comedies iu which she has scored successes. She is said to have a wonderful personality, and in “Rose Marie,” as the beautiful French-Canadian girl, who loves with the passion of a true daughter of nature, she exerts her charm to the utmost. She sings the music sweetly; she is at times elusive, magnetic, vivacious; she rises to dramatic heights seldom reached by musical comedy artistes.

The pranks that aviators play on each other when they know that in a few minutes they will be facing almost cet’tain death, are vividly portrayed in “The Lone Eagle,” a Universal-Jewel production. Raympnd Keane and Barbara Kent are featured in the picture.

For the first time since it was opened 34 years ago with “’The 'Taming of the ,Shrew,” Daly’s Theatre in London has presented a non-musical play. The consent of the trustees of the late George Edwardes was given to the production there of Mr. Noel Coward’s new drama, “Sirocco.” and so bang goes another policy—for the time being.

Empire Theatres, Ltd., propose building a Melbourne theatre on the site of the old “Morning Post” building. The cost of the theatre will be £250,000, with a seating capacity of 3400. Rufe Naylor has the arrangements in hand.

A writer of “John o’ London’s Weekly” suggests the following as the best plays written since the war, with the reservation that no author is represented by more than one of his works:— “St. Joan” (G. B. Shaw), “Juno and the Paycock” (Sean O’Casey), “Abraham Lincoln” (John Drinkwater), “The Conquering Hero” (Allan Monkhouse), “The Constant Nymph” (Margaret Kennedy).

Vilma Banky and Ronald Colman have the leading roles in “The Magic Flame,” which is showing at the Empress Theatre this week.' It is the story of a trapeze artist in a Continental circus, and her lover, a clown who rescues her from the attentions of an unscrupulous prince.

Ziegfeld’s Follies are known the world over for their spectacular display. Floreuz Ziegfeld is the famous producer of the shows in New York which bear his naftic. He is probably the most famous producer in the world of musical comedy and revue on a gigantic and elaborate scale. Ziegfeld’s eye for feminine beauty is that of a master, and many girls who began in his choruses are now stars in film and stage firmaments. He . has threatened to produce his .shows,in London.

An attempt will be made to teach surgery and medicine by means of motion pictures, according to Will 11. Hays, president of the Motion Picture Producers and Distributors of America. The first two films made for this purpose were “Infections of the Hand” and “Nursing Our Neighbours.”

Take a play which only' achieved a success last December, take a theatre which is always on the verge of closing, yet somehow manages to carry on, take a new, untried playwright, new actors, scramble all together, and you have that amazing spectacle, the’ Pulitzer prize play “In Abraham’s Bosom,” still placing at the Provincetown Playhouse, nearing its 175th performance, feeding its actors into up-lown shc-ws, paying off the debts of its parent theatre, and laying plans for an extensive road tour. Of such oddities (says an American paper) is the fascination of the theatre business built.

Count Fillipino, late of the Cousalez Grand Opera Company, has come through the herculean task of forming u grand opera company at Adelaide, and with commendable enterprise and perspicacity got it to Perth, where no less than eight different grand operas were produced, which showed a net profit of over £5OOO. This success incited a season at the Princess Melbourne which, according to the best critics, compared more than favourably with much higher-priced presentations. It is understood that this combination goes to Tasmania and New Zealand in the New Year.

Fox Films have induced William Farnum to return from the legitimate stage, where he lias been appearing for the past five years. Farnum is to play in “Hangman’s House.”

The Danish authorities have forbidden the exhibition of all sorts of films based on the Great War. This decision is directly due to the German film, “The Emden,” which shows the adventurous episodes of that ship, but generally the authorities desire to prevent all contentious films in the matter. The restriction, says a special message to the London Press, is a blow to the kinema owners.

“Tiie Irresistible Lover,” with Norman Kerry and Lois Moran, is showing at the Queen’s Theatre this week. It tells of the love of a wealthy man for a policeman’s daughter, and the trouble that is caused when it is discovered that the daughter’s lover is no other than their hated landlord.

Another modern production of a Shakespearean play is planned by Basil Sydney for the Garrick Theatre, New York, where he and Mary Ellis are now playing “The Taming of -the Shrew” in the up-to-date manner. Which play he will do has not yet been decided, other than it will not be “Hamlet,” which Mr. Sydney acted in several years ago. Mr. Sydney himself favours “The Merchant of Venice,” but will leave it to his patrons to decide. Their wishes will be tabulated through a referendum to be conducted in the theatre for the next several months.

The estate of Emilie Polini, otherwise Mrs. Ellis, probate of which has just been granted, has been valued at £5070. Testatrix appointed the Perpetual Trustee Company, Ltd., her executors. The bulk of the estate represents shares in Tooheys, Ltd., the British Tobacco Co. (Australia), Ltd., Winchcombe, Carson, Ltd., North Shore Gas Co., Australian Gaslight Co., and the National Bank. Bequests are made to deceased's mother and sister and nephews in England, and there is a legacy of £5O to Mrs. Grace Cannon, of Sophia Street, Bondi. The rest of the estate is left by testatrix to her daughter, Patricia Marie Ellis, conditionally on the child being in the custody of the deceased’s sister, Mrs. Marie.Nares, and the latter’s husband, who live in England If the child does not go into their custody, £lOOO is to be set aside for her, and the interest allowed to accumulate until she is 24 years of age. In that event the residue of the estate goes to the two nephews in England.

Victor McLaglen, the hero of “What Price Glory” has commenced work on “A Girl in Every Port.” McLaglen will be cast as a philandering sailor.

The story of a timid soul, always the underdog, who is converted into an aggressive, forceful- personality while under a hypnotic spell, is- the story of “Running Wild,” at the King’s Theatre this week. He runs amuck, and while under the delusion that he is a lion, does everything he has wanted to do for years. W. C. Fields is tlie star of the’ picture. “Moana,” a true story of the love and life of a native man of Savaii in British Samoa and his betrothed “She Who Causes to Rustle,” is also on the programme. This picture is acted entirely by South Sea natives in their own country.'

.Madge Bellamy’s next picture for Fox Films will have "the title of “Silk Legs.” The story concerns a hosiery, salesgirl, who succeeds in beating a rival salesman at his own game, and in making him like it so much that he marries the clever girl. Miss Bellamy has a role well suited to her capabilities in this comedy, in which she is ably supported by James Hall. Madge Bellamy has recently completed "Very Confidential,” from the magazine story of the same name, which will be seen shortly.

A British picture, “The Flag Lieutenant,” is showing at the Regent Theatre this week. It tells the story of a voting man who refuses to tell where wa's during a battle, because it means that credit for a certain deed will Apt be given to his friend. How it leads almost to disgrace is told in this tale of the Royal Navy.

Madame Emma Calve, prima donna of grand opera and concert, is visiting America to sing in concert and in vaudeville and to lecture at the .leading universities on voice and song. Mlle. Jeanne Devalque, a young French pianist, is the diva’s accompanist.

The “Film Mercury,” describing a U.F.A. production of “Faust,” from Goethe’s drama at the Figueroa Theatre, directed by F. W. Murnau, with Emil Jannings as Mephisto, says:— This is the picture done by the man who directed “The Last Laugh.” Aud it is a far cry from the sympathetic, humorous gusto with which he depicted that old door-man, to this sinister, dramatic handling of the age-old theme of Dr. Faustus. Murnau lias made a picture of so much beauty and distinction that to many it will give more authentic thrills than the opera of the same name. The familiar story is freed cf cheap stage trickiness by the German director, and his Mephisto is no naughty—Halloe’en—Menjou ensemble, but a lecherous, obscene incarnation of evil. Wisely, Murnau has varied his appearance, making this Satan at times a loathsome creature sagging with fat, aud again with arch fiend, terrible and majestic, sombre and dignified against the sky. The movement of the picture is heroic, and its tempo exactly suited to its development. Again, the photograph, as in “The Last ' Laugh,” is amazing without being merely “stunt stuff.” The shots of Faust and Memphisto careering over the housetops rival the famous - “Thief of Bagdad” carpet scene in the mood they engender, as crags and towering trees hurtle by, giving a premonition of evil and disaster to come. The scene at the village fair where suddenly Satan’s black cloak obscures the sun and pestilence descends is unmatched for largescale drama. Not only in these basso profunda scene is Murnau’s skill shown; there are vignettes of a daisy field which suggest Corot in their delicacy. Emil Jannings as Mephisto, whether sitting alone on a heath that suggested Macbeth, leering at his Faust with mock humility, or in a flirtatious interlude with Dame Martha, acts superbly. In some of the scenes there was a tendency to “mug,” but perhaps that’s fittingly diabolic too. _ Faust, whether in his old age or in his dashing youth, always maintained an intellectual quality—he was never just the nice young man in pursuit of his unbobbed sweetheart. This Marguerite, too, was young and lovely, with no “flapper” taint, and in the later scenes suggested a Joan of Arc nobility. A memorable picture, certainly, and one in which the photography is excellently matched to the scope of the story. Yvette Guilbert and Jannings in a comedy you-chase-me scene were slightly out of the key, even though this scene occurs in the opera too. And the aged Faust suggested Moses a little too potently.

_ “Silk Stockings” is admirably suited to the comedy talent of Laura La Plante. John Harron plays opposite.

Syd. Chaplin, creator of Old Bill in “The Better ’Ole,” is unbelievably funny as the hungry and timorous man who finds himself transformed into a lion hunter on the way to African jungles in “The Missing Link.” The object of the chase shifts to the capture of a hideous and mysterious monster.

“In America money talks,” said a well-known London theatrical manager, when he went home after a holiday in Uncle Sam’s land. Chorus girls can earn anything from thirty to forty pounds a week. Our girls work hard for a miserable four. Two actresses, one Australian and the other American, and both belonging to the younger school, agree with leading critics,” said the manager. They are Miss Emma Haig, the young American girl who was so successful in “The Girl Friend,” and Miss Madge Elliott, the Australian dancer in “Lady Luck.” “I passed through America on my way home from Australia,” said Miss Elliott, “and I went to the theatre as an observer. I was astonished at the amount of work put in by musical comedy actors and actresses in America. They study, all day, work at the theatre in the evening, and learn things in the cabarets all night.”

Irving Sayles, the negro comedian, had the strongest objection to being called “coon” off the stage, says a writer in the Sydney “Bulletin.” He did not mind his partner addressing him as such on the stage, but outside 1 Once when visiting a gaol—a habit he had—Sayles was addressed by a long-distance prisoner who knew his sensitiveness on the subject. “What am de time, coon?”,the convict said. “You doan wanta know de time,” Irving replied; “you ain’t goin’ nowhere."

For the first time in the history of the modern drama an English play was given in Paris when “Tin Gods,” a new melodramatic comedy by Edgar Middleton.. author of “Potiphar’s Wife,” was produced by the English Players at the English Theatre. “Tin Gods” has some of the mystery of ' “Outward Bound,” a little of the tropical passion of “White Cargo,” and the inscrutable attraction of “Mr. Wu,” much humour, too much sociological oratory and some favourable melodramatic effects which never fail to thrill. The “tin gods” alluded to in the title are those who imagine that, for various reasons, they control the destiny of mankind until some fortuitous circumstance tumbles them off their little throne, altar, or pedestal. The play, the author, and the artists received an ovation.

BRITISH FILMS NEW THEATRE CONSTRUCTION IN AUSTRALIA.. On the Tahiti this week for New Zealand was Mr. Gordon Ellis, head oflice representative for Union Theatres and Australasian Films, Ltd. Mr. Ellis believes that within a few years the quality of the British Films will compare favourably with the American productions, and it was mos| interesting to read the cables on arrival here aud see someone had started to put the industry oti a sound basis in the" Old Country. In 1927, many excellent pictures were produced in England, but as yet they have not been released in New Zealand or Australia, but in other parts of the world they hav,e been received most enthusiastically. One that is. sure to attract considerable interest in the Dominions is “ Rome mbe rance,” in which 1-1.R.11. the Prince of Wales can be seeu as a screen stat. Another is an adaptation of the well-known play “The Ghost Train.” Both these films will be released here shortly. The construction of theatres in Australia has reached the pinnacle of perfection, and Union Theatres, Ltd., have committed themselves for over £1,500, 000 in theatre construction during the next twelve months. The day of the ordinary theatre in large cities, says Mr. Ellis, is goue, and his firm are concentrated on atmospheric theatres that enchant considerably the presentation of the patrons’ entertainment. Two of the new theatres will be in Sydney. Ouc, the Capitol, will be completed for Easter and the New State, which was started over eight months ago, will not be completed before ■ Septethber next, and will be the last word in theatre construction, having thirteen floors, and the theatre will seat 3500 people. The public in New Zealand get all the best in Maoris, and are well catered for with theatres, and I understand Wellington is to have another most elaborate show verv shortly that will seat 2400 people, which will be the largest the’atre in this city. Australasian Films arc a sister of the Australian Company, and Mr. Ellis is here to co-operate with Mr. McGowan, the general manager for New Zealand, and New Zealand Picture Supplies, Ltd., in 'the screening in Wellington and Auckland of what is considered the funniest picture ever, made, “The Missing Link,” which will receive its first screening outside of America, at both Auckland and Wellington this month. FORTUNES IN TALENT BIG SALARIES FOR STAGE FAVOURITES. In these days of excessive taxation and high cost of living, could you manage to live on £3OOO per week? Other people have had to do so. The question is prompted by the statement that Gladvs Moncrieff is to receive £2OO per week for a season in musical comedy under the Fuller management. Raquel Meller, a Spanish vocalist, who sang songs in her native tongue, signed a contract to appear in New York at the modest remuneration of £lOOO per week. ' After entering into the agreement it was suggested to her that she could do much better at home. In order to have an excuse to break the contract she insisted on berths on a big At/lantic liner for five dogs, well knowing that the policy of the shipping company was against allowing canine passengers to accompany even millionaires. A shrewd management overcame the apparently, insurmountable difficulty, and New Yorkers heard Miss Meller’s mellow voice in the theatre, while the dogs barked at the, hotel. Grock, the celebrated French clown, was- another foreigner who caused an enterprising entrepreneur many anxious moments after he had engaged him at £6OO per week. He refused to claim his option for a further term, much to the disguest of patrons of the theatre in which he was appearing. “I do. not like ze wine I get here,’ he said. “I go back where it ees magnifiquel” Al Jolson, an American performer, holds the salary record easily, one would think. When the contract was handed to the 1 treasurer prior to the performer’s appearance the worthy juggler of salaries fainted, and went to bed with “nerves” for a week. Five performances a day netted Jolson £3OOO per week. Two white men, who black their faces and become the “Two Black Crows,” earn as much as £lOOO per week through the medium of their stage work, the gramophone houses, and the music sellers; and, like the brqok, they look like going on for ever. Josie Collins, who has appeared in London in many of the musical comedies in which Gladys Moncrieff has starred in this country, is reported to have received £5OO per week as her highest salary, but only for the run of one piece. George Robey has drawn a modest £6OO a week for years. i Coming nearer home, one learns that Ada Reeve was paid £350 per week on her first appearance in vaudeville in Sydney; and Wilkie Bard, who was one of the first of the really great musichall artists to appear here, was on the pay sheet for £lOO per week. ' The long-pending action between J. C. Williamson, Ltd., and Hugh ]. Ward Proprietary (now. in liquidation) has been further advanced by a statement filed in court by the plaintiffs, says an Australian paper. Mr. C. B. Westmacott, general manager of J. C. Williamson, Ltd., when interviewed, admitted that the firm had been advised by its Melbourne office that a statement of claim had been filed that day against Hugh J. Ward and H. H. Vranz.ee, in connection with a writ issued some mouths ago. The amount involved is set down at about £25,000, and is in respect of an alleged infringement of copyright of a play entitled “His Lady Friends.” The infringement is alleged to have taken place, in the production of “No, No, Nanette!” which introduced Elsie Prince, Jimmy Godden, and other artists now appearing, in “Archie,” to the Sydney public. The case will be heard in Melbourne.