Plays – Players – Pictures

Evening Post, Volume CV, Issue 5, 7 January 1928, Page 20

Plays - Players - Pictures

THE SHOWS. Opera Houso— Williamson Comic Opera Company, to-night. December. "Rose Marie," 27th January. Town HallOrgan Recital, every Sunday, 8.30 p.m. His Majesty's—Fuller's Vaudeville. Regent—Vaudeville and Pictures. Do Luxe Theatre—Pictures. Paramount Theatre—Pictures. King's Theatre—Pictures. Artcraft—Pictures. Our Theatre—Pictures. Empress Theatre—Pictures. Shortt's Theatre—Pictures. Strand Theatre—Pictures. Britannia Theatre—Pictures. Queen's Theatre—Pictures. Princess Theatre —Pictures. Elinor Glyn,1 novelist, is likely to go into vaudeville in America. Constance Collier, the -well-known English actress, is appearing in "A Spot in the Sun" in New York. "Tho Alarm Clock," a comedy, has succeeded '-'The Ghost Train" in Melbourne. > George Arliss is appearing as Shylock in "The Merchant of Venice" in New York. Miss Peggy Wood is the Portia. Mr. Phil Smith, the well-known comedian, is acting as dame in Frank Neil's pantomime, "Mother Goose," in Sydney. The Cansinos, tho dancers who were here in "Wildflower," were in Los Angeles when the mail left. Miss May Beatty, the popular comedienne, now in New York, will return to Australia for "Hit the Deck," a new musical comedy. At a Cinderella party given to children at the Wentworth, Sydney, Miss Nellie Stewart related the tale of '' Cinderella," and as the story unfolded a group of clever children acted the story by tableaux. "Williamsons, Ltd., are negotiating with Robert Loraine, tho English actormanager, for a tour of Australia and New Zealand, with Bernard Shaw plays. "Queen High," a new musical comedy, is proving a popular attraction in Melbourne. Mr. R. Barrett-Lennard, well remembered here in "Katja," is the principal comedian. Maurice Moscovitch will open his New Zealand tour at Auckland on Ist February with "The Binger," to be followed by "The Terror." Both are mystery plays. When George Gee came to Australia some years ago he was "boosted" as a noted London artist. When he returned to England and scored! a sensational success recently in "The Girl Friend," he was greeted as a "discovrry." "Eoso Marie," the record-breaking musical comedy now at Auckland and which comes to Wellington Grand Opera House on 27th January, will not be staged at either Hastings or Masterton. Both these districts were included in the original provincial itinerary, but for various reasons had to be deleted. The reception accorded "Eose Marie" has been a most enthusiastic one. It will be played at Wanganui, New Plymouth, Palmerston North, and Napier before coming on to Wellington. New Zealand is to have a visit from the Royal Sunbeams Revue Company, an organisation of just on thirty clever Australian children, all trained at tho studios of Miss Chrissio Royal, Australia's foremost instructress and tutor of the National Duo, the Eleven Wonders, Jackie Clarke, and the Sunbeam Acrobats. A comprehensive tour of the Dominion has been mapped out. Jackie Clarke will be one of the leading members of the company, which will tour under the management of Mr. B. A. Cleland. Alfred Frith, formerly very popular in musical comedy in Australia and New Zealand, is appearing in "The King Can Do No Wrong" in New York. The piece did not plense the critics. The "New York Billboard" says: "Alfred "Frith cannot be blamed for the v '.comic relief: of his Cockney role." Edward do T^sne, an Australian, is also in the cast. Mr. Percy Hutchinson and his English Comedy Company will visit Australia early in the. Now Year, under tho management of Mr. E. J. Carroll. "The Spider" will be included in the repertoire. Miss Muriel Starr is back iv Sydney in "Cornered." Supporting Miss Starr are Harvey Adams, Mayne Lynton, Beatrice Day, Barrie Livesey, B. L. Lewin, Rutland Beckett, Katie Towers, Fred Coape, Mary Macrae, Ellis Irving, Bertha Ballinger, Felix Bland, and Charles Lawrence. New Zealanders generally, and the friends of Miss Molly Plimmer (Wellington) more especially, will hear with pleasure that she is appearing at the Apollo Theatre in Mr. Robert Loraine 's presentation of Edmond Rostand's heroic comedy, "Cyrano," writes "The Post's" London representative. Mr. Loraine takes the title role and gives a very excellent performance. Mrs. Loraine (Winifred Wynne) is the heroine, Roxanc. Miss Plimmer has two parts—the Orange Girl in the first act and Sister Martha in the convent! scene at the end. The east is of course necessarily a very long one. The New Zealander was known in repertory production in the Dominion before coming to London. Here, as a student at the Tree Academy ot Dramatic Art, she has done well, and has gained awards. It is a tribute to her progress that she should have been selected for her first appearance at a leading London theatre and in such a fine production as "Cyrano." She makes a very charming and vivacious orange girl, and a very gracious nun. She has a good stage appearance, and she should make her way much further in London. "Cyrano" is being well patronised, and the run looks like being a long one. Mr. St. John Irvine referred to her in pleasing terms in his account of "Cyrano" for "The Observer." Miss Elsie Prince, who was to have left for London at the conclusion of the run of "Archie" at St. James's Theatre, Sydney, is to remain in Australasia, having signed a new contract with the Fullers. The actress was induced to abandon her trip to London, not only by her success 'in Australia, but also because of the announcement that the Fullers have purchased "Good News," one of the leading successes of the new season in New York, at the Chanin Theatre. After the "Archie" season at St. James's Theatre, Sydney, Miss Prince will tour New Zealand with the company, and will also appear on this tour in "Sunny" and "Mercenary Mary." She came to Australia tn-o years ago for "No, No, Nanette." and has won consistent success in :i round of characters in musical comedy Miss Prince's sisters, Misses Edna ami Kitty Prince, who were iv Sydney in "Hullo, Healo," are in London, when they have just begun a season in revue A very significant statement was made recently by Sir Benjamin Fuller, governing director of John Fuller ami Son, Limited, the firm which owns » chain of theatres throughout Australia and New /oealand. Iv saying that hi.< linn would confine its attention iv tin ' future to musical comedy, revue, am! straight dramatic pieces, Sir Benjamin Ims practically sounded the 'dcath-kiul! of vaudeville as far as Australia am New Zealand arc concerned. It is all : matter of improving public taste. ]'■ the public still desired vaudeville on tertainmeuts they would pay for then' and they would still bo presented. P.u of late years, vaudeville has been slip ping more and more into the background of theatrical life. It will always have

its place, but as a complete form of entertainment it was only a passing phase. It was a sort of relic of the old circus days when funny men made faces between tricks by performing animals and feats of strong men. It was all very exciting in the days when the theatre catered only for the few, but with the spread of education and the improved technique of the theatre the taste for this form of entertainment is vanishing. It has a niche in picture theatres, and wil1 probably remain there. It still has its following in England, but the variety shows there are far removed from vaudeville as we know it in New Zealand. The leading London variety houses include one-act plays by fam ous authors on their bills and a certain continuity is preserved in the programme. So it is with revue, but plain straight-out vaudeville, with its wire-walking and atrocious sentimental ballads could never hope for long life. Even in the English provinces large strings of vaudeville houses have gone over to musical comedy and the legitima' v stage. The decision made by the Fullers may be a good thing theatrically for Australia and New Zealand. The popularity of such a piece as "Rose Marie" shows that there is a reaction toward simplicity and beauty—sitnplicit;, of story, of course, rather than simplicity )f production, for the modern audience likes its plays lavishly mounted. The matchless music and wonderful characterisation i "Lilac Time" showed that the public will always pay for the best. With further entertainment of the same class offered for the coming year, it only requires a little more confidence in the staging of some of the dramatic masterpieces of recent years to make a great improvement in the theatre. A London paper gives the joint takings at the Albert Hall on the operatic nights as £7618. This is claimed to be a record for London. Mr. William Heuglian, the Scottish I singer, sends season's greetings from London, with the announcement that he will tour New Zealand again in 1928.

The Cambridge Amateur Dramatic Club produced for one week a translation by Herman Bernstein and Leo Eandole, of Nicolas Evreinoff's play, "The Chief Thing." One of the producers was a New Zealander, Mr. A. | M. S. Mackenzie (King's College), wlio also' took a part, writes "The Post's" London representative. The Cambridge correspondent of the "Daily Telegraph" remarked that Mr. Mackenzie had made himself up, with deliberate anachronism as Bairnsfather's "Old Bill" to play a Eussian electrician of twenty-five years ago. There are few of -the adult generation who will forget the stir and indignation that the exploits of the German raider Emden aroused during the World War, and there will not be many who will not remember the wave of relief which swept over the Allies when news of her defeat was received. The various adventures of her commander, Captain Karl yon Muller, have been recounted for the appreciation of theatregoers in the film which is soon to be released, "The Exploits of tho Emden." From the time when the Emden was first hoard of and the consternation that was caused as ship after ship was capturod and sunk by her, has been faithful! ' and impartially reproduced in this film, which, made under the aegis of the German Admiralty yet gives proper value to her defeat and ultimate burning by the Australian cruiser Sydney off Cocos Islands. Some remarkable criticisms have been evoked from ministers of religion in Australia upon viewing "The King of Kings," Cecil B. de Mille's production. Tho Eev. 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 criticism." Hoot Gibson's latest picture is "Galloping Fury." The supporting cast includes Sally Band, Otis llarlan, Frank Beal, Ed Coxen,, Duke E.'Lee, Pecwee Holmes, Max Asher, and Black Hawk. "Silk Stockings" is admirably suited to the comedy talents of Laura La Plante. John Harron plays opposite her while the supporting cast includes Otis Harlan, William Austin, Tempo Pigot, Marcella Daly, Ruth Cherrington, Heiuie Conklin, and Burr M'lntosli. i Wesley Kuggles directed. Thunder, the canine star who made such an impression in "Wings of the Storm," has just completed a further screen production, "Wolf Fangs," a gripping romance, with tho human roles played by Caryl Lincoln and Charles Morton. "Wolf Fangs" concerns a dog who leaves civilisation behind him and becomes tlie leader of the pack. But, when a girl needed his help, he came back, and with him brought his wonderful mate, a she wolf of the pack. Olive Borden will shortly be seen in "The Joy Girl," from May Edginton's story of the same name. The film was mostly photographed in Palm Beach, and many scenes are in technicolour. Noil Hamilton, Jerry Miley, Helen ' Chandler, and a big case are in support. Lois Wilson lias been signed to play the feminine lend in "Alias the Lone Wolf," a Louizc Joseph Vance story, ■starring Bert Lytoll, which will follow "The B^ood Ship." She will bo remembered for her exceptional work in ■'The Covered Wagon" and in many '•■chicles opposite Jack Holt. liicardo Cortcz is starred in thp mysioiy drama, "By Whose Hand." Eu■enia Gilbert is in the supporting cast. The Minneapolis Orchestra (U.S.A.) ■osls something to run. The sum of K.'i;"i,ooo per annum is guaranteed, prin•ipally by the Minneapolis Civic and ■ommercinl Association, for h period of liroe years. Of this amount tho salary ■ f the conductor, Mr. Henri Verragghen, who waß in New Zealand with he New South Wales State Orchestra, absorbs £0000 per annum.

recent records, is singing better than ever. Kemember, his splendidly dramatic recording with Madame Bori in the death scene from "La Boheme." Ho enriches a recent list with "Pourquoi mo reveiller," from Massenet's "Wcrther" and "Fantaisie aux divins mensonges," from "Lakme" (Delibcs). "New World" Symphony. A good many great compositions yield their treasures slowly, and are only felt in all their beauty and rarified emotion after many hearings. To come suddenly on clear but unfading loveliness is a rarer experience. In music, as in all things, easy-familiarity often breeds ntempt, as is shown by the killing of a fine tune by the familiarising process of jazz. The perpetual allurement generally lies in reticence, as it does in human nature. There are, however, inspired tunes which come easily to the ear, and yet retain their charm. And when I have a Philistine to deal with I shall tell him, with emphasis on tho fearful word, symphony, and a mysterious reference to the even more terrible opus number, to hear the first movement from Dvorak's No. 5 Symphony in E minor ("From the New World"), Op. 05. If he lasts as far as near to the end of the first side, I shall be surd of his conversion. For that is where a good tune is transformed and extended into one that is stark loveliness itself. A Brahms Trio. ' fTrio in E Flat" (Brahms), scherzo and finale; A. Catterall (violin), W. H. Squire ('cello), and W. Murdoch (piano). The Brahms Horn Trio (with 'cello in place of the wind instrument) is played with line vigour, though with a certain roughness. There are, here and there, some not very musical sounds (e.g., near the end of the iinale), and the pianist plays a wrong note or two. But these, however, are but spots on a bright sun. Mr. Murdoch is an admirable partner for string players—keeping liia end up well but never stealing the other fellows' thunder. I like the way, too, in which the strings make the most of the light and shade of the music. A Mozart Masterpiece. "Quartet in D Minor" (Mozart), in six parts; played by the Lener Quartet. The purity of the opening, both in composition and performance, is enchanting. It opens immediately a door to lovely and unexpected .happenings. Though this quartet was written in 1773, and thus belongs to Mozart's earlier period, it is generally considered to be the best of that period, if not of all his quartets. It is simpler in form than the wonderful set dedicated to Ha3'dn, but makes up for this by its ever-flow-ing s' am of limpid melody. Siegfried Idyll. "Siegfried Idyll" (Wagner), in four parts; Bruno Walter conducting the .Royal Philharmonic Orchestra. There is a very general though mistaken idea that Wagner always wrote for a mighty orchestra, with masses of brass instruments and serried ranks of wood-wind. It is trim that he obtained some magnificent effects from a large orchestra, but he was quite as successful when using a smaller palette. The idyll was written in 1871 as a birthday gift to tho composer' 3 wife, and named after his sou Siegfried, who was born while he was composing the music. 'The theoratic material is largely drawn from ".Siegfried" in the "Nibelung Trilogy," including the motivo from the love seoue in the third act, phrases from AVotan's farewell and Brunnhilde's addresses. Interwoven with thorn is an old cradle song, "Schlaf, Kindcheii, Schlaf." Tlio various motives are worked up with consummate skill and with as much ease as if the idyll had 1 been written for a largo orchestra. The first performance was given on the out-