FINDING THEIR LEVEL

Evening Post, Volume CVIII, Issue 119, 15 November 1929, Page 12

FINDING THEIR LEVEL

VOGUE OF THE 'TALKIES'

LEGITIMATE STAGE SAFE

Confidence in the permanency of what is known as the legitimate stage was expressed to a "Post" reporter to-day by Mr. W. Barrington Miller, who is visiting New Zealand after an absence of eleven years. Mr. Miller was connected with theatrical enterprises in New Zealand, and before going to London had control ■of Union Theatre, Ltd., in Australia. In London he has been associated with several successful productions, including the E. J. Carroll presentation of "Madame X," with Pauline Frederick in the leading role; "The Ghost Train," "Lucky Girl," and "The Wrecker." When Mr. Miller left London in September the stage was again in a good position, although it had experienced lean times. The "talkies" had-j been mainly responsible for this, but they were gradually finding their level, and all the plays worth while were j being splendidly patronised. It was evident that the influence of the "talkies" on the theatre was not going to be permanent. Even the opera season at Covent Garden had been a financial success, and the directors were looking forward to next year with confidence. JULIUS KNIGHT. Mr. Miller takes a keen interest in the New Zealanders and Australians who are bidding for fame on the London stage, and he is most enthusiastic over several of their performances. He is also in touch with several of the old favourites of other days. "I am sure old. playgoers will be interested to hear of Mr. Julius Knight," he said. "He was the most popular actor we have had in Australia and New Zealand, ana the hero of 'The Sign- of the Cross,' 'The Eoyal Divorce,' 'Monsieur Beaucaire,' and 'The Scarlet Pimpernel.' He has a lovely home and grounds in England, where he grows the most beautiful flowers and the best roses in his district. He'has a warm spot in his memory for New Zealand." Alfred Woods, an old-timer in New Zealand, was doing well in the small towns in England. Miss Isobel Wilford has been successful, and deservedly so, but the outstanding New Zealander in London at present was Miss Marie Ney. In Mr. Miller's opinion' she was the best actress for young parts in England at the present time. She had not yet been connected with ;nny long-run productions, but her time was coming. The Auckland, Shayle Gardiner, had won distinction as a Shakespearian actor,' and was now in Los Angeles under engagement to appear in- the "talkies." His fine voice would assist him on the screen. Mr. Prank Harvey "was considered one of the best character actors in London, and his ' work in Monckton " Hoff 's "Many Waters" had been highly praised. Miss Vera Pearce was still the best actress*in London for parts that suited her, and had been connected with the last two Drury Lane successes. Miss Madge Elliott' and Cyril Richards had big roles in "Love Lies," a London favourite. Miss Marie Tempest had made a wonderful return to the stage, and was playing with Henry Ainley, perhaps the best actor in England.' Grahamo Browne, who had been ill for some time, was the producer. ■ . WHAT LONDON WANTS.. "London at present likes something sensational," said Mr. Miller, "although musical, comedy always holds its place. The farcical comedy and the comedy-drama with sensational incidents are doing the best business at present outside musical comedy. Two of the greatest successes this year were undoubtedly the J. C. Williamson musical comedies, 'Cinders' and 'Lucky Girl.' " "

■ Mr. Miller still has confidence in the silent pictures. The silent film had scored a dramatic come-back in England and America. In both cases there were instances of their beating the marvellous box-office records set during the early days of the "talkie" boom. "The Four Feathers," for instance, has surpassed the record scored at the same theatre by "The Coconuts." "The Pagan" had beaten the record made by one of its "talkie" predecessors,/' The Broadway Melody." Although iti was true that nothing succeeded like a good "talkie," it was equally true that nothing failed like a bad "talkie." There could be no compromise over the value of the "talkie." It must be good. ' The "talkies" were also in danger because there was a scarcity of good dialogue and a greater scarcity of good* dramatists'.