FOOTLIGHT FLASHES.

Evening Star, Issue 18297, 9 June 1923, Page 13

FOOTLIGHT FLASHES.

[By Loiterer.] ‘Oh, Noll’ will bo tho now revue at the Princess Theatre on' Monday evening, the opening of tho fourth week of the Walter Gcorgo season. It is said to_ be a distinctly novel and vastly entertaining comedy, with liberal music , and, danc« trinimings, and with a setting and dress embellishments on tho lavish George scale. Tho vaudeville will bo even more impressive than the current offering, if that is possible. So many would-be patrons have failed to secure seats the week that tho management is retaining the remarkable acts of the Angel Bros, and Los Klicks for another week, and their phenomenal brilliance may be relied on to pack the house to capacity again for the extended season. Patrons lose Dora Lindsay to-night, but another “star” comedienne is announced to replace her in the much-heralded Mario Lo Vaxre, an artist noted for her beauty, chic, charm, and splendid frocks. Among Australians in New York engagements are Frank Green and David Belbridge. Somebody describes Miss Josie Melville, of'‘Sally,” as “Australia’s Mary Pickford” (says the ‘Argus’). Perhaps, in time, we will hear of Miss Pickford as America’s Josie Melville.”

Wish Wynne has been having a good run at the London Alhambra with her impression of country girls and servant girls. Her latest is entitled ‘ ’Er Upstairs.’

Mr Horace Glceson is back in Melbourne once more (says ‘Table Talk’) after a long sojourn in New Zealand. He has won success as a composer of songs. John M'Cormack has constantly sung one and made it famous — 1 My Sweet Little Hut on the Hill.’ Successful gramophone records have been made of it, from which Mr Gleeson is drawing substantial profits.

Ivy Moore, the dainty Australian comedienne, has been booked for a season at Fullers. The vivacious brunette has a repertoire of captivating songs, and should prove extremely popular. As most people know (says an Australian exchange), Ivy is a sister of Carrie Moore. She does not, however, trade on her sister’s name, for all the Moores are talented. There are six girls, and all of them made their mark in the theatre. In its report of a recent show at the Victoria Palace, one of the best London vaudeville theatres, the * Encore ’ says: ‘‘ America has done us a good turn m sending over George Hurd, their representative juggler, for he is really a marvel. Hurd isn’t American (says_ the Sydney ' Sun ’). He is an Australian, who peared at the Sydney Tivoli, and was sent to Africa, and thence to London, and will play in America under the round-the-world tour organised by Hurd appeared in Dunedin with the I’ullers. “ Before sailing for Australia (says the Sydney ‘Sun’), Terpsichore (the dancer at the Tivoli) spent a fortnight at Barcelona, appearing at the Principal Palace, where Darto, once well known in Australia as the originator of tho whirlwind dance, is now director. Mile says colloquially: ‘ ! Ee’ ’it ze roof when ’e know I was coming to Australia, and said it was ze finest country in world.’ She describes a ceremony which took place at this Principal Palace on one of her former visits. A special key to tha front door was forged, and after an afternoon show Monsieur Darto requested the audience to accompany him to the public square outside, where be first locked the door, and then unlocked it, it open with a grand flourish and-announcing that, thereafter ,tho hall would never be closed to the public. ‘ Zen ze whole lot of us troop down to tho quay and drown zc key. No pun I Now, that 'ouse open all ze time for dancing or gaming tables, or for cabaret, with music ’all show twice a day.’ ” The Dartos appeared in Australia under the Pickards banner, and in New Zealand with Dix. The immaculate little Frenchman and his petite and beautiful wife were warm favorites, and originators here of the whirlwind typo dancing. The funeral of Miss Phyllis Porter, who was accidentally killed on the stage at Wellington during the ‘Peep (show’ entertainment, took place at Sydney on May 17. Tho burial was at the Waverley Cemetery, and all along the route from the home of Miss Porter’s parents in Napier street, Paddington, wore groups of people who showed themselves mourners in sympathy. Tho pupils of tho Albion Street School (at which Hiss Porter had been a scholar) lined the footway in Oxford street as a mark of respect to tho memory of one who had been a general favorite. Borides the family of deceased and the relatives, many people followed the remains to the grave. The theatrical profession was well represented. Messrs C. B. Wcstmacott and H. A. Bowden wore present on behalf of Messrs J. C. Williamson and Co., and Aid. Arthur M'Klhono represented Messrs d. and N. Tait, Others of the theatrical profession present wore Messrs George Highland, Geo. Kensington, E. Molyneaux, Kelso Henderson, Miss Josio Melville (“Sally”), and members of tho ‘ Sally ’ company, members of tho ‘Peep Show’ company, Mr W. Harrop (secretary of tho Theatrical Employees’ Association), and members of the association.

The result of the plebiscite taken by Mr E. J. Gravestock for M. Jean Gerardy’s ninth and final concert in the Melbourne Town Hall recently proved an interesting indication of what the musical public wants. Of a list of sixty pieces submitted, Bach’s ‘ Aria ’ was the most popular, with 490 votes. ‘ Kol Nidrei,’ Max Bruch’s beautiful setting of the old Hebrew chant, was second, with 424 votes. These pieces were followed by ‘ At the Bpring (Davidoff), 1 Chanson Louis XIII. et Pavane’ (Couperin-Kreislor), ‘Chanson Yillageoiso * (Popper), ‘Berceuse’ (Schubert), ‘ Papillon ’ (Popper)), ‘Gavotte Ancienne ’ (Popper), * Le Cygno ‘ (Saint Saens), 1 Piomance ’ (Saivit Baens), ‘Evening Song’ (Schumann), ‘Nocturne* (Chopin). The concertos submitted included the Elgar, Havdn Conperto, Saint Saens Concerto and Lalo. The Saint Saens gained most votes, followed by the Elgar, but as there was an overwhelming preponderance of votes for the lighter compositions, M. Gerardy omitted the customary concerto from his programme. The following strange tale is given publicity by the London ‘ Musical Times,’ which, however, does not 'guarantee its veracity. One of the students of the Paris Conservatoire, while Gounod was its director, is said to have composed an opera, which, before proceeding to its publication, he decided to submit to his director, with a view to obtaining his

opinion o’f the work. On various subsequent occasions he asked for that opinion, but Gounod always, put him oft with the excuse that" he had not had time to examine tho opera. Shortly thereafter a new opera by Gounod was announced for production. The said student went to the first representation to hear it, and was so upset by hearing his own work produced as tho composition of another man that his mind gave way under the strain. In vulgar parlance he became a lunatic. The writer of the article finds it worth 'while to inquire what there is in Gounod’s other works capable of repudiating or supporting this story, and finally says; “ Gounod, surveyed in this manner, does not come out well. It appears that the French legend quoted is not without foundation. The idea of temporary inspiration during the period of tho composition of a single opera, an inspiration lacking in twelve others, is scarcely to be regarded seriously. And it is almost incredible ■ that a man should bo able to change his stylo so absolutely as not to produce spontaneous characteristics of a similar lino during tho thirty years wTiich elapsed between the production of ‘ Sapho ’ and that of ' Le Tribut de Zamora.’ ” Mr E. J. Gravestock, who is bringing Jean Gerardy, the world’s greatest 'cellist, to New Zealand in Juno next, is arranging for Miss Stella Power, “ The Little Melba,” the brilliant young Australian soprano (who has recently returned from England after a series of triumphs _in Europe and America) to four the dominion later in tho year. Associated with Miss Stella Power will be Mr William James, tho talented Australian solo pianist and composer. Mr James has written a number of compositions which have won the golden opinions of the London Press, and a number of his songs are being sung to Dame Nellie Melba and many of tho principal singers in England at tho present time.

At tho Auckland Opera-house, and in their eleventh week, the Stuffy and Mo revue combination is still turning money away. Other features in last week’s bill were Tubby‘Stevens, Elsie Lewis, Nash and Anderson, Geo. Dixon, and Jack Birchley. Miss Irma Caron, well-known in New Zealand, is at present in New York, and doing well as a club and society entertainer. “ This is America’s highest class of work,” she writes, “ and I am also doing stunts for the New York Board of Education. Among the halls in which I luive sung in this wonderful city are tho grand ballroom of tho Hotel Astor, Broadway, two select clubs in Fifth Avenue, the auditorium attached to the Museum of Natural History, and tho entertainment hall in the Friars’ Club—the best known professional men’s association in the State of Now York.” Miss Caron (reports tho ‘ Sporting and Dramatic Review ’) has also sung for tlio Theatre Assembly, which has a membership numbering over 3,000, and for the Dramatic Comedy Association—another big concern. Her husband, Air Adams, is establishing himself as a lecturer, and has spoken on his film (Australia’s Wild North-west) to the members of tho Geographical Societies at Washington and Philadelphia, as well as fulfilling several high school engagements. The American Drama League has issued a list of tho best plays, which it deems the worthiest of the current season, and the American patriot has been hurt. Of this number precisely three were American in origin or authorship. Five were British, two Czocho-Slovakian, and one each Italian, Russian, Norwegian,, and French. Tho plays chosen for first honors were ‘ Loyalties,’ tho Galsworthy drama. ‘ R.U.R.,’ the Czecho-Slovakian satirical melodrama. 1 Six Characters in Search of an Author,’ an Italian oddity by Luigi Pirandello. ' Tho World We Live In,’ tho insect comedy by the brothers Capel, one of whom wrote ‘ R.U.R.’ ‘ Rain,’ a highly successful piece made from a story by Somerset Maugham. ‘Tho Merchant of Venice,' with David Warfield ns Shylock. ‘Romeo and Juliet.’ ‘A Square Peg,’ a short-lived play by Lewis Beach. ‘ Peer Gynt,’ the Theatre Guild production, with Joseph Schildkraut in tho title role. ‘lcebound,’ by Owen Davis. ‘ Hamlet,’ as John Barrymore acted it. ‘ Mary the Third,’ by Rachel Orothers. ‘ Pasteur,’ by Saeba Guitry, acted in Now York by Henry Miller. Mr Bert Bailey, who for more than a decade past has filled the position so long occupied hy Bland Holt as an actormanager who produces the better kind of melodrama with his own companies, now taiks seriously of retiring from tho stage after a farewell tour next year (states the 1 Sydney Morning Herald ’). Whether the decision on tho part of an artist, apparently in the prime of life has arisen from tho recent celebration of his silve® wedding it is possible to conjectured, but the suggested blow is softened by his intention of remaining in theatrical businea with Mr Julius Grant. Their joint responsibilities include a long lease of tho King’s Theatre, Melbourne, just now occupied by J. C. Williamson's ' Silver Fox’ Comedy Company; and as an independent producer Mr Bailey will still further make use of his comparative leisure. All along he has directed the stage in his own pieces, and lately ho made a lasting reputation by staging ‘ Tho 1 Sentimental Bioko,’ in which ho did not personally appear. This artist may claim to share with the late Alfred Dumpier first honors as an actor-manager wno has made successes in Australian pictorial drama. He collaborated with Edmund Duggan in ‘ Tho Squatter’s Daughter,’ and o'ber notable pieces in this category were Darnpier’s ‘Robbery Under Aims,’ the two dramatic versions _ of _ Marcus Clarke’s 1 His Natural Life,’ .’n which Dampier appeared, one by George

Leitch and tho other by Thos. Sommcrville; and Bland Holt’s 1 The Breaking of tho Drought,’ with its sensational bush fire. Far surpassing these in tho length and frequency of its revival in Australia and New Zealand has been ‘ On Our Selection,’ with Mr Bailey as Dad Eudd, one of the greatest money-makers the Antipodean stage has known.