FOOTLIGHT FLASHES.

Evening Star, Issue 18333, 21 July 1923, Page 8

FOOTLIGHT FLASHES.

[By Loiterer.]

New revue company, all fresh faces in Dunedin; new vaudeville with lour fresh acts —there will he a complete renovation at the Princess Theatre on .Monday. Ihe George Wallace Revue Company is the new combination, and said to he \e-iy clever. Wallace himself is described by Australians as “ the Charlie Chaplin ot the vaudeville,” The first part headliner will be Colleano, said to be master ot the greatest stunts ever performed on the wire, and dubbed “ the wizard of the wire.” , „

It was intended that Miss Hazel Fuller, of the Walter George Company, should remain over as prima donna o£ the new company, but owing to the fact that Miss Marjorie Daw has left the Lc Plane Company, Miss Fuller will be commandeered for' that show’s Auckland season.

Frank Perryn also joins the Le Blanc troupe. He and Miss Fuller leave for Auckland on Monday. Of other members of the George Company, George Storey and Dulcie Milner re-enter vaudeville at Sydney; almost the whole of the remainder go out with Mr George on his country tour. J. H. Wakefield, the “star” of the ‘Peep Show',” is under engagement to the Fullers, and now appearing at the firm’s Sydney house. Australian dancers continue to show' ability in Australian productions (says the ‘Argus’). While successes have been obtained abroad by Miss Ivy Shilling and Miss Maggie Dickenson, there have been fresh indications of talent at homo. Miss Madge Elliott has been actress as well ns dancer ini a number of musical comedies, and Miss Josio Melville has surprised all but the few who had early discerned her general promise by the success with which she has left the usual typo of dancing parts for the name part of 'Sally.’ (Miss Reita Nugent and others have also been showing new ability. Jenny Golder, described as “ the Australian favorite,” is appearing at the Cigale, Paris, in the revue ‘ Qul, ma Ponpee.’ Daisy Jerome and> the Ward-Sherman Pevue Company were the principal attractions at,the Fullers’ New Theatre, Sydney, when the mail left.

After a record-breaking season in Auckland of sixteen weeks, the Fullers’ Stiffy and Mo Revue Company is now installed at the firm's Wellington house. In the London production of ‘ Sybil Miss May Beatty played the part of the impresario’s wife., taken in Australia by Mies Clarice Hardwieke. Miss Jose Collins, who was Sybil, made her first stage appearance in childhood with Harry Lauder as the little “Scotch Bluebell” of his (familiar song. It is stated that Mary Pickford wants to adopt the beautiful film child Phiilipe De Lacey, who was found on a French battlefield and taken to America by Edith De Lacey, an English nurse. Thus far Miss De Lacey has refused Mies Pickford’s offers.

The Bert Le Blanc Travesty Stars replace Stiffy and Mo at the Opera-house, Auckland.

Mr Walker, a Sydneyite, met Pola, Negri nt Los Angeles, who evinced much interest in Australia, because, so she told Mrs Walker, she intends paying Australia a holiday visit in five months’ time. _ Mrs Walker says that at present she is the most glittering star in the moving picture world firmament. She travels with a secretary, a chauffeur, a maid, a publicity man, and a husband. (Mrs Walker told her that from cables Sydney understood that she intended marrying Charlie Chaplin. “ Well, I did think about it,” she replied, nonchalantly, “ but I think I’ll keep this husband for a while longer-”

The date for Sydney production of Gay’a old opera, ‘The Beggars Opera,’ has been put back to August 4. The play will bo presented by the following cast:-—Jack Cannot as Mr Peachum, Victor Prince as Lockit, Howett Worster as Captain Macheath, Charles Mettam as Filch, Reginald Roberts as tho Beggar, Eily Malyon as Mrs Peachum, Pauline Bindley as Polly Peachum, Beryl Walkely as Lucy Lockit, Molly Tyrell as Diana Trapes. A noted Welsh pianist-composer, Miss Edith Harrhy, and her husband, (Mr W. C. Beck-Dalv, are at present in Auckland (says the ‘Herald’), having arrived by the Ulimaroa, from Sydney. Miss Harrhy has a, big reputation as a composer, pianist, and singer. “I am a Welsh lass,” she said when interviewed, “born in Monmouthshire, and my earliest memory is listening to the village harpist.” Among Miss Harrhy's notable song compositions are ‘ Tho Bells Across the Moor,’ ‘The Pathway Up the Hillside,’ ‘ A Virginian Love Pong,’ ‘ Lilies of Normandy,’ ‘The Young Rose,’ ‘You,’ ‘Requiem,’ and ‘ln a Gondola’ (duet). Her instrumental works include ‘ Reverie' and ‘ Romance.’ Miss Harrhy is not making a concert lour of the 'dominion, but may give one concert in Christchurch later on.

Edgar Bcynon, the well-known Christchurch boy entertainer, who has just completed an eighteen months’ tour of Australia under the Fuller management, has accepted an engagement with Mnsgrove’s Tivoli Theatres, to tour Australia and South Africa.

Phyllis Noilson-Terry will start on a provincial tour in August with ‘ A Roof and Four Walls/ and will soon produce tho ‘Stigmata’ of Beulah Dix and Mario Sutherland'. She will not appear in London again for at least two rears. There’s a new organisation back stage among the members of tho cast of ‘ If Winter Comes/ which js playing in. New York—the Thousand Nights Club, with a 500 nights’ auxiliary. In the club arc Cyril Maude, 4.4C0 times in ‘Grumpy’; Echlin Gayer, 2,000 times in ‘The Man From Home’; Herbert Ranson, 1,200 times in ‘ When Knights Were Bold; ’; and F. Gatenby Bell, 1,002 times in ‘ Aro You a Mason?’ The auxiliaries aro Edgar Kent, 600 times in ‘Pomander Walk’; George Tawde, 619 time in ‘Bunty Pulls tire Strings’; Audrey Cameron, 513 performances in ‘ The Skin Game ’; and l Lydia Billbrooke, 641 times in ‘Lord Richard in the Pantry/ with Mr Bell qualifying as auxiliary for ‘Grumpy’ and ‘The Blindness of Virtue/ Mr Maud© for ‘ Lord' Richard!’ arid Mr Ranson for ‘Grumpy.’ Mr Gaston Me-rvale, once described (says the Sydney ‘Daily Telegraph’) as “the actor who never’ cheapens his aid/’ is

shortly opening tho Mervalo Academy of Acting, Anzac House, 151 Collins street, Melbourne. This finished actor is of the opinion that tho ability to recite ‘Not Understood 1 or from Shakespeare is not necessary as a qualification. It is this artificiality, he considers, that is so often risible in the work of both amateur and professional players whose groundwork is faulty. Not the least important clement in histrionics is the art of listening. There will be rehearsals for general training and for public performances. The powers of the students are to be tried in all forms of drama, but when sutlicionlly advanced they will be allowed to specialise as their inclinations suggest, bir George Tallis, of J. C. Williamson, Ltd-., has written to Mr Mervalo wishing him every success. “An academy is badly needed,’ 1 he writes, “ and I hope wo may be able to get many recruits from same from time to time. 11 Mervale has appeared! in Dunedin on many occasions, his more notable performances perhaps being Svengali and Dr Ryder in ‘ The 'Speckled Band.’

Madame GalH-Cnrci, the famous soprano, may shortly undertake a four of Australia and New Zealand —that is, if the negotiations now pending are successful. Hie great singer has been otfered a Sydney season of twenty concerts at £650 per concert. This ia the high water mark in figures so far as Australia is concerned, though Caruso would have taken £750 per night on a ten weeks’ contract had he accepted the offer of a well-known Australian entrepreneur. The long voyage and his dislike of the sea spoiled Australia’s chances of hearing the famous tenor.

Writes n Wellington critic of ‘My Lady’s Dress ’ the initial attraction of the Emelie Polini season next week “Judging by the packed house at the Grand Opera house on Saturday night. ‘My Lady’s Dress’ has caught the. popular fancy. Miss i.mclie Polini, in association with Mr Frank Harvey and a strong J C. Williamson cast, magnificently interprets this remarkable Knoblock play, which is certainly one of the most novel seen in Wellington for many years. Its quality is refreshing, and the true artistry of (he principals makes it a perpetual delight. ‘My Lady's Dress’ shows Miss Polini to singular advantage; her wonderful character drawing and extraordinary versatility throughout this absorbing play are touches of dramatic genius.” Phyllis Hendon was seen by Sir George Tallis playing 1 Sybil ’ in Manchester and Brighton during his recent visit to England, and immediately engaged her lor the Australian production. In the meantime, James White, of, Daly’s Theatre, who holds tlie rights of 1 The Lady of the Hose,’ offered the fair Phyllis an engagement to take Phyllis Dare’s place in that piece while she had a holiday. Sir George Tallis, however, insisted on her fulfilling her contract with him and sailing to date. Then, chiefly through the long runs of ‘ Sally ’ and ‘ The Southern Maid ’ (says the Sydney 1 Sun ’), the production of ‘ Sybil ’ was postponed, and Miss Beadon went over to New Zealand to take Kathlyn Hilliard’s place in ‘ The Peep Show.’ When she returned she found Gladys Moncrieff had boon allotted the role in 1 Sybil,’ and she was booked for ‘Mary.’ though not calling for as much acting as ‘ Sybil ’ or ‘ The Lady of the Rose,’ the part of ‘Mary’ is particularly suited to Phyllis Beadon’s pleasing personality and delicate charm. There is nr. mistake about ‘Rockets’ (says the Melbourne ‘ Ago’ in a first-night review of this Fuller-Ward production). It was heralded as a revue, and_ a revuo it is, with no pretensions, no aspirations, and no humbug of any' kind. In all there are fourteen rockets, in the shape of fourteen different scenes and stories, and none of them is dull, while some are more than merely entertaining. Mr Ward, at the final curtain, claimed that ‘Rockets’ was tho best revue ever staged here, and the most expensive show with which he had been associated. As to tho latter claim, lie is in a bettor position to know than anyone else. In the former wo are inclined to agree with him. Certainly the mounting could hardly bo-improved upon. All materials arc tho best Some of the scones are gorgeous. Tho costumes are exquisite. The persons inside Them adorn the costumes. The music is catchy. Tho humor is broad and good of Its kind, and tho principals know ihoir business. Saturday night's initial production at tho Palace Theatre was witnessed by a laugh ing, appreciative audience. If there is no mistake about ‘Pockets.’ there is no mistake either about Lorna, and Toots Pounds, the two Australian girls wto have conquered London. They do not come back to their native land with a reputation that is unearned. The" are ideal revuo artists. Lorna acts mostly, .and Toots sings catchy airs with a. sweet bird-liko voice that just suits the music. Lorna is a very fine comedy artist, and her work suggests latent powers which a revue like ‘Rockets’ cannoo bring out. Both girls dance well. Eileen Boyd, the clever vaudeville artist fine shortly at the Princess Theatre, is not a. newcomer on tin stage. Her experience goes hack to the halcyon days of ‘Floradora,’ in which the late George Lar.ri, Carrie Moore, and Grace Palotta .appeared. Miss Boyd, then about eight years old, did a specialty dance in the ball-room scene, and was billed as Australia’s lady baritone. Even :n those days she had an enormous voice, nut it was her ability as a dancer that scored her most applause. In 1 The Casino Girl ’ she danced with Hugh Hard and Maurlie Chetwyn, Miss Boyd's parents decided that her voice was her greatest equipment, and she was accordingly packed off to London to complete her education in Madame Clara Butt’s school. She immediately established herself as a concert ball artist.

One of her biggest successes was registered in ‘Memo England,’ in which she plaved tho dual roles of Jill and Elizabeth.

Theatregoers greatly appreciate! the snugness of tho New Princess and New Palace Theatres, Melbourne, these winter nights (says an Australian paper). Both have been mad a draught-proof, and a. special heating system diffuses a genial warmtli throughout the whole auditorium, giving just tho right touch of soft luxury to the comfortable individual seating, which is a feature of both Hugh J WnrdFullcr houses. In addition to presenting productions of the highest class, such ns ‘Tangerine’ nt tho Princess and ‘Rockets' a.t the Now Palace, Hugh J. Ward has made it possible to see both under the most congenial conditions—a consummation for which he deserves much thanks.

Of "The Lie,’ tho second production of the J. C. Williamson Em-olio Polini season, the critic of the Wellington ‘Post’ wrote: “Tho impression gained horn witnessing the play was that it was .handled exceptionally well. Effective curtains' concluded tlie first two acts, and enthusiastic calls for Miss Polini at the close of tho next two spoke eloquently of the power of both dramatist and actress as the play progressed. EmeJia Polini has the rare power nf icprossion. She never ‘ tears a passion to batters,’ even in her strongest emotional scenes. In ‘The Lie’ sire portrays, by gradations of a very subtle kind, tho evolution in diameter, temperament, and disposition which takes place in ‘Elinor Shale,’ as her story is worked out. A very fine performance indeed. Mr Frank Harvey is admirably suited as ‘Noll Dibdin,’ an onerous characterisation which must bo placed foremost in tho many excellent portraitures in this popular artist’s repertoii'e.”