FOOTLIGHT FLASHES

Evening Star, Issue 19388, 23 October 1926, Page 15

FOOTLIGHT FLASHES

[By LOITERER.]

Veterans of Variety return'to Dunedin. Memories of earlier days will bo recalled by the Veterans, a quintet of old time stars who will sing venerable ditties of the music halls round which treasured associations cling. One of the company is Mr Jake Friedman, who was in the Tivoli in Sydney in 1890, and afterwards went to London, where he became one of tlm leading figures of the musin hails in the nineties. Mr George Campbell, another member of .the company, was associated with Moore and Burgesses. Minstrels, in the period when the late Eugene Stratton made his great success with the song ‘ Whistling Coon.’ Mr Arthur Slater, a third member of -the Veterans, was the original Bowery Boy in Mr George Musf rove’s production of the 1 Belle of New 'ork ’ in London. The company also includes Miss Florence Hinton, who first sang 1 Good-bye Mignonette,’ and was a star in opera bouffe; and Miss Lily Burnand, whose successes included the role of principal boy at Drury Lane, and _ one of whoso daughters is now playing at the Lyric Theatre in London. This time they will come with a fresh budget of old time songs and soenas, which will be dear to old memories, and will delight the younger generation. The Storey Company has still another treat for the public in its tenth volume, which will be published on Monday night (Labor Day). The various chapters have been compiled with a good deal of thought on tho part of the producer and hard work on the part of the artists. The comedy scenes are numerous. One is entitled ‘ Things You Never See, and is a series of nine tiny, snappy sketches. A delightful song scena, * | Memories,will bo portrayed by Miss Nellie Kemp and Mr Hubert Raymond. There will bo twelve other chapters of great interest, and the coloring and illustrating will be as effective and as pretty as in the other nine volumes.

One of tho daintiest and most appealing of tho clever group of girls who grace the Midnight Frolics is Dorothy White, sister of Clem Dawe, Eric Edgley, and other _ members of her family associated with tho sparkling show at Fullers’ Theatre (Sydney). Miss White, with her brothers, Les and Dick, began with tho well-known Lancashire Lads. Among tho Lancashire Lads there was always a girl mascot, who dressed for the stage as a boy, and during her apprenticeship Miss White appeared as a little “ Lad.” “It was a hard school, with little leisure to spend even the Od a week provided,” sayjs Bliss White. “ The days were devoted to education and rehearsals, and at nights it was nothing to appear at throe music halls. However, Ido not regret it now. The experience I and my brothers gained amply repaid us in after years.” Dick Barstow, whoso amazing toedancing is making such a remarkable sensation in ‘Mercenary Mary,’ at the St. Janies Theatre, Sydney, is a Seattle boy, and first entertained the people of his native city by performing as a toe-danccr in the guise of a girl. Ultimately ho tired of the deception and appeared in the garments of his own sex, with results that enormously enhanced his value. He and his sister were engaged on tho Orpheum circuit, and as headliners toured the United States. They are both very young, and still have two or three years to go before reaching twenty.

_ ft is stated that Mr Oscar Ascho will visit Australia and New Zealand again this year. This’ time it will bo under the Ward-Fuller direction, and it is stated that another Australian-boru artist, Miss Mario Lohr (the daughter of the old-time favorite actress, Miss Kate Bishop), will accompany him as leading lady. ‘Escape,’ produced by Leon M. Lion at the Ambassadors Theatre, Loudon, is said to bo the last play John Galsworthy will give the stage. Miss Una Dysart, of Auckland, is appearing in a new play by Mr Guy Pelham-Boulton, ‘The Joyful Path,’ which has been produced at the Barnes Theatre, in south-west London. The play has met with a good reception, iho acting all round being excellent. ‘ The_ Last of Mrs Cheney,’ registered its 350th performance at the St, James’s Theatre, London, last month. Except for two weeks enforced absence for a minor operation last winter, Sir Gerald dn Manner has not been absent from the cast, and Miss Gladys Cooper, has not missed a single performance. ‘ A Man Unknown,’ a three-act' play by Harold Owen, recently produced in Loudon, received scant notice from the reviewers and died an early death. One journal spoke of it thus: “There is really so little to say about this poorly-written, badly-constructed play, that, unless it be used as an example of how not to write one, space is only wasted in discussing it. Unfortunately, the acting never rose above a commonplace level.” ‘ None But the Brave,’ at present playing at the Garrick Theatre, London, looks _ like being a big success. The acting ‘is said to be particularly good, with Huntley Wright in the leading male role. Eve Gray, a wellknown Australian beauty, plays the part of Bluebell Ayres very charramgly, and her acting has been very favorably commented on by the critics. Another Australian in the cast is Frank Allanby.

At last some definite news of the popular Gladys Moncrieff. She has recently declined several attractive offers in London (a few weeks ago it was mentioned that she candidly refused to play lead in a feeble musical play at Daly’s) ami shortly she is leaving for Vienna, to inquire about new musical plays, including those of Lobar ; which she hopes herself to produce in London. Lehar’s music, and the type of story usually allied to it,_ are eminently suited for Miss Moncrieff. She has sung only one of his plays, and that was _,‘The Merry Widow.’ Other compositions of the famous Austrian are ‘ Gipsy Love,’ ‘The Count of Luxembourg,’ and three that have been greeted rather indifferently in London, but not yet done in Australia, have been ‘Frasquita’ (a Jose Collins failure), ‘CloClo,’ and ‘The Three Graces.’ Richard Taber, appearing as Eddie Chick Cowan in ‘ls Zat So ? ’ at the King’s Theatre, Melbourne, commented upon the fact that at the present time every production at the Melbourne theatrees, with but one exception, is of American origin, including ‘Toil Mo More/ at His .Majesty’s, and ‘ls Zat So ? ’ at the The exception is _ ‘ Katja,' which is Viennese “ Certainly Australia likes American shows,” remarked

Jotfisgs on tho people of the Stage and Screen and on the latest recorded Music.

* Watch Your Stop ’ contains no less than four hundred costumes, which have all been manufactured locally, some of which are quite novel in design. The Indian costumes, for instance, have been tailored from originals worn by the Sioux Indians. The lantern parade in tho Japanese scena will introduce no less than one hundred lanterns of Japanese design, whilst in Grandfather’s Day the radio paint which turns from pink to black and transforms a fair maiden into a dusky queen will be quite a novelty. Mr Taber. “ Why doesn’t Australia reciprocate and send us an Australian play? ” queried Mr Taber. “I’m sure it would be welcomed. I think the popularity . of American plays and pictures in this country is largely due to tho fact that Australians and Americans have much in common.” Mr Taber, who is part-author of is Zat So?’ and has written other plays, said he would be willing to collaborate with an Australian author or playwright in creating a play suitable for production on the American stage. “ I am sure,” said Mr Taber, “it would ho given a right royal welcome. Renee Kelly put up something of a record in Sydney by playing for twenty-six consecutive weeks aa the Criterion Theatre, during which &ho played five different roles. _ After a season in Brisbane, Miss Kelly wid go to Adelaide, following with a return visit to Melbourne, opening vith Frederick Lonsdale’s compelling play of a femininno “crook,” ‘The last of Mrs Cheney,’ which has bean produced for J. C. Williamson, Ltd., by Mr Dion Boucicault. If anyone were to ask Maude lane the secret of her wonderful complexion, her sparkling eyes, and perfect health, the answer would be a lemon —in fact four of them. For Maude Fane, who is now appearing in ‘Tell Mo More,’ declares that there is nothing so beneficial to the health as lemons. Miss Fane confesses that she consumes no fewer than four lemons every day—in her food or m liquid form. It has not soured her disposition in any way, but given her perfect health and kept her slim. I am a perfect crank regarding lemons for health,” said Miss Fane, “and if anybody writes me for information I will be glad to forward full details regarding tho use of lemons as a wonderful food.” .. , Mr W. Soderling, the stage director of ‘Abie’s Irish Rose.’ who came to Melbourne with tho New York cast for that world-famous comedy, has received a letter from a New York friend, written at the end of August. Tho letter'stated that, notwithstanding the abnormal heat experienced m that citv during its hottest month, ‘Abie’s Irish Rose’ still retained its 0-reat popularity at the Republic Theatre, where it is in its fifth year. August in New York is theatrically tho° worst month of the year, abo weather is so hot and distressing that theatres playing comedy or drama usually close down until autumn. Hie leading musical shows play through August, hut they have to face a big shrinkage in box office receipts. _ May Keattv will leave for America at* the end of the Melbourne season ot ‘Lady, Bo Good,’ which has followed I No 1 No! Nanette’ with great sueccss. She is going to take her little daughter Bunny with her. That company is also on tho break —the dancer, Constance Evans, has already gone, and Madge White is replacing Mat Bacon in ‘ Mercenary Mary ■’ here. "I? 10 Prince will go into pantomime tor the Fullers for Christmas in Melbourne, and Madge White will be principal boy id their pantomime here. Ada Reeve has arranged a two months’ season at the Grand Operahouse, Sydney, with a revival of her revue ‘ Spangles,’ commencing at the end of this month. Leo White and Clay Smith ore now playing a final week at the Tivoli, Sydney, before they leave for South Africa, where they hope to play an extended season. Since tho opening of the season at Christchurch the J. C. Williamson Gilbert and Sullivan Company has been drawing crowded houses at the Theatre Royal. The charm of tho works of Gilbert and Sullivan is perennial, and they make as strong an appeal to the present generation as they did when they were first produced (says a local writer). Tho company is an excellent one, with talented principal artists, a well-balanced chorus, and a first-class orchestra, and tho performances have bccen altogether delightful. Bliss Paulino Bindley, tho wellknown Australian soprano, has been appearing with a Carl Rosa Opera Company, whose season opened at Hammersmith with a fine performance of ‘ Faust.’ Miss Bindley, as Marguerite, is heartily welcomed by the musical critics as a singer with a voice of rare purity and dramatic quality._ Robin H. Leggo writes in the ‘ Daily Telegraph’: “Now that Dr Malcolm Sargent has undertaken the conductorship, of tho D’Oyley Carte opera season, it is devoutly to be hoped that he will bo enabled to stop, at any rate to a large extent, the torrent of applause that greets everything that occurs in the Gilbert and Sullivan opera performances. For years the constant interruption of tho flow of tho plays by this utterly tasteless abuse of_ a privilege has compelled many enthusiasts to steer clear of the performances.” SGREEHLAHD JOTTINGS The age-old fairy tale of Cinderella lias been taken by Sir James M. Barrio ns the basis for his picture story 1 A Kiss for Cinderella,’ which Paramount has made under the direction of Herbert Brcnnon, with Betty Bronson on tho leading role. The author has woven a charming story round tho life of a poor girl, her Prince Charming being none other than a big London policeman, the latter role being essayed by Tom Moore. As big a success as was ‘ Peter Pan,’ tlio first effort of the trio, Barrie Bronson and Brennon for Paramount, ‘ A Kiss for Cinderella ’ gives every indication of being oven greater. Esther _ Ralston, the beautiful blonde, who will be remembered for her excellent work in ‘The American Venus,’ will bo seen in tho role of the Fairy Queen. Famous aces of tho American Expeditionary Forces will take part in ‘ Wings,’ the dramatic screen story of the world air conflicts, which is now in tho course of tho making in the Paramount studio. Many Americans who flew over the German lines, as well as French, British, and other flyers, will appear in this picture, which wd! be tho most hazardous production ever made. More than 300 aeroplanes and other aircraft are assured for tho picture, as well as several inventions, notable among which is the parachute for aeroplanes, Clara Bow will play the leading feminine role, while Charles Farrel, also playing a big role in ‘ Old Ironsides,’ plays the leading male role. Gerald Beaumont’s ‘Heaven Bent ’ conies to tho screen under the title of ‘The Rainmaker,’ one of the most thrilling racing dramas ever made for the'screen. It is a story unusual in theme, telling of , the adventures of a jockey supposedly possessed of tho power of coaxing rain from tho firmament at will, and thereby controlling the race -track. The atmosphere of tho story changes trom the racecourse

to tho Mexican border, where drought ami water shortage cause an awful epidemic of fever. Hero the forceful acting of the principles, William Collier, jun., Georgia Hale, and Ernest Torrence, makes ‘ The Rainmaker ’ a very lino story of varied angles. The picture is soon to be presented to New Zealand audiences, and is strongly recommended to those lovers of romance that contains a flavor of the racecourse.

Picturegoers who rend Francis Brett Young’s sensational host-seller, ‘ Sea Horses,’ and are looking forward to seeing Allan Dwan’s screen version of it, may bo sure that the best available talent was assembled to portray tho characters which the author’s imaginative genius developed. _ Florence Vidor is the lone woman in the picture—the lovely, charming girl-wife, whose search for her missing husband takes her to an out-of-the-way port on tho east coast of Africa, and plunges her into a stirring series of adventures. Jack Holt has the virile role of the captain of the freighter, a part that gives him an opportunity to light and love in his characteristically vigorous style. George Bancroft, who scored a distinct personal triumph as the smiling killer in ‘ Tho P.ony Express,’ is ideally cast as the semi-brutal second mate. William Powell, noted screen heavy, impersonates the sinister character of the degenerate beachcomber husband, from whose clutches Miss Vidor is saved through the courage of Holt and the sacrifice of Bancroft. These featured film favorites are admirably supported by several wellknown players, including Mack Swain, famous screen pomicj Allan Simpson, tho original Arrow Collar,., model; Frand Campcau, and many others.

RECORDED MUSIC In the Schumann ‘ Concerto in A Minor,’ for pianoforte and orchestra, Cortot, the great French pianist, gives a traditional rendering (says a critic). Ho is a superb player of crystal-clear thought; his Debussy ‘Children’s Corner ’ records will show this. German music of the definitely “romantic” style is as clear as mud, so that the interpretation of the Schumann concerto as recorded shows conflict rather than sympathy. Sir Landon Ronald conducts very well indeed, and even manages sometimes to smooth over the conflicting mentalities of composer and soloist. Albert Coates is described as “an Anglo-Russian genius, and the most distinctive conducting acquisition of the British Gramophone Company ” (H.M.Y.) He made the great Wagnerian series and Beethoven’s ninth symphony possible, and gave the finest and most authoritative recordings of Russian music. His Strauss tone-poems are more energetic than authoritative, but I do not think (says a commentator) the alternative choices of Sir Landon Ronald, or even Eugene Goossens, could have made them any better; ‘ Till Eulenspicgel ’ is the best. I think Goossens would have made Ravel’s 1 Mother Goose ’ more interesting, as he has a very keen appreciation of modern orchestral works. Why was Coates not given Tscbaikowsky’s ‘ Pathotique ’ ? Ho is the man who can get the last ounce out of this composer, as is proved in the ‘ E Minor Symphony ’ and ‘ Francesca de Rimini ’ records. Sir Landon Ronald’s version is good, but he should have had Mozart’s ‘Jupiter’ symphony, which was done by Coates. Clearly, each conductor got his wrong symphony! The famous ‘ Shadow Song ’ from Meyerbeer's ‘ Dinorah ’ (‘Ombra loggiera’) is selrom faultlessly sung. Why (complains an out-and-outer) cannot gifted sopranos like Madame GalliCurci be satisfied to sing it straight through as it was written, without altering and cutting out whole passages —not because she cannot do them perfectly, but merely to leave room somewhere for one of those long, eternal interchanges with the flute which seem (ever since David composed ‘ Charmant Oiseau ’) to form the essential tour do force of every “international” artist’s cadenza. But the case and fluency of the scale work, the elegance of the ornamentation, the rhythmical flow of the waltz tune—all this and more simply delights the critical ear, for it is Galli-Curci at her best. I suppose (remarks a particular critic) no one has ever sung Neapolitan songs more artistically than Fernando de Lucia, whose voice, by the way, was discovered in much the same way as was Caruso’s. Ho has about half as much voice "as Caruso, and .has to contend with the scratch of fifteen years ago, but nothing is more moving than his ‘Tu sola,’ his ‘So chiagnere mo siente,’ and his ,‘Lu cardillo.’ ‘ Voce ’o notto,’ of De Curtis, and Gambardella’s ‘ Screnata a Surrieuto,’ make another good record. All Do Lucia’s records are worth more than their weight in gold, as examples of perfect taste and a perfect voice, which do not always go together. Another of the older records worth having is Giuseppe Anselmi singing ‘ Uocchi niri ’ (‘ Dark Eyes ’). He sings this most delightfully, and I am not sure that I do not prefer his rendering of ‘Marechiare ’ to that of De Lucia. The great baritone, Amato, sings ‘ Chiarastella ’ and ‘Vela Vola’ of Do Cristoforo with a wonderful mandolin accompaniment. There is never any lack of appeal in a good band record, and recent releases of the Band of the Life Guards are of splendid standard. Under Lieutenant G. Miller, a conductor of international reputation, this band has recorded some fine numbers, notably the ‘Easter Hymn ’ from ‘ Cavalleria Rusticana,’ the ‘Tannhnuscr’ Grand March, a selection from ‘The Flying Dutchman,’ a charming selection labelled ‘The Emerald Isle,’ and a pot-pourri of airs from such operas as ‘ Carmen,’ ‘Pagliacci,’ ‘Faust,’ and ‘Laßohcmc.’ Walter Howard is so popular a singer that two new records by him are sure to ho welcomed. Th' first bears the favorite ‘ Dreaming i f a Castle in tho Air ’ arid ‘ Fleurs d’Amour ’ (Padilla), by the man who wrote that big hit ‘Valencia.’ and with a fascinating swing. The second disc has another song which has been very popular abroad, ‘ Somebody’s Lonely for Someone’ (Davis-Gold), an excellent dance song, and the snappy ‘Don’t Wake Me Up.’ All have brightly played orchestral accompaniments. Still again the Sterling Trio pclaso with a disc different from the usual. ‘ Too Many Parties and Too Many Pals’ is a curiously attractive thing with a melancholy-merry note. ‘ Don’t Be Afraid to Come Back Home,’ which is on the reverse side of the record, is sung to bells and partly to a humming accompaniment, wliich is very effective. This combination can he relied upon for the interesting always. Sybil Sanderson Fagan, the whistling soloist, in her two newest records, has done something which is sure to attract' attention. ‘The Bird at the Waterfall’ (Hager-Ring) and ‘April Sighs’ by the same combination are very effectively given.