FOOTLIGHT FLASHES

Evening Star, Issue 19758, 7 January 1928, Page 16

FOOTLIGHT FLASHES

[By LOITERHU.]

Mr Stud Foley, of Fullers 1 Follies, now appearing at the Princess Theatre, knows more about the interior of Australia than the average actor; not that lie ever went busking or playing onenight stands in small hamlets. Mr Foley had better experience than that in his youth. Ten years ago ho was a jackeroo in Queensland on his, undo’s station, where ho mastered the art of quelling bush fires, herding sheep, rounding up cattle, and clearing timber. “It was a great hie,” he remarked last week, '* and it did mo the world of good. 1 would probably havebeen still up there had 1 not walked into a show in Queensland one day, and out of bravado entered a singing contest. When the prize was handed over 1 was decorated like a Derby winner, and I thought it time to quit the grease of the shearing sheds for the grease paint.” Mr Eric Masters, now at the Princess Theatre, must have very little spare time. Besides being responsible for tho productions ho takes part in many of the sketches, and is also a. good vocalist. Mr 1 Masters is an actor of great experience. On his way to Australia, after being in England, Europe, and America tor the past eight months, Mr Leon Gordon, the well-known actor, passed through Auckland on the Niagara. It is almost fifteen months since Mr Gordon was in New Zealand with his 1 White Cargo,’ that play of West Africa which caused a mild sensation here. He has come back to these parts with a new and strong company and with several plays which arc big successes. His new pieces arc; ‘ The Trial of Alary Dugan,’ a New York stage hit by Bayard AUllcr, tho author of ‘ Within the Law ’; Du Maimer's ‘ Interference’; John Galsworthy’s ‘Escaped’; and his own mystery play, 1 The Man Upstairs.’ With Air Gordon on the Niagara arc Atiss Gwyneth Graham, Mr Brandon Peters, Aliss Iris West, and Air B. N. Lewin and Air Wallis Clark (who were with him in ‘ White Cargo ’). ■ Air Reginald Long, a member and stage manager of trie Beiiee Kelly Company, who stayed behind to_ assist tho Auckland Amateur Operatic Societv with its production of ‘ La Alascotte, has sailed for England. Alayno Linton, who was here last with ‘The Ghost Train,’ will stage Chevalier’s ‘ Aly Old Dutch’ at Lie Grand Opera House, Sydney. Alichacl, the terrier in English productions of ‘Beg o’ Aly Heart’ (the remarkably successful .Irish comedy, in which Sarah Allgood appeared in New Zealand years ago), is dead. He was known to thousands of' playgoers in Great Britain, and lived to the age of eighteen years. _ He appeared in 1,0513 consecutive performances of the play. He knew his cues and the exact moment when be had to start quarrelling with another dog “ oil.” Eileen Sparks, leading woman with Afaurice Aluscovitch in ‘The Ringer,’ which comes to Dunedin in April, was born at Newcastle, and is very proud of the fact that she is a real Australian leading woman, never having played out of Australia, although she has visited South Africa and New Zealand. She has often been tempted to do film work, for she photographs perfectly. Indeed, it was with a specially posed photograph of Aliss Sparks that Monte Luke won first prize at a photograph exhibition in Madrid. ' But the stage is Eileen’s first and last love, and ner chief ambition is always plenty ol work, combined with travel. The noted Australian musical comedy star Aliss Gladys Aloncrieff. will return to Sydney in Alay next under a two years’ ’engagement to Fullers’ Theatres. She is to appear as Rita in ‘ Rio Rita ’ at St. James’s Theatre immediately alter the grand oj»ern season. _ Tho engagement ol Aliss Aloncrieff lor a lengthy term, and the determination to stage on a lavish scale so spectacular a, piece as ‘ Rio Rita,’ is emphasised by Sir Benjamin Fuller as the most important theatrical enterprise to date. Miss Moncrielf, he says, is to receive no largest salary paid to an Australian musical comedy artist in her .own country. Aliss Aloncrieff is best remembered by Australians as Theresa ia ‘ Alaid of the Alounfcains.’ Since leaving these shores a couple of years ago she has won success in London, particularly as lead in ‘The Blue Alazurka.’ Productions which are amongst the chief successes of the London theatres at the present time include the following, which are to be staged in Australia hy’ J. C. Williamson, Ltd.;—‘Thark,’ in the cast of which is Tom Walls, who will be well remembered in_ Australia. ‘ Thark ’ is in the repertoire of the ‘ Cuckoo in the Nest ’ Company, which opened in Ale I bourne on December 24. ‘The Dearest Song,’ which is to be the Australian successor to ‘ Rose Mario ’; ‘On Approval’; ‘The Golden Calf,[ in which Alargarct Baiincrman is starring and which she will play in Australia; ‘The Girl Friend,’ in which the famous London musical comedy star Annie Croft is to appear in Australia; ‘The Letter,’ now being played with enormous success by the Vanbrugh-Bouci-cault Company in Alelbourne; ‘ Interference,’ in which Leon Gordon will appear on his return to Australia early this year; ‘The High Road,’ which is in tho repertoire of tho VanbrughBoucicault Company; ‘ The Vagabond King,’ one of the finest and most successful comic operas tho London stage has ever known.

. .Templet - Powell, who hails from Christchurch, and js now one of London’s leading theatrical managers, with his wife, Ida Molesworth, has just produced ‘The Big Drum’ in London. Air Powell made a fortune with the London seasons of ‘ White Cargo.’ Information has been received by Mr Bert Roylc, Now Zealand representative of J. C. Williamson and J. and N. Tait, that the visit of tho world-famous singer Dame Nellie Melba lias been postponed. It was the original intention to commence a farewell tour of New Zealand in January, but this has been found impossible, so tho dates already arranged have been cancelled, and other fixtures are now being decided. it is over twenty years since Dame (then Aladam) Alelba electrified and delighted New Zealand audiences with her wonderful voice and personality. The reception accorded Alelba on that occasion will live long in the memory of tho many thousands who marvelled at her beautiful voice (“she trilled like a human nightingale,” was how one critic described her singing), her consummate artistry, and her astonishing vocal range. “Some day I will return to you,” said Alelba at a farewell function; “return to this glorious isle—this place of scenic beauties, of Nature’s wonders—where I have relations and many, many friends.” The death was reported this week of Loie Fuller, actress and dancer. Miss Fuller, who was born in Chicago, made her debut at the ago of two and a-half. Sim toured in early life with “stock” companies, hut later in her own play, ‘ Larks.’ Later she gained fame on the New York stage, and then in London, at the Globe. In 1891 she introduced the famous serpentine dance to New York, at the Columbus Theatre. Later she appeared at tho Aletropolitau Opera, New York, and then, in 10U0, at the Paris Exhibition. She produced a number of ballets in Paris and elsewhere. In 1908 and 19L3 she published volumes of reminiscences. Among the plays that have endured in Now York for more than 500 performances arc ‘Lightnin’,’ ‘The Bat,’ “'The First Year,’ ‘Seventh Heaven,’ ‘White Cargo,’ ‘Peg o’ Aly Heart,’ ‘ East is West,’ ‘ A Trip to Chinatown,’ ‘Rain,’ ‘ls Zat So?’

RECORDED MUSIC

[By Erato.] DVORAK AND HIS “NEW WORLD.” The “ New ’ AVorld,” of course, is America, and the symphony is of intense interest as showing the reaction of a gifted and passionate musician from Central Europe when brought into contact with the elemental melodies and rhythms of negro and native America origin. It used to be said—but has been 1 as strenuously _ denied—that Dvorak owed tho captivating tunes with which this symphony abounds to actual negroid music heard by him during his sojourn in the United States. Upon this point it may be observed that wo possess tho direct evidence of the composer’s sons, which is so interesting as to be worth quotation here. Upon inquiry by William Ritter in 1907 they stated: “The passages of the symphony and of other works of this American period which, as some pretend, have been taken from negro airs are absolutely our fathers’ own mental property; they were only influenced hy negro melodies. As in his Slav pieces, he never used Slav songs, hut, being a Slav, created what his heart dictated; all the works of this American period—the symphony included—respond to Slav origin, and anyone who has the least feeling will proclaim this fact. Who will not recognise the homesickness of the largo of this symphony? The secondary phrase of the first movement, the first theme of the largo, which give a certain impression of tho groaning negro song, are only influenced by this song and determined by change of land and the influence of a foreign climate.”

TITO SCHIPA. One of the first records to bring Tito Schipa, the Spanish tenor, into prominence was ‘lt Sogno ’ (the dream), from Alassenct's ‘ Alanon.’ We recall also ins delightful round and smooth rendering of 1 0 Columbine,' from ‘ Pagliacci,’ and the lusty ‘ Granadinas"’ from ‘ Emigrantes,’ with tho airy melodic ‘Princesita’ on the other side. Schipa is now approaching his fortieth year of life, and, judging by his recent records, is singing better than ever. Remember, his splendidly dramatic recording with Aladarae Bori in tho death scene from ‘La Boheine.' Hu enriches a recent H.AI.V. list with ‘Pourquoi mo reveiller,’ from Alassenet’s ‘ Werthcr,’ and ‘ Eantaisie aux divins mensonges,’ from -‘ Lakme' (Delibes).

ELGAR BIRTHDAY RECORDS. On June a Sir Edward Elgar, 0.M., celebrates his seventieth birthday, and as a tribute of homage the Gramophone Company lias made a special issue of some ol ids principal compositions, in particular the ‘ Second Symphony in E Elat.’ This recording by the London Symphony Orchestra, conducted by the composer, occupies six; largo records, and is issued complete in a, well-ar-ranged album (H.M.V., D 1,230-1,235). This symphony is, perhaps, easier to understand, and, thereiore, to enjoy, than the composer’s first symphony, as there is less mystery in it; and by placing the quotation Irom Shelley s poem at the head of the score, “ Rarely, rarely, comest thou, spirit of delight,’ he has given a clue to his own personal aspect upon the music. One feels that Elgar has in his music gone in search of that elusive spirit of delight, and that in his last movement he has been successful in capturing it. The work opens with a fine swirl of music, rhapsodic in character, which is splendidly recorded, particularly on the second side of the first record. Then there comes a sudden change to pensive larghetto, the second movement. The rondo, the third movement, is very fine perhaps one of the brightest examples of rhythmic variety—with the composer quite obviously letting his feelings have full play. So on to the magnificent last movement, in which Elgar seems to have enshrined _ the spirit ot delight. The recording is beyond reproach, and altogether the work is a fitting tribute to a great British composer.

NEW ZONOPHON.ES. In a recent Zonophone list will bo found a record with' two inspiring marches by the Legion Band—the bes of its kind in America— ‘ Barnaul and Bailey’s ‘ Favorite ’ and March salutation.’ Two of the best songs from London’s latest musical success, the Desert Song ’ and ‘ One Alone,’ are recorded by a clever young tenor, John Coleman, and two Indian hive lyrics—‘Temple Bells’ 1 and ‘Less Than the Dust ’—get adequate and poetic expression ,on a grand organ played by Mr Arnold Greir. Zonophone also introduces us to Eisteddfod minstrelsy with a disc giving two traditional Welsh songs by the soprano, Madame Megan Telini, whose Italian • operatic training Jfas not spoiled hor zest for her native airs.

I JofSngJ ftn:tfii© peopte <sf f&cStage and Screen anioa tttoMestiecotdeiiJliaste, A

DO YOU KNOW THE CIMBALOM?

Tho ordinary gypsy hand is composed of from two to ten players. The instillments used arc strings, and the cimbalom. This instrument, being piactically unknown outside Hungary, needs description. In appearance it is like a baby grand piano,’ without either keyboard or lid. The performer plays directly upon the wires, using two tiny drumsticks for the purpose. The accuracy and speed with which the average player can manipulate these clumsy instruments are extraordinary. Tho notes ripple out in wonderful trills and cadenzas that would baffle an ordinary pianist, and tho absence of pedal resonance gives the music a peculiar ethereal quality similar to the tone of the harpsichord. To hear tho cimbalom played most exquisitely by Nitza Codolhan, one should get ‘ Rumanian Gipsy Air,’ with a ‘Russian Gipsy Air’ on the reverse (H.AI.V. 132,050). These demonstrate admirably the punctuating use of the instrument.

“ WORTH HAVING.” Not long turned fifty, Martin Shaw (native of London and a pupil of Stanford at the Royal College) has been exceedingly industrious throughout his career of organist and composer of church music, light opera, incidental music, and vocal pieces of every description. As a matter of course, ac is inadequately recorded; but what there is is good and worth having (recommends Herman Klein, in ‘The Gramophone.’ In ‘Cargoes’ Peter Dawson (H.M.Y. 131,930) ini uses abundant spirit and swing. He is again excellent in his coloring ol ‘Wood Magic’ (H.AI.V. 132,154), a more elaborate song, containing quick contrasts of feeling and rhythm, now mysterious, now full pt’ fear that is dispelled by trust and loving prayer, a broad melody succeeded by a colloquial touch. This is as well recorded as it is well enunciated and sung. THE ART OF CYRIL SCOTT. Cyril Scott’s writing presents features of “modernism” which were much more novel and strange when lie first came to the front fifteen or twenty years ago than they are to-day. What sounded very complex then appears quite simple now, and, as has been said, his music possesses “a strangely exotic charm; he lias a, horror of the obvious.” Of the two songs alluded to (writes Herman Klein, in the ‘Gramophone’), J. prefer ‘ Aly Lady Sleeps,’ with its graceful curves in the voice part and piquant dissonances in the accompaniment; but would prefer a less languishing, slurring delivery than Sydney Coltham’s (H.AI.V., 131,968), a suggestion of physical torment that would be calculated to disturb my lady’s slumbers. On the contrary, one perceives both earnestness and conviction in Erie Marshall’s rendering of ‘ Immortality ’ (H.AI.V., E 425). Tho tone is steady and strong, and one feels genuine force in the fine utterance: “There'is no death; there are no dead!”

“ FLUFF’S ” RECORD. I still keep hearing from various quarters (says a ponclon critic) high praise for tho Temple Church, London, recording of Mendelssohn’s ‘Hear My Prayer,’ with its really remarkable solo part sung by Alaster Ernest Lough, a boy chorister with a sweet, pure voice and quite exceptional style and phrasing. it is satisfactory to learn that the sale of this record (H.AI.V., C 1329) has reached that attained a year ago by the widely-popular ‘ .Valencia.’ For a record of sacred music to do this is, I suppose, unprecedented. At all events, Master “ Fluff as we understand he is called by Ida chums—has provided us with what is easily among the most notable records so far this year. SOraiAND JOTTINGS Paramount’s picture ‘Chang’ ran for more than eight weeks at thepla.sa Theatre, London. The British authorities were so impressed with the picture that a copy of the film was accepted by tho London Museum. These valuable records of such a remarkable picture will be preserved in scaled boxes until 1977, fifty years hence, when ‘Chang’ will he roserecned, ‘Hangman’s House,’ the novel hy Donne Byrne, is to ho picturised. it is anticipated that William Earnum will have the loading role in this Irish romance. Earnum has been back on the legitimate stage during the past live years, - and his return to screen work is looked for with interest. Tho rest of the cast has not yet been announced.

Doris Hill has signed an agreement which binds her services to Paramount for a new long period. Miss Hill has been assigned tho ingenue lead in ‘Tillie’s Punctured Romance,’ which Edward Sutherland will _ direct for Paramount-Christie comedies. Sally Plane and Blanche Le Claire, Paramount featured players, have renewed their contracts. Miss Blanc was last seen in ‘ Shootin’ Irons,’ a Zane Grey special. Miss IjC Claire is in 'Gentlemen Prefer Blondes.’ With the selection of William V. Mong, Ned Sparks, James Mason, and Paulette Duval for important roles in ‘ Alias tho Lone Wolf ’ production will start immediately on this Louis J. Vance novel, which stars Bert Lvtell in another of his famous ‘ Lone W oh characterisations, and features Lois Wilson in the leading feminine role. Screenings of an all-amateur film, ‘The Island of Romance,’_ written, produced, and directed by Miss Edith A. Ful, of Rydc, Isle of Wight, were given in that town recently. A cast ot 300 people was drawn from all parts of the island, none of whom had ever before, been in film work. Three clergymen find three ex-mayors of tho island had roles to play, and the principals were a Cambridge undergraduate, ill- R. L. Howland, and Miss Audrey Redstone. The main theme was a love story but historical incidents connected with the island were introduced and enacted on the spots associated with them.