GRAND OPERA IN ENGLISH

Evening Star, Issue 21720, 15 May 1934, Page 1

GRAND OPERA IN ENGLISH

SIR BENJAMIN FULLER'S PLANS OLD-TIME VAUDEVILLE GONE FOR EVER lu the interview in which Sir Benjamin Fuller announced his plans for the presentation of grand opera to be sung in English and played at least once a year in the bigger cities of New Zealand and Australia, he gave some interesting details of the preliminary organisation of the proposal. He said he had been associated with grand opera fifty years ago, when he appeared at Covent Garden as an off-stage angel in ‘ Mephistopheles.’ Ever since then he nad maintained a lively interest in it. It was proposed that the new opera company would present the Carl Rosa repertoire, which had met with enormous success in England during the past fifty years. The cast would be entirely British, and he had already engaged'Walter AViddop and Norman Allin, two of England’s finest operatic singers. He hoped to idealise the art of grand opera so that the people would be able to understand it and love it.

The latest methods in stage presentation would be followed with particular regard to lighting, and he hoped to have specially fine scenery. Although just at present he could not mention any names, he was in negotiation with some of the finest conductors in England. No effort was being spared to secure a company of first rank.

PERMANENT INSTITUTIONHo hoped to make the opera company a permanent organisation. He had complete faith in his venture, so much so that he was calling it the “ Benjamin Fuller Royal Grand Opera Company.” For many years it had been his desire to launch upon such an ambitious scheme, but owing to opposition from his executive he had not been

able previously to do it. There had since been a change of control, and now he was able to proceed with his project. He anticipated the company arriving in New Zealand next February. In answer to a question as to whether grand opera might receive State aid in Australia, as it did in a number of European countries. Sir Benjamin said that he did not think that subsidies would ever be granted there. As to his present venture, he certainly anticipated at least making enough to keep it going for five years; in fact, he had secured the performing rights for Ricordi’s operas'for that period. Things theatrical in Australia, Sir Beniamin continued, were fairly brisk at the present time. He intended presenting a new show, ‘ The Merry Malones,’ by George M. Cohen. to start in Western Australia in early October. Polly 'Walker, who; played the original role ip,, this... npisWni cqmecly,, had been engaged, and’ slic- - woiild be supported by Floreuz Amos and Bob Capron. They would be supplemented by the pick of Australia’s comedians and dancers, and the producer would he Ernest C. Rolls. This show would probably play in Auckland about Christmas time, and would tour the dominion.

FILMS AND VAUDEVILLE. Sir Benjamin said that on his return to Sydney he would proceed to London, and as lie did in America recently, he would visit various British studios,/ giving them an indication of the type of entertainment favoured by Australian and New Zealand audiences. Technically, in his estimation, British films were as good as any made, but there were one or two points in which they could be made more acceptable for audiences in this part of the world. People iu New Zealand liked above all good stories; they ' did not care so much about the stars themselves.

As to the vaudeville shows of the future. Sir Benjamin said he did not think that they would return in the style known in the past. There was no question, in his opinion, that the vaudeville show would once again come into its own, but it would be, in a manner, produced by a younger gene-, ration for a younger generation. He was definitely of the opinion that the old-time show was gone for ever. Just ns an example of how public taste had altered iu regard to vaudeville, thirty years ago his firm used to advertise a show as being opened and finished by I,oooft of film, hut now, if vaudeville were presented in conjunction with a film, the name of the film was mentioned, and the remainder of the programme was referred to as 11 supporting acts.” '