“FARTHING RUSHLIGHTS” GO

Evening Star, Issue 23657, 17 August 1940, Page 9

“FARTHING RUSHLIGHTS” GO

BIG THEATRICALS IN DUNEDIN A TRIBUTE TO JOHN FULLER BENEFIT TO COMEDIAN W. S. PERCY THE GREATEST JUGGLER OF THEM ALL [By Loiterer.] In commencing this, the ninth instalment of recollections of the legitimate »tage in Dunedin, the writer would like to thank those who have written expressing the pleasure derived from reading of the past, or who have indicated special points of interest worth mentioning in the years as yet untouched. Some of the .correspondents have intimated their disappointment that this or that company or artist was not referred to in the years already covered, but, as was stated when the articles began, it would be impossible t» refer to all the plays and players who have appeared here. So far as possible all leading performers have been covered, together with any other forms of entertainment in some way or other out of the ordinary. “ Loiterer ” regrets if any, disappointment has been incurred, and hopes that readers will realise that if every company was referred to the articles would require more than 10 times the space already devoted to them. JOHNNY FULLER RECALLS. Mr John Fuller, *so well known as a principal of the firm that was really the pioneer of permanent theatrical enterprise in New Zealand, writes from Sydney apropos these reviews: — “ I was call boy with the Gondoliers Companv, which played Dunedin December,'lß93, and on one night these 50i people (I was the half) played to under a £9 house. It was probably the best all-round Gilbert and Suliivan company that has ever been assembled, but business, except at Wellington, was very poor throughout New Zealand. On the other hand, New Zealand in those days had a poor spending power, and the' population was comparatively small. Dunedin lived up to its fame ,as the 1 actors’ graveyard, but it is astonishing how many noted actors and actresses have made their start or restart in lovely, healthy, glistening Dunedin.” The ‘ Star’s ’ original Loiterer supplies the following in regard to Mr Fuller:—

“ ‘ Johnny ’ Fuller,,as he became affectionately known during his 'long residence in Dunedin and Wellington, is not the least gifted of a very gifted family. If ‘ Ben/ now Sir Benjamin, was the driving wheel of the Fuller chariot, John certainly was the bal-ance-wheel and the brake upon overimpetuosity, The brothers were, in fact, an ideal business combination, and steadily, tier by tier, built up a theatrical edifice that rivalled that of Williamson. “ Their father was a trouper of the old minstrel school that flourished in London in the middle ’nineties. He had a light tenor voice, happily attuned to the tbe satian ®onhtains,V t'jerusalefii/ et aha —and was a veryshrewd showman within the limitations set by his generation.

“ The long run of the family show in the old Garrison Hall really set the foundation, of the firm that presently emerged to feature first waxworks, then minstrel shows, later modern vaudeville and revue, and finally the musical shows for which Sir Benjamin built in Melbourne and Sydney the palatial St. James Theatres. “ The writer remembers well the Original Garrison Hall show, the only member of whose troupe outside the family was Howard Chambers, a splendid basso. John, senior, sang ballads, Hettie (now Mrs John Hamer) was the soprano, Lydia (Mrs Boddam) was an accomplished elocutionist; Walter was solo pianist, organist, and accompanist; Ben . was the comic, as well as the commentator upon the still pictures; and John operated the lantern. They were reallv pleasant entertainments at the family prices of Is and 6d. In later days John took up municipal politics seriously. He was a member of the Wellington City Council, and might by now have been a unit of the legislature had his bent lain that way. “ He recalls himself to our memory as Call-boy. You remember the callboy’s song in ‘ In Town ’ ?

i “ ‘ For although I am only a small boy, I’m up to a thing or two. Keep your eyes on the call-boy, And'the boy will see you through.’

“John was always good at seeing things through; yes, and persons, too, in his kindly way.”

HUGE GRAND OPERA COMPANY. The finest grand opera company to visit the Dominion to date was Mr G. Musgrove’s, which opened a 26-night season at the Princess on September 16. 1901, playing as an introduction ‘ II Trovatore.’ There were 13 principals, .‘33 chorus personnel, six ballet, and a mimbgr .of wardrobe mistresses and technicians. In addition, the orchestra, under Gustav Slapoft'ski, consisted of 22 players. Principals included Lillian Coombor (soprano), Enriqueta Crichton (mozzo-eoprano), Agnes Janson (contralto), Ceoile Lorraine (soprano), Madame Slapoft'ski (soprano). Umberto Salvi (tenor), Barron Berth old (tenor), Lempriere Pringle (Hass), and Max Eugene (baritone). In an interview Miss Janson expressed her opinion of New Zealand theatres: “They are most uncomfortable buildings, horrid death traps, except the one in Wellington, and that one is only of the standard of a fifthrate theatre in Europe!” This Swedish singer was in a position to know, for she had sung all over the Continent. • ROMEO AND JULIET,* Presenting ‘Romeo and Juliet’ tor the sixth time in Dunedin, Janet Waldorf and Company opened in the Princess on October 30. With the company, which offered Shakespeare and other plays until November 11, were Norval M'Gregor, George Bentley, Paul Scardon, Lawrence Hanray, Harcus Plimmer, Fred Patey, and Marie d’Alton. ‘ Romeo and Juliet ’ bad been last presented in 1897 by Mrs Brown Potter and Kyrle Bellew. Bellew was the great Romeo of his era. ‘ Romeo and Juliet ’ is a difficult piece to present, and the Waldorf company was only “ satisfactory,” but the play was considered the best of the six given. JOHNNY SHERIDAN—THE WIDOW O’BRIEN. John F. Sheridan and Company followed on November 16. commencing with ‘ When the Lamps are Lighted.’

Sheridan’s company had already appeared in Dunedin on two or three occasions previously, the last being 1890. Sheridan himself was a prime favourite, his female impersonations being widely approved and appreciated. One of his most successful acts was as the Widow O’Brien in ‘ Fun On the Bristol,’ a revue type of musical comedy which he played on every visit. This production was described as “ farcical, musical, and nonsensical, but not ridiculous.” Sheridan “ plays to perfection, being irresistibly funny from his first appearance to his last.” During this 1901 visit the company put on 1 The New East Lvnne,’ a somewhat different version with a _ part, that of Murty O’Flynn, specially written in for the benefit of Sheridan’s The part of Levison was played by Walter Dagleish, who earned a rap on the knuckles for smoking a cigarette in the role. Our reviewer remarked that, although a cigarette was a pronounced aid to villainy (!), Dagleish should not have smoked it because cigarettes wore not known when East Lynne was written. Maud Gwynne-played Isabel; it was “ her best study to date.” ‘A MESSAGE FROM MARS.’ W. F Hawtrey’s Comedy Company followed Sheridan on December 9, the first offering being ‘ A Message From Mars.’ Some of the platers; O. P. Heggie, Herbert Ross, Gregan MacMahan, Nellie Mortyne, St. Clair Bayfield, and Winifred Austin. This play, described as a mixture of comedy and drama, with a social problem as its base, took on, its success, seemingly due as much as anything to Heggic’s fine performance as the messenger from the planet. Until his death a few years ago Heggie was well-known as a brilliant character actor on the talking screen. This play was accorded Viceregal patronage on the second night, Lord and Lady Banfurly being in attendance The company also played' ‘ Tom, Dick, and Harrv,’ a comedy destined to become highly popular A MEMORABLE PERFORMANCE. The year ended with ‘ The Sign of the Cross ’ on the boards at the Princess. This time the author himself, Wilson Barrett. ■ starred, and fie production was a memorable one. The cast included James B Atholwood (Nero), Li 11 ah M’Carthy (Marcia), J. Carter Edwards. George Majeroni, Gertrude Boswell, Nellie Bonser. Edyth Latimer, and Alma Vaughan. Barrett’s production of his own play, in view of memories retained of Julius Knight, was watched with keen interest. “ The two renderings were surprisingly alike in many particulars, even to Miss M‘Carthy’s similarity in appearance, voice, and physique to Ada Fcirar. . . . This production proves conclusively that the old days of a company made up of one star and a bundle of farthing rushlights are gone for over.” Barrett s work as Marcus Superbus was recorded as an example of the highest type of stage work. He was well suited naturally to the part, and he appeared to need little makeup and no change of voice. Barrett later proved himself ft powerful Hamlet, and an even more powerful Othello. The company also played ‘ Silver King,’ ‘ The Manxman.’ ‘ Man and His Makers.’ and ‘ Virginias.; The Broughs appeared again on February 24, 1902, opening with ‘ Lady Huntsworth’S Experiment.’ They continued until March 8.

On April 16 William Anderson’s company played 1 The Ladder of Life ’in the Princess, this play giving an illustration of “ the life,' joys, dangers, and heroism of the Gordon Highlanders.-’.’ It was ■spectacular, but acting abilities were limited. One > big scene was a reproduction of fighting in the Afridi campaign; the heavy gunfire in which produced such a pall of smoke that a following scene, the scaling of Dargai Heights, was blotted from the view of the audience. Lawrence Dunbar, Walter Dagleish, John Ennis. Frank Hawthorne. Helen Fergus, and Miss Fitamaurice Gill were in the company. which put on also 1 The 10.30 Express’ and ‘The World’s Verdict,’ more melodrama. SUSPENSION OF THE DIX’S. The brilliant soprano, Amy Castles, gave a recital in the Agricultural Hall on May 1. She was supported by Una Browne (piano\, Maud Dalrymple (contralto). Nora M‘Kay (violin), 11. Needham (baritone), Carlo Darri • (tenor), and Benno Sclierek (accompanist). On May 9 Dix’s Gaities broke up temporarily, this being the first break since September 19, 1900, but they returned to the Alhambra on June 3. In the interim, Dix, in conjunction wdth Barrie Marschel, put on a series of dramatic plays in the Alhambra, the first being Marschel’s ‘ British Pluck,’ in which Marschel and Constance Warren were the leads. 1 The True Story of a Parish Priest ’ was in the repertoire. ‘ The World’s Entertainers,’ vaudeville, came to the Princess on May 12. Kellv and Ashbv (aerobatic comedians). Charles Sweet, the “ musical burglar,’’’ Frances Gwynne (lyric artist), Professor Powell (magician), Agnes Mahr (eccentric and too dancer) were among the headline artists in this Henry Lee and James G Ilia! controlled show. WEDDING PELLS AMONG THE POLLARDS. When the Pollards were in season at the Princess June, the dapper and popular comedian, W. S. Percy, married Jessie Ramsay, one of the leading ladies of the company, and a sister of Mrs Wakefield Holmes. On the night of the 13th the company played ‘ In Town ’ as a benefit in his honour. The theatre was packed to the doors, and the entertainment was an outstanding success. Miss Ramsay played lead in many Pollard presentations, and she was once described as the daintiest and most attractive Maritana ever to appear here. Mr Percy is to-day in England, and still makes appearances on the stage. New Zealanders who have seen him say he is as good ns ever he was. He was in pantomime last Christmas in London. Since his Dunedin visiting days he has written four books, after the stvle of JI. V. Morton’s works, ‘ Strolling Through Scotland.’ ‘ Strolling Through England,’ ‘ Strolling Through Cottage England,’ and 1 The Empire Comes Home,’ a Coronation publication written at the request of his publishers. PAUL CINQUEVALLI. On now to an appearance of a Richards’s vaudeville show, June 30. \V itli 'the company were Lydia Yeameus-Titus, impersonator, mimic, and travesty queen She was a sensation in her own field, and movie-goers who recall her excellent screen portrayals in silent film days before her death will have some idea of what she was like on the boards. Charles Colby and Alice May (ventriloquists), James Opie (baritone), Charles, Wrigley (saxophone and cornet) were headliners, but the “ draw ” was Paul Cinquevalli, “ the greatest juggler on the face of the earth.’’ Cinqtievnlli’s performance during this season had all Dunedin talking, and all the small hoys trying to emulate an artist who has never had a peer. Our critic’s comment —“ Our English language does not contain words that fully describe Cinquevalli ” —seems to sum Jinn up as, well as anything else could

JEAN GERARDY—’CELLIST,

“ An excellent artist, manifestly superior to any other ’cellist that has ever been heard in the colonies, and so nearly approaching perfection as to defy criticism,” was Jean Gerardy, the ’cellist, heard with Electa Clifford (soprano) and Herr Gottfried Galston (pianist) in the Agricultural Hall on September 9. Gerardy gave his final Now Zealand performance prior to' his departure for Europe in Dunedin on September 13, creating a furore. TJjp Princess Theatre had closed for reconstruction on July 15, to reopen on October 25. Its accommodation was increased by the introduction of the gallery, and the theatre then appeared much like it does to-day (as the St. James’). Willoughby-Geach Company had the honour of playing to a packed house when the theatre reopened, offering 1 The Wrong Mr Wright,’ a none-too-good comedy. G. Leopold and Ethel Appleton were with the players. G. Musgrove’s English Comic Opera Company followed with ‘ A Chinese Honeymoon,’ a comedy in which one or two scenes were based on well-known plays, including ‘ The Mikado.’ The settings were the best part of the production, although there were some good performers, including Josephine Stanton. May Beatty, Bessie White. J. C. Piddoek, Edward Lauri. and H. Hallam. HIS MAJESTY’S OPENS. Jean Gerardy’s performances in the Agricultural Hall marked the passing of that building. With the exception of the walls, this commodious hall was pulled down and the interior completely rebuilt, a very fine theatre being the result. This theatre was called His Majesty’s, and was opened on December 3 With few subsequent alterations it retained its 1902 appearance until the extensive modernisation of a few years ago. Rather a strange comment was made at the time b' T our reporter. Stressing the regret felt by citizens at the passing of the Agricultural Hall, lie said that, in the words of the familiar wedding breakfast speech. Dunedin need not regret having lost a daughter because she had gained a son. The company playing the theatre’s boards for the first time was J. C. Williamson’s Musical Comedy Company in * A Runaway Girl,' with Rose Musgrove. Fred Graham. George Lyding. Blanche Wallace. Aggie Kelton. and C E. Bantock This company gave Dunedin ‘ San Toy ’ for the first time, in which ißose Musgrove gave an excellent study as San Toy. “ELEMENTARY, MY DEAR WATSON.” Another J. C. Williamson company opened at the Princess on December 2G, when ‘ Sherlock Holmes ’ solved ‘ The Strange Case of Miss Falkner.’ Cuyler Hastings was Holmes in a play which marked a new departure. It drew a first night attendance, of 2,250 in Dunedin, this being a New Zealand record for the tour and believed to be a record for any show in Dunedin, despite over-packed houses in the past. The takings were £3OO. Cuyler Hastings made a very fine Holmes, /‘the detective’s eccentricities and individualities being imitated to life.” Lums- ■ don. Hare (well known on the screen) was Watson and James B. Atholwood Moriarty. Cast included May Chevalier, Nina Herbert, Minna Terry. Frank Hollins. Boland Stavely. and Edmund Gwenn. Gwenn has no inconsiderable reputation these days as a character actor in pictures. The company followed up with ‘lf I Were King,’ in which Hastings was Francois Villon. This was magnificently staged, and Hastings gave a fine rendering of his .role,. SOME RI&KARDS STARS.

On December 30 the Rickards company, in residence at the Alhambra, introduced Sandow, the world’s strongest man, and “ Modern Samson.” Sandow made a great impression, particularly on juvenile minds, and amateur Saadows gave performances on altnost every street corner for a time. With the Sandow season were Mr and Mrs Sydney Drew, wdio, appeared in bright little social comedies. There must be thousands of people who did not see the Drews on the stage, but are familiar with their refreshing comedy through having seen them in silent pictures.

PURE BLOOD AND THUNDER. \V. F. Hawtrey’s Company reappeared on January 24, 1903, playing ‘ The Lady of Ostend,’ “ a very clever comedy, written so as to maintain the interest in the plot until the very last moment.” Hawtrey was supported by Grogan MacMahon, Oily Deering, O. P. Heggie, Emma Bronton, Mary Bancroft, and some of his earlier company. Before the season ended ‘ A Message From Mars ’ was played again in obedience to popular request, also 1 Tom, Dick, and Harry.’ William Anderson’s Company also returned in February with ‘ Night Birds of London ’ and other plays, including * Mariners of England,’ ‘ The Worst Woman .In London,’ ‘A Life’s Revenge,’ and ‘ The World Against Her,’ titles which rather indicate the story content Of the first production we said: “A straight-forward and indisputable piece of the blood and thunder type, based on a plot that sternly excludes all collateral ideas and will not tolerate even embellishment, let alone romance, and carried along by characters which are outlined with the severest angularity and painted in primary colours.” The players included Walter Dagleish, Harry Plimmer, H. W. Divers. Frank Hawthorne, C. R. Stanford, Helene Burdette, Ida Gresham, aiid Maud Cosham. Plimmer was described as outstanding. On February 18. at His Majesty’s, appeared Melba, making her first Dunedin appearance. The brilliant success of her recital has already been referred to in these resumes. (To be continued.)