MAUD ALLAH

Evening Star, Issue 23717, 26 October 1940, Page 7

MAUD ALLAH

ELMAN, MASTER VIOLINIST MARRY LAUDER AMD BARRY LUPINO SCOTLAND GOES A-FLYIHG [By Loiterer.] XX. As Mary Turner in Bayard \ eiller’s , dramatic play, ‘ Within the Law,’ Muriel Starr made an impressive debut on January 21, 1914. Hers was a performance of force and dominance, and in the tense and tremendous act climaxes she exploited the last ounce of energy. She introduced variety and skill into the role, showing subtle appreciation and registration of values, and creating a mood of strong emotion. Another newcomer was E. W. Morrison, who gave a cleverly-conceived portrait of Joe Garson, while Lincoln Plummer (also making his first appearance) was a veritable tour-de-force as Policeinspector Burke. As Aggie Lynch, Mary Worth made a delightful contrast to Miss Starr. February 21 saw * The Count of , Luxembourg ’ in His Majesty’s. This musical comedy carried a sound story, and comedy was its first consideration. "The music was by way of an undertone and in the nature of a fitting embellishment. which reversed the ordinary relationship of musical comedy ingredients.” But no one needs to be told that the music of ‘ The Count of Luxembourg ’ was anything but weak. Florence Young was a success as Angela Didier; Frank Green (the count) rose above the level of the ordinary comic opera baritone, and he and Miss Young were loudly encored in their duet numbers. Phil Smith, later to be seen in vaudeville and revue, made his first appearance as Brissard. The company also played ‘ Autumn Manoeuvres, ‘ The Arcadians,’ and ‘ The Chocolate Soldier.’ THE FIRST AEROPLANE. Reference has occasionally been made in these chronicles to balloon ascents, so here time off is taken to record the first aeroplane ascent, given by Mr Scotland on February 28 at Tahuna Park. Scotland piloted a , biplane, and in those days one had to he careful and not attempt a flight under adverse conditions. February 28 was breezy, not a strong wind, but still a breeze which made Mr Scotland wary. So the big crowds that gathered had to content themselves with inspecting the machine from a distance and hoping that a flight might be made. After most of the people had gone home in disgust Scotland did make a short flight, but the noise of the machine seems to have been the main impression left upon spectators. On the following (Sunday) morning Scotland made a flight over the city under perfect conditions, and it was watched by thousands of rubbernecking citizens'. Our comment on the flight concluded: “ The machine made a charming sight in its last swoop to earth.” ... Presenting ‘ The Grafters,’ the American Burlesque Company opened on March 13. and followed it with ‘ A Day At the Races.’ The company was rich in comedians, chief of whom were Bert la Blanc (Jewish impersonator), Paul Stanhope (Dutch),-Dave Nowlin, and Harry Burgess. This quartet " made ” both the shows. During the company’s visit the Spanish tango was introduced by Vera Lindstrom and J. Ceshy. , In April the Princess gave, up showing motion pictures, the lease for the screening of movies being transferred to the King’s. With rare exceptions, only revue and vaudeville were staged at the Princess until the' coming of talking pictures. MAUD ALLAN—CLASSICAL DANCER. What Adelene Genee was to the world of ballet dancing, Maud Allan, who gave her first New Zealand and Australian recital on April 11, was to the world of classical dancing. Comparisons between Mile Genee’s art and 1 the art of Maud Allan were natural, considering only a few months spaced

each appearance. “ The Greek ideal (the source of Miss Allan’s inspiration) was not developed along the sensational and over-elaborated lines of the modern ballet,” said our report, “ and, just at hist, until the audience were seized with the lyrical impulse of her work, the vehicle was a little strange, a little baffling to uneducated eyes, and rather disappointed by its simplicity.: _ It was only when the dancer had depicted in sequence the four cardinal emotions of one of Chopin’s preludes—sorrow, despair, hope, and joy—that one began to come under the spell of a delicate and persuasive personality, revealing itself in a craftsmanship governed by suggestion and implication, and therefore stealing upon the . sense's rather than capturing them at one blow. There was something in every exhibition which struck the imagination, and gave one the keystone to the whole edifice. . . . In all sincerity we regard'Miss Allan as an artist, simple, direct, and fully impregnated with the ideal of beauty which the Greeks set up as the goal of art.” Miss Allan’s accompanists were the Chefniavskis, who

had made remarkable strides in their profession since that first poorly-at-tended entertainment five years before. She could not have been more fortunate in her accompanists, for the three young men—they wore well beyond the short-trousers stage now—were proved artists of high ability. George Willoughby’s company , presented 1 The Beggar Girl’s Wedding ’ on May 2. George Gross and Vera Remee were the stars in what was a reversion to the type of melodrama so popular in the days of Bland Holt. Vera Remee played Lady Isabel in ‘ East Lynne,’ which was the third last occasion this great ‘ toar-jorker ” was put on in Dunedin. MADE HIS VIOLIN TALK. Supported by Eva Gauthier (mezzosoprano) and that fine performer on the piano, Percy Kahn (he was one of the most outstanding accompanists ever to visit New Zealand), the violinist Mischa Elman appeared in His Majesty’s on July 13. He conquered Dunedin as he had conquered wherever he went in Europe and America by the force and beauty of his playing. “ There is no necessity in writing of Elman for the reserve which the_ critic is sometimes forced to employ,” it was recorded. “ His tone is peculiarly beautiful, aiid above everything else there is a meaning in all ho does with his violin Under his magical fingers it passionately sings the melody of ‘ Lalo Andante ’; it laughs mockingly at Mephisto’s ‘ Calf of Gold ’ diablerie ; it jubilantly trolls the merry dance of the southern peasants.”

Dunedin nearly missed seeing Elman on his colonial tour. He came out under contract to Frederick Shipman, but financial difficulties in Australia made it impossible for Shipman to fulfil the contract. After a good deal of vacillation a new management was formed, and Elman played here under George Musgrove’s direction, the opening night attracting a £SOO house. Shipman, with all his flair for showmanship, could not have done better. Referring to that flair, it is not out of place to retrace steps to October, 1913, when Shipman represented Lilian Nordica and Paul Dufault in the Garrison Hall. Dufault was virtually unknown, and Nordica, though she had been one of the world’s leading sopranos, was well past her prime. Shipman introduced a novel note into the initial performance, dressing the house staff in white tie and tails, lending a singularly smart and attractive air to proceedings, which created a feeling of pleasure on tho part of the audience that carried over to a greater appreciation of tho artists’ talents. Nordica undoubtedly

would have “ flopped ” that visit but for Shipman’s showmanship and the unselfish support given by the other artists to pull her through. Dufault, one of the finest tenors to come to Dunedin, built her up nobly, and the accompanist, Romayne Simmons, the finest ever to visit the Dominion, playing a grand piano with the top open, gave almost an orchestral accompaniment to her singing, so that she was passed over as still a great artist.

DISTINCTIVE .COMEDIAN. One of the famous Lupino family appeared in the pantomime, ‘The Forty Thieves,’ on August 11. This was Barry Lupino, and he towered head and shoulders above any other comedian who had visited Dunedin for many years. Ho had a racy and distinctive type of humour, and he was the keystone upon whom the whole piece was built. As Ali Baba he sot himself upon a comedy pedestal which no one subsequently has quite succeeded in attaining. He had an excellent cast supporting him ; James B. Atholwood added to his list of thio characterisations as Cassim Baba; Edwin Brett was a riot as Dame Cogia Baba; and Winnie Volt was the principal boy, Ganem, hut she was somewhat negative. It was Lupino and then Brett who made the show one of the big laughing hits of the years. HOOTS, MON!” Eleven nights later Harry Lauder made his first appearance, and a packed house greeted him in His .Majesty’s. Our critic remarked: “ He is not and does not claim to be an, artist; his ability comes not from studying, but from the fountain which springs within himself. Maybe the fun cAmc as much from his comic legs and grotesque make-up as from the humour of his subjects.” Yet, despite such reserved comment, Lauder became acknowledged as one of the masters of Scottish humour, and

he was always popular here. He was an artist in his particular field, and it is significant that there has been no one quite like him to appear on tbe_ boards anywhere in the world, but with him it was a case of one man’s meat being another man’s poison. Among the many songs offered on that first visit were ’ 1 Lovo a Lassie,’ 1 The Saftest o’ tho Family,’ ‘ She’s Ala Daisy,’ and ‘ Wee Deoch and Doris.’ His supporting company was not strong, and included Sclwyn Driver (entertainer), Ernbst Sewell (marionettist and conjurer), Irene Bersceny (Hungarian cymbalist), Yoska (violin), Kitty Ryan (singer), tho Three Hassans (tight rope), and Jack Ark (diabolo expert). The latter was the hit artist in the supports. • BUNTY PULLS THE STRINGS.’ Possessing no plot, but full of situations and bubbling with excellent comedy, 1 Bunty Pulls the Strings ’ opened on November 9. Mr and Mrs Graham Moffat were the stars, the former being outstanding as Tammas Biggar. Mrs Moffat was delightful as Eden Dunlop, while Ella Young as Bunty was all that anyone could desire. Character delineation throughout was strong. December 15 saw the pantomime ‘ Humpty Dumpty,’ and this introduced Con Moreni, later to become well known in revue circles. Moreni was Dame Buttercup, ' and in contrast to most dames hitherto (and subsequently) Moreni was as thin as a lathe. He proved that stoutness is not a necessary adjunct to humour. Olive Robinson was the principal boy, and she, in conjunction with Mollie King, was heard in ‘ It’s Love that Makes tho World Go Round,’ the best lyric in the play. Ernest Lashbrook offered fine comedy as Tiddly Wink the Barber. Lily Turner made an attractive Guardian of the Orb. FULLER STARS. Among the many vaudeville artists to appear with Fullers’ in 1914 were the Franco Midgets, the smallest troupe of conjurers and illusionists on the vaudeville stage; Vernon and Mack, knockabout comedians; Leonard Nelson, a clever humourist; George Rowley, “fashion plate” dancer; Cunningham and Rose, black-jfaced comedians; Brent Hayes, a banjo virtuoso who had given command performances before the King; William Sumner, a ragtime specialist, billed as “ the black Caruse-”; Dorothy Harris, more ragtime; Tilly Dunbar, comedienne; Bailey’s Posing Dogs (they had a long season); Edward Blondell, an American comedian of the educated type, who got his laughs very easily; Nellie and Harry Quealy in farce comedies;. Dairy Jerome, of 1 Come Over Here ’ fame, an English comedienne with a vivid personality. STARS OF THE SCREEN. In the picture world the star system was coming into its own. A little girl named Mary Pickford appeared in ’ in the Bishop’s Carriage,’ ‘ Caprice,’ and ‘ Tess of the Storm Country.’ Similarly ‘ Laughing Gas,’ ‘ The Face on the Bar Roorii Floor,’ and ‘ The Property Man ’ brought attention upon a certain Charles Chaplin. Others who enjoyed fleeting or more permanent fame were Leah Baird, Elmo Lincoln (subsequently the original screen Tarzan), Charles Kent, Earle Williams, Daphne Wayne, Kathlyn Williams, Pauline Bush, Wallace Reid, Tully Marshall (he lasted until his death only a few years ago); Grace Cunard, Francis Ford, Mabel Norrnand, Blanche Sweet, Herbert llawlinson (eventually a matinee idol), Hazel Dawn, Cyril Maude, ••King:'Baggot, and Mack Sennett (merely one of the Keystone gang in those days). There was also a girl named Pearl White. You’re wrong; she didn’t first appear in a sensational serial, she was in a one-reel comedy. Kathlyn Williams’s serial, ‘ Adventures of Kathlyn,’ was shown that year. Several of these players have passed on; several were merely stars of the era; one or two still have minor roles in pictures.

Tho big picture of the ye"ar was ‘ The Three Musketeers,’ shown at the Octagon. This ran to the great length of 10,000 ft. No stars were announced. Tho Bible play recently rescreened in Dunedin, ‘ From Manger to Cross,’ had its original presentation at tho Plaza in March.

Tho King Edward Theatre opened in South Dunedin on December 7. First

picture was ‘ The Geisha,’ with the great Marie Tempest in the cast. Pictures shown at city theatres wore screened at the King Edward in the same week as they were in town, and were not brought back some time later, as is the case to-day. (To be continued.)