STAGE NEWS

Manawatu Standard, Volume XLIV, Issue 1179, 29 November 1924, Page 12

STAGE NEWS

What is known in tlio theatrical business as a record in “long jumps” characterised tour of the J. C. Williamson, Ltd., “Sally” Company recently.' The company finished its season in Brisbane on a Friday night, and left on Saturday by special train for Sydney, arriving on Sunday. Leaving the same day by special, the company arrived in Melbourne on Monday, arid the same day departed for Adelaide ,by the express to journey to Perth by the trans-continental train. The entire train journey from Brisbane to Perth involved travelling 6476 miles. ■ After Perth, the company will return to Melbourne to appear in the first £ rod action of this city of “Good 'Morning, 'curie,” with Josio Melville in the role in which she has achieved a success equal to that of Sallv.

It is intended during the season of the Vanbrugh-Boucicuult Company at the King’s Theatre, which has started auspiciously with “Aren’t Wo All?” to play several other pieces in tho repertoire which, are either new to Melbourne or have not been produced for many years. These will include “The Truth About Blayds,” “Trelatvney of tho Wells,” “The Notorious Mrs Ebbsmith,” and others. The dramatic writer in tho London Daily Telegraph recently published some references to the dearth of great comedy ailists in London at tho present time, and took the opportunity to lament the lengthy absence in Australia of Miss Irene Vanbrugh. The biggest musical sensation in years has been caused by tho engagement of the world-famous soprano, Galli-Curci, to give a series of concerts in Australia and New Zealand under tho management of J. and N. Tait. The great singer is now at her prime, and has conquered Europe and America by her wondrous voico and magnetic personality. In private life she is the Marchioness Amelita Galli-Curci (pronounced Gal-leo Koor-chee). It has been definitely decided that her Australasian tour will open in Melbourne. The most realistic Charlie Chaplin ever seen of! the screen is represented in the Vanbrugh-Boucicault production of “Aren’t We All ?” at the King’s Theatre, Melbourne. In make-up. eccentricities, and every mannerism of the famous film comedian. it is a perfect study. The actor responsible for it is Leonard Doogood, who was especially engaged in New Zealand to play the part, the character being introduced into tho play as one of the masqueraders at- a fancy dress ball. On the opening night of the production in Melbourne, Charlie Chaplin’s exit was ma'do amidst a burst of applause. Maurice Maseovitch, who is to make his first appearance in Australia at Christmas with tiis complete London Company, under the J. C. Williamson, Ltd., management, is a master of make-up. Of him iv. has been said that “he ignores no detail, however unimportant, and everything he does is done well.” He will open his Australasian tour at Melbourne Theatre Boyal, and associated with him will be the following well-known London artists: —Sylvia Willoughby, Nat Madison, George R. Montford, Naomi Rutherford, Clifford Marie, Cyril Nash. Beatrice Rowe and Basil Owen. Mr Maseovitch has tho unique record of having some of his most notable roles in six different fanguages.

This will bo the cast of “Kempy,” in which John D. O’Hara will return to tho Theatre Royal, Melbourne, on Saturday night, November 8: —John D. O’Hara as “Dad” Bence, Maggie Moor as "iMa” Bence, Ailsa Grahame as Jane Wade, Eileen Sparks as Kate Bence, Mary MacGregor as Ruth Bence, George Blunt as Ben Wade, Harvey Adams as Duke Merrill, John Fernside as Ivemp James. The play will bo produced by George Parker In the present production of “Tons of Money” at the "Melbourne Princess Theatre, Miss "Dorothy Brunton scintillates more brightly than ever. She has haunting songs to sing, gay frocks to wear, and is surrounded bv all tiie pleasant features of modern musical comedy. Mr Charles lleslop, the distinctive young London comedian, who has been associated with Miss Brunton during her engagement with Mr Hugh J. Ward, also finds the new “Tons of Money” more congenial for his eccentric fun-making than was tho farce. With the exception of Dorothy Brunton, Charles Heslop, Compton Coutts, Maidie Field and Andrew Iligginson, the cast for “Tons of Money,” which has returned to Melbourne as a very entertaining musical comedy, is different to that of the farcecomedy played at Palace Theatre last year. Lottie Sargent has replaced Emma Temple, Jack Kirby has Charles Roadnight’s role of the lawyer, Mr Chesterman, Mary Garmon is now Jean (Sylvia Shaw’s part), Leslie Pearce replaces Douglas Maitland, and George Willoughby is the gardener instead of Frank Hawthorne.' The two new characters, Phyllis and James Chesterman, are played by Elsie Parlces and Oliver McLennan.

Among the passengers for London who left recently by the Ormonde were Ena Dale and Joan Kingdom whose contracts with Hugh J. Ward Theatres Pty., Ltd., had expired. Miss Dale who was one of the original Hugh J Ward Company _ol' Comedians began and ended her Australian lour in “The O’Brien Girl.” Miss lvingdon camo out.with Seymour Hicks last February. She appeared in the tirst two or three performances of “The Man In Dress Clothes,” only before being laid aside with typhoid fever, and did not rejoin the company till the Sydney season of “Old Bill. ALP.,” in which play sho continued until the expiry of her contract. Australian song writers have been given a fine scope for their talent in “Tons of Money” in which. Dorothy Brunton, Charles lleslop and Hugh J. Ward’s New Musical Comedy .Company are now appearing at the Princess Theatre, Probably no light musical production previously produced in Australia has had so many locally composed numbers as this latest Hugh J. Ward offering. That they are worthy of inclusion :n “Tons of Money” has already been proved by the reception accorded them by Sydney audiences. In the present production, two new Australian lyrics have ooen added. “1 Want You.” by Tom Swift and Jack O’llagan, sung by. Miss Dorothy Brunton, and “Take Me” by Jack Lumsdaine — oil v might almost think they were companion songs by their titles —sung by Mary Gannoa. Other Australian numbers are: “Love-Thirty. LoveForty.” “Tons of Money,” “Please, Louise.” “Weeping Widows.” with a refrain that fairly haunts one; “Oh, Merico !” and “Bogey, Bogey.”

NO NEW STARS IN LONDON.

HIGH CHARGES FOR SEATS.

“Australian theatrical audiences aro the best catered for in the world.”

This opinion was expressed by Mr Frank Neii. producer for the Ward-Fuller enterprises, who returned to Sydney the other day, after a tour of the United .States, England, and Paris, in company with Mr Hugh J. Ward, who left Sydney last June, in search of theatrical surprises for their patrons. Mr Neii, who said that no statement would be made concerning the attractions that laid been secured, until Mr Ward's return, spoke of the high charges for scats in London and New York. “Seats in New York are as high as 4.40 dollars for mediocre shows, while for elaborate revues, the charge is as high tis 8.80 dollars. Even in London, the prices are extraordinarily high, considering the fare offered. It cost me 14s 8d to see a very indifferent revue, where thero was nothing elaborate in the production to justify the high charges. “The best show I saw while I was away was ‘No! No! Nanette,’ and this Mr Ward secured. It was by far the best musical comedy in New Y'ork while we were there. “There are no new stars in London. New Y'ork is dillcrent. Thero they make stars overnight.. American managers are more snorting, and more willing to take a risk. They resemble Australians lather than Londoners, who. it seems to mo, are living on tho old traditions.” Mr Neil- left later for Melbourne, to produce the pantomime “Cinderella,” which was bought entire from the London Hippodrome by Air Ward.

The Hippodrome scenery, costume, and lighting have been acquired, and several English actors, including Harry Angers, and Bert Escott, comedians, will supplement the Australian caste.