STAGE NOTES

Manawatu Standard, Volume XLV, Issue 287, 7 November 1925, Page 7

STAGE NOTES

“T)e Luxe Annie,” one of Emilio Pol ini’s biggest successes in Australia and New Zealand some years ago, was produced in London last month. It ran for seven nights! One critic called it “a queer farrago of American slang.” The Auckland Amateur Operatic Society will stage early next month “The Abbess of Whitby,” a musical drama written by Mr L. P. Leary, formerly of Palmerston North, and composed by Air Eric Maters'. 'I lie society regards “The Abbess of Whitby” as the most ambitious effort it has yet undertaken. Mione Stewart —she was \ ittoria in “The. Maid of the Mountains” when it was staged in Palmerston North —was married recently in Sydney to Air Walter Denver, son of the late Walter Denver and Airs Denver. Among the guests were Aliss Nellie Stewart, the bride’s aunt, Sir Keith and Lady Smith, Sir .Benjamin and Lady Fuller. Mr and Mrs Hugh •!. Ward. Aliss Stewart inherited file talent <il her famous aunt and her clever father "Dick” Stewart. Decently, she has licen soon in Australia in Hugh •). Ward’s musical and straight comedy productions. Gladys Aloncrieff is at Adelaide at present reviving ‘'Sybil” and. “The Ala id of the Alountu ins.” As the Williamson directors refused to take up the option of her contract at a salary of GIBO a week, as she is reported to have announced, she has decided to leave the country. With her voice alone Aliss Aloncrieff would win success abroad, but now she is a finished comic opera actress of a rare type. Clara Butt and her husband Kennerly Rmnfurd gave nine concerts in Sydney instead of the original lour. ‘AVitli Kennerly Buniford,” states an Australian critic, "it is clearly a case of art is long. When he hasn’t a note left in his voice lie will lie one ol the most enjoyable of ■ English solig makers”

Alaggie Aloore, the veteran actress, received £I4OO from her benefit “farewell” at Melbourne recently. Andrew Higginson, who was Danilo in the original Australian production of Lehar’s “Merry Widow,” was among the performers, and Alarie' Burke, here in “Wildflowcr,” warbled a Carmen aria. Maggie Aloore recited “The Hero” and “Good-bye, John, Good-bye,” her soft voice carrying to all parts of the theatre. In the intervals chorus girls from “AVildllower” sold photographs of Alaggie Aloore and J. C. Williamson as they appeared years ago in “Pinafore.” Jennie Hartley, whom we knew in revue and later with the pantomime “Sinbad the Sailor” as principal hoy. is in revue in the English provinces. “No, No, Nanette,” was to have finished its ALelbourne run yesterday after a season of twenty weeks. It is being followed by “Archie,” one of the new musical comedy successes acquired by Air Hugh J. Ward during his recent visit to London. “Archie” is described as a “song and dance show built for laughs.” Ibsen's play, “The AYild Duck,” was revived very successfully in London lately. Sybil Arundale, through New Zealand some years ago in pantomime and musical coined;, - , was much admired in the part of Gina, the young wife. .Recently Aliss Arundale, who was Nanova in the original production of “The Cingalee” at Daly’s, London, took one of the smaller West End theatres and produced “Caste” and others of the old school of comedy. The head of the J. C. "Williamson firm says that the most popular Gilbert and Sullivan opera with Australian audiences is “The Gondoliers”; “The Alikado” is second and “lolanthe” third. The new G. and C. company will therefore give the operas in that order when it oppens at Easter, and “The Yeoman of the Guard,” “Pinafore,” “The Pirates,” “Patience” and “Princess Ida” will also he done. No mention is made of “Ituddigore.” it would be a novelty in New Zealand, though it is getting on for 39 years since its first production at the Savoy, London. A New Zealander who lias just returned from Sydney says that AJaude Fane is still Maude Pane, except that her erstwhile golden locks have taken on a coppery hue. Also, she has a shingle, which does not suit her a bit —makes her look older. Our informant saw her in “Primrose” and in the new musical comedy “Leave it to Jam?,” in which Aiaude plays the leading role, of course, but. not the name part, it is a comedy direct from America, and is about boys’ college life and football matches, with lyrics by the famous P. G. AVodehouse and the music by Jerome Ivern, who did “SaIIy ; ” “The Beauty Prize”—a London AYniter Garden production we have not seen—“ The Cabaret Girl” and others. A feature of “Leave it to Jane” is the medley of old college choruses such as “A Little Peach in an Orchard Grew” and “Biding Down to Bangor.”

“Aliehael Arlen’s ‘The Green Hat’ is a dull play, but it is not so dull as the novel from which it has been adapted,” writes St. John Ervine in an English exchange. “The first chapter of that bogged mo, but I was aide to sit through the whole of the play, though I found the second and third acts tiresome and more tiresome, and I could not bear with patience AJr Arlen’s epigrams .or the pretentious speeches in which his dingy and disreputable characters incessantly indulged.” “Ivatja the Dancer,” the musical play recently at the Landon Gaiety, is to have an entire overseas cast, except for the inclusion of Cecil KeJlaway, the only Australian, when it is produced at Alclbourno. Cecil Kcllaway was the gay old fellow in the musical comedy “A Night Out,” who liud four charming daughters, Cora, Nora, Dora and Flora, and whose foot set a-tremb-ling whenever he saw a pretty girl. There is every indication that the long reign of the so-called comic opera from Central Europe, with its persistent love story and waltz tune, is drawing to a close. What British form of entertainment will take its place? Edward German has been silent a long time—and no one has taken the place of Lionel Monckton, Paul Rubens or Ivan Caryll, while Herman Finck seems to he confining his attention nowadays to conducting revues and arranging incidental music. Seymour Hicks, says the London Standard, thinks the time is ripe for a revival of “Offenbach,” or other light operas of the “Offenbach” school. “I feel sure,” lie says, “that with a re-writton libretto —not merely a rearrangement, but a thorough reconstruction of the story on up-to-date lines —such old favourites as ‘Afndame Favart,’ ‘La Fillo do Ala dame Angot,’ ‘La Belle Helene,’ ‘Falka,’ and many others would have an excellent chance of success.”