STAGELAND

Manawatu Standard, Volume XLVI, Issue 46, 23 January 1926, Page 7

STAGELAND

(By “Jack Point.”) “Oh', to bo in England now that April’s near,” Maud Pane is probably saying these days. She is to go north again with the birds, having just completed her third “farewell” in Australia. As tlio late Frank Morton once said: “Miss Fane will retire again and again—but always she will come back.” Miss Fane is as charming off stage as on, and in spite of her great talent there is no “up stage” business about her. She is greatly admired by her theatrical colleagues for tlio wonderful interest she takes in hor two children, Diana and Peter. Of “The Bad Man,” the next Guy Bates Post production in Palmerston North, the Theatre states: “The Bad Man” has three things to recommend it. It has a short and provoking title. It lvas a remarkable actor for the title role: and it undoubtedly, has “atmosphere, the latter being due to the combined talents of Guy Bates Post and Leslie Board, the scenic artist. Muriel Starr said farewell to the Australian stago as Mary Turner in “Within the Law,” a play in which she first won the goodwill of New Zealand theatregoers. Miss Starr is shortly coming to tlio Dominion with' her own company. She has acquired the rights of the entertaining comedy “French Leave,” which Emelie Polini produced in Australia. Gladys Moncrieff, who in private life is Mrs Tom Moore, arrived at Auckland this week by the Niagara, accompanied by her husband. Miss Moncrieff proposes trying her luck in New York.

An overseas writer a fortnight ago: “Gladys Moncrieff these days is doing her best to show the Firm what it is losing in letting her go. She is singing magnificently. It was_ only the happy face of the Merry Widow that was visible above tho basket of gladioli, sheaves of watsonia and carnations when tho band played God Save the King at the conclusion of ‘The Merry Widow’ revival. The return of Andrew Higginson, who has played varied roles sinco he was Danilo to Carrie Moore’s fascinating beroaved eighteen years ago caused tho wildest enthusiasm. But the glories of Lehar’s most popular achievement are faded, and it is not as wicked as it used to seem. How dull and decorous Maxim’s is comparod with the modern hotel and cabaret.” Tho same writer adds: “Tho public did its best to put another on record the following evening, which was the first night of ‘Lilac Time.’ with a new leading lady in the bill, states a Melbourne correspondent. The departing Gladys, enthroned in a box bordered with pink and red carnations and roses, tossed a floral offering to her successor. Thero was a flavour of ‘The Queen is dead, long livo the Queen!’ about the proceedings, for when the pretty, dark-haired Harriet Bennet raised her dulcet notes, gallery, circle, stalls and pit thrilled responsively. It is sain, though tho tiling is incredible, that some of the theatrical profession paid for seats so as to make sure of seeing tho last waltz of ‘The Merry Widow.’ Claude Flemming declared from tho stalls that ‘Gladys Moncrieff is the greatest prima donna Australia produced,’ which' didn’t give Dame Nellie Melba hor usual place on the map. At halfpast 11 a packed audience was on its lcot putting its hoart into ‘For She’s a Jolly Good Fellow’ and ‘Auld Lang Syne.’ ” , Josio Molville waved good-byo to her Sydney friends from tho Orama recently; the little lady is now oil her way to London for further study. Not even Dot Brunton lias a warmer popularity with stage people than Josie who, remaining unspoilt by tho quick success which followed her elevation fi'om tho chorus to play lead in “Sally,” a part that exactly fitted her, is just littlo Josie to everyone. As an artist she has distinct limitations; but in such parts as Sally and the similar littlo lady in “Good Morning, Dearie,” she will repeat her Australian triumphs in London, if London gives her the opportunity. Anyway, everybody who has met tho natural, warm-hearted actress will wish her tho best of luck. Mario Burke, star of the comic opera Katja, the Dancer,” now running m Sydney, was nearly late for a performance the other evening. The taxi she had ’phoned for, in the off-hand way that taxis have, hadn’t turned up. Marie’s mother was distraught. While Marie, with presence of mind, rang up the theatre and asked the stage doorkeeper to snaro ono for her and send it out, Miss Burke’s mother started on a tour of car-snatching at all costs. Remember the public was waiting for Marie! In fifteen minutes, or thereabouts, the public expected to see her as Katja. And Mario’s mother was grimly determined the public should not bo disappointed. The ghastly situation in which Bluebeard’s seventh wife found herself was nothing to the calamity which was overtaking the house of Burke. Mrs Burke went out. Sho found a motor lorry, laden with vegetables and with room for Mane. In triumph Marie was hoisted up Meantime, in the theatre, back stage, the calmness which sets in on the evo of battle prevailed. A certain restlessness was noticeable in the stage manager. Everybody else sat down to wait. The stage door-keeper reported the progress of the taxi, and the “all clear” syren which came over the telephone from Marie’s mother. Back stage it is a common maxim that, no matter what happens, “the curtain always goes up!”

“THE PLAY’S THE THING.” LACK OF MASTERPIECES. POOR THEATRICAL FARE. "Why is it that except for a few gallant companies touring the provinces in Shakespeare, and the occasional Sunday performanres of Elizabethan and Restoration plays by private societies, tho great dramatic masterpieces of the past aro so seldom given to audiences nowadays? asks Sir Barry Jackson in the London Daily Mail. AYo may go from ono year’s end to another and look in vain for public performances of such plays in the big theatres of London or the provinces. On whom can wo father the blame for this admittedly lamentable situation? The managers will accuso tho audionces for failing to support such productions —not that they are often given the opportunity—and _ tell us that audiencos get tho theatrical fare they deserve. Is this attitude fair ? Remember Hamlet’s words to Polonius:— Pol.: “My. Lord, I will use them according to their desert.” Ham.: “God’s bodikins man, much bettor; use every man after his de-

sert, and who should ’scape whipping? Uso them after your own honour and dignity; tho loss they deserve, tho more merit is in your bounty.” The audience represents tlie masses, and the mass seldom or never struggles for tho betterment of its mind. That has to be done for it by individuals who lead tho way. * Is it the actor’s fault? He unfortunately depends for popularity and livelihood on the public favour, as interpreted by their applause and tlioir money. Once the artist helped to chooso tho plays in which he was to appear, played in them and shared the money' with his fellow-actors. Then ho delighted in playing Alacbeth or Romeo because they were much better parts than those in tho bad plays. Now the play is chosen for him, and that part allotted to him which' is most like tho ono lie played in the play before. If he docs not play that ho plays nothing, and has to leave the profession, or this world. Given a chance, most of tho actors are all right; that they would welcome an opportunity to appear ill better plays is shown by tho time and energy so many of them devote to rekearsuls for unpaid performances. Wo return, then, to tho old story. The public must be led. If the public is convinced that it is being led for its good it will ultimately consent to be led as in religion, politics or warfare. But it is up to tho managers to lead. Let them begin by interspersing their more “popular” attractions with a simple revival of a classic comedy or tragedy, experimenting and feeling their way., taking the public with them. Thero must bo disappointment and losses, but after some years of such patient work the British theatre will be a healthier thing, with a far higher standard of plays and a wider following capable of appreciating them.