STAGE AND MUSIC.

Manawatu Standard, Volume XLVIII, Issue 247, 15 September 1928, Page 7

STAGE AND MUSIC.

STAGELAND. (By “Jack Point.”) Margaret Bannerman, the celebrated English actress, will open her New Zealand tour in Auckland on October 8 with “Our Betters.” Miss Bannerman’s visit will be one of the most important theatrical events in years. The provincial dates for “Our Betters” (Somerset Maugham), “Sexes and Sevens" and “Other Men’s Wives” have not yet been definitely fixed. The company will open at Wellington on October 27, but it is possible that Palmerston North will bo visited before then. Margaret Bannerman started in London not so very long ago in musical comedy. Among other roles she played that of Madeline Manners in “Going Up” (Cecil Bradley’s part in the Australian production). Writing for the last mail a Sydney journalist states of Margaret Bannernerman: “Her Sydney season, though more successful than her Melbourne one, has not caused any stir in the pan, though, of course, all the theatres are more or less put in the shade by the opera these nights. ‘Other Men’s Wives’ is a Frenchy farce with a murder interest, _ and Miss Bannerman is cast as a fascinating femme de cliambre with accent complete.” Strella Wilson here in the Gilbert and Sullivan opera company, is to have a leading part in “The Vagabond King,” which is to follow ‘ Tlio Student Prince” in Sydney. Wagner’s “Lohengrin” may be staged in Auckland by the Fuller-Gonsalez opera company. Yvonne Banvard, the captivating Lady Jane of “Bose Marie,” was married recently. The bridegroom flew in *fchc Southern Cross from Perth to Melbourne and Squadron-Leader Kingsford Smith acted as best man at the wedding. Percy Hutchinson, “The Laughing Optimist,” who is chairman of the Actor-Managers’ Association _in London, has been asked by his fellowmanagers to take comprehensive notes on Australian and New Zealand theatres and theatrical conditions, so that lie can give serviceable advice on Ins return as to which of tho stars are likely to be successful in the Commonwealth and the Dominion.

The Vanbrugli-Boucieault company will again visit New Zealand at the end of October. The repertoire will include “The Letter” (Maugham) “The High Road” (Lonsdale) and “All the King’s Horses.” “We are in the last weeks of the Grand Opera (Williamson firm) and full houses nightly show that a great many people are going to miss it when it goes," writes a Sydney theatregoer. “I believe tliero is a sort of idea that the company may be reduced after the Sydney season and play a return Melbourne season, besides visiting the other and smaller centres, the company is almost twice as large as is needed, and some of the artists have not appeared at .all.” Shura Cherkassky, the sixteen-year-old pianist, will give recitals at the Wellington Town Hail on Septembei 18, 20 and 21. The Sydney Bulletin writes of the boy as under: “He can command .a fortissimo that even Mark Mambourg wouldn't be ashamed of, though tno youngster uses it more judiciously. In passages of delicacy lie achieves almost the daintiness of the late Leonard Borwick. . . Not even Carreno at her best could have delivered the sonorous second subject more impressively. The young man had an ovation at tho finish .that equalled anything Sydney has yet handed out to .a pianist.” , “The sex problem play is a backboneless entertainment for which I have no time,” said the English actormanager, Percy Hutchinson, at an Auckland Rotary Club luncheon. Ml Hutchinson went'on to say that he deplored the state of the stage to-day. The actor-managers could not get back to London after the ivar on account of prohibitive rents, with the result that the West End stage w.as now dominated by capitalists, who knew nothing of the drama. . XT “i am firmly convinced that New' Zealand and Australia are ripe for an annual season of grand opera, providing the people can get it at a reasonable price," stated Signor Foli, manager or the Fuller-Gonsalez Grand Opera Company, on his arrival at Auckland this week. “The result of the present tour, however, will show whether it is possible,” he added. On the results of the present season the future of the scheme largely depended, said Signor Foil, although it was significant that Signor liudoipli iionsalez had returned to Italy for tiie purpose of looking tor artists who wuld be suitable for othei tours. , , ~ , “The Ingenues, by which title twenty beautiful girls from the famous Ziegleld Follies, now appearing with Williamson’s vaudeville company m Australia, are known, have created a sensation in the Commonwealth, and it is probable that they will be seen and heard in New Zealand. A few years ago these same young ladies were teachers, stenographers, secretaries, home giris, or school girls. They did a little moro than that, however, for they studied music and eventually formed themselves into .a jazz band and staged, so it is stated, olio of the most remarkable jazz musical acts ever seon on the stage. , , . Tne London Star, to hand by the last English mail, contains an interesting reference to Herbert Mundin, who is to be principal comedian in the Williamson production of “The Desert Song,” which is to be staged at His Majesty’s Theatre, Melbourne, this evening. “Herbert Mundin,” states the Star, “is going to bo lost to tlie British stage tor two years, we regret to say. Ho leaves for Australia to play tho leading comedian’s part in ‘The Desert Song’ and other musical comedies. Thus tlie Williamsons, who control most of the theatres m Australia, rob London of an artist wo can ill afford to lose. Two years is a very long time to bo away from London. With all its glamour as the' metropolis of the British theatrical world, London is a very desirable place to work in, but the definite oiler .and guarantee of two years’ work in Australia at a big salary balances that glamour. Herbert Mundin’s case is indicative of what may happen to many.other West End stars. W ith the London theatres in their present uncertain state, such a contract ns the Williamsons were able to offer him is something no London artist can ignore.” . “The Laughing Optimist, which is due here on September 27, is stated to lmye not a suggestive line in the whole of tho witty dialogue. It has a central idea based on real, actual, human nature. Into the family of a struggling author, “cribbed, cabined ;and confined” by the fear that the world wants neither him nor his work, there is introduced a gay, fearless young man, with neither riches nor lame, who makes the timid man accept the gospel that fear merely makes failure. The writer's subsequent fight, and his ultimate success, i/Ogether with tlie romantic lovemakiiig of the fearless exponent of gay cßfiance of the world. “The Laughing Optimist” makes the play a joyful creation and the big success it has become. The company is now at Auckland.

RECORDED MUSIC. Schubert Centenary Records. —A list of records to commemorato the Schubert Centenary Iras already reached imposing proportions. In addition to a rich treasury of Schubert’s music issued recently, tire famous “Great” C Major Symphony by tlie London Symphony Orchestra anil Dr. Leo Blech, there is to come shortly the “Death and the Maiden” quartet played by the Budapest String Quartet. These records, it is said, aro especially notable for their astonishingly vigorous reproduction, marking a now advance in tlie technique of reproducing the playing of a string quartet. Tho “The Quartet in D Minor” is one of the most remarkable of Schubert’s compositions. It was written in 1826, but accounts differ as to whether it was ever performed during Schubert's lifetime. Grove says it was and that Schubert revised the finale by shortening it very considerably alter hearing liis friends’ criticisms. Tho work is written in. a large mould, and in view of tho fact that its composition was contemporary with some of the last group of Beethoven’s quartets one can only marvel that Schubert, who was comparatively immature —especially ns regards technique—should have written such an extraordinary work. Then we have the delightful Schubert bracket record by John McCormack. Aon would have to go a long way to hear “Who is Sylvia?” sung with such charm and beauty of tone. A feature of additional interest is tho inclusion of “Dio Liebo Hat Gelogen” on tlie reverse side, a beautiful little song that is not so well known as it deserves to be. Moro Sea Chantie.—Tho popularity of Mr John Goss’s “Sea Chanties” is well established. Ho will give us still a further addition to the series. His latest record, in which he is accompanied by the Cathedral Male \ oiog Quartet, has exactly the same gusto and heartiness that mak© all his performances so pleasing. Two of the songs —there aro four on tho record “Blow tho Man Down,” “Tom’s Gone to Hilo,” “Lowlands,” and ‘ Highland Laddie” —are not quite in fche same category, but the record has an irresistible atmosphere of tho open air. A Sensational Record.—Tho latest record by the Philadelphia Symphony Orchestra is remarkable. It is sensational, in fact. it consists of an 01chc6tral transcription of tho famous Bach “Toccata and Fugue in D Minor.” It is tlie reproduction of tne huge and perfectly-drilled orchestra which makes this record so astonishing; tho brilliant orchestration is shown off to the fullest advantage; the effect of “spacious realism” is achieved unlike anything that has ever been done before. Music-lovers will bo elated to hear that at an early date there will be issued Cesar Franck’s “Symphony in D Minor,” played by the Philadelphia Symphony Orchestra, under their famous conductor, Leopold Stokowslu. This is the only symphony we have from tlio composer. It was always in 1889, one of its chief characteristics being the introduction of tho principal tliemo into all the movements. Two Great Dance Hits.—For the “Blues” you must really have the Rio Grande Tango Band’s excellent recordin" of the lale Blues clanco liumbeiSj “Blue Serenade” and “Lulu 'vail. And there is also “Ramona, said to be a greater success than ‘ ‘ V alencia. One can well believe it. It lias just been issued as a double-disc number, on one side as a song by Geno Austin and on the other finely played by 1 aul Whiteman’s Orchestra. “Together.”—The waltz “Together has had a great vogue and it has already been issued as recorded by Waring Pennsylvanians. There appear to be three moro on tho way. First we are to have it played by Jack Hylton and Ins orchestra which might bo termed the EngLish dance band version. Next we have it recorded by Paul Whiteman and liis concert orchestra, winch is done in the very best Whiteman manner. Finally, we have a very fine recording by Do Groot and the Piccadilly Orchestra. “Together” is tlio most popular waltz now being played in America, and it is predicted that it will leave an equal success here. New Maria Kurenko Record. —(i) La Bolieme—“Musetta’s Waltz Song” (Puccini); (2) “Mignon—“Connais tu lo Pays?” (Thomas). Sung by Maria Kurenko, soprano. This disc provides two exceedingly pleasant numbers and serves as a further introduction to this fine soprano’s amazing clarity and flexibility of voice. Further records of this talented singer’s voice are sure to be welcomed by everyone who appreciates personality as well as technique in vocal accomplishment. In both numbers, the recording is as perfect as the rendition. , , Jean Lenson. —(1) “The Clock is Playing” (Blaauw); (2) “Chanson Bohemienne” (Boldi). Played by Jean Lensen and his orchestra. This little orchestra has really recorded a further selection of their most .successful items, and a collection without Jean Lensen record has still a very important type of number to be added to it. “The Clock” is indeed one of tho finest numbers yet, and the descriptive effects are introduced with a most refreshing originality. _ . , “Annie Laurie.”—(l) “Tlio Little Irish Girl” ; (2) “Nancy Leo.” (1) “Annie Laurie” ; (2) “Lassie 0’ Mine.” Sung by Fraser Gange, baritone. Fraser Gange’s recent tour throughout the Dominion established without any shadow of doubt this splendid baritone’s enthusiastic popularity. As will be remembered, his rendering of popular ballads was one of the most successfully received portions of his repertoire. The two discs under review are splendid rerecordings of these four over-popular airs, and it is difficult to pick between them. Elsa Stralia. (Tosti) ; (2) “Waltz Song from Tom Jones” (German). Sung by Madame Elsa Stralia, soprano. It is a long time since Elsa Stralia, of the flute-like voice and appealing delivery, was heard on the gramophone. "With the new recording, she sounds far better than ever before. She strikes some really thrilling notes in Tosti’s famous I “Good-bye,” holding a top “C” for a phenomenal length of time. Madame Stralia’s production of headnotos is almost faultless, and a sheer joy to hear. New Zealand Songs.—(l) “Ka Mato”; (2) “Hine E Hino.” (1) i “Wliaka Ariki” (Hill) ; (2) E Pari Ra. (1) “Ho Waiata Aroha” (Hill) ; (2) “Titi Torea” (Hill). Sung in English and Maori by Ernest McKinley, tenor, in .spite of the excellent work produced by the recording companies—it has never been better—the sensation of the musical month for Now Zealanders should be the magnificont series of New Zealand record. Ernest McKinley, who sings them, is well-known in this country, of which he is a native. At present he is principal tenor to the Westminster Glee Singers now touring Canada. He has a warm and colourful voice, and a fine sense of tho dramatic. Some of his recordings are almost electric, particularly the great “Ka Mato” with its rousing haka. Just as stirring is “Wliaka Ariki,” from Alfred Hill’s well-knnwiL Maori Opera. “Tapm..””