STAGE NOTES

Manawatu Standard, Volume LII, Issue 110, 9 April 1932, Page 9

STAGE NOTES

(By “Jnck Point.”) “San Toy” is being revived at Daly’s, London. It was first played there in 1899, with Marie Tempest as the Chinese girl who perforce had to dress as a boy to save her father from the Emperor’s wrath. How pleasant it would be to hear once again “Love has Come from Lotus Land,” “Somebody,” “Rhoda and Her Pagoda,” and “A Lady’s Maid.” The local amateurs played “San Toy” some years ago. “The Barretts” of Wimpole Street” will open in Sydney on April 23. Dame Sybil Thorndike, who is to appear shortly in Australia and New Zealand with her complete English company, under the management of M. C. Williamson, Ltd., has been associated in some way with the theatre since early youth. The daughter of Canon Thorndike, she was born at Rochester, where her father was carrying out his ecclesiastical duties, and as a child in the beautiful Thamesside town she and her author-brother, Russell Thorndike, busied themselves with the production and acting of plays. She originally studied music with a view to becoming a professional pianist, but after obtaining brilliant success in one of London’s leading musical academies the lure of the stage 6 roved too strong, and she joined Miss torniman’s famous Repertory Theatre in Manchester.

Moiseiwitsch, the -brilliant pianist who thrilled his large audiences on the occasion of his last visit to New Zealand, but who could only make a flying visit at that time, will be with us a little longer on this occasion, and will visit provincial centres as 'Well as the cities. Moiseiwitseh, who will commence the Dominion tour at the Wellington Town Hall on Thursday, May 19, is coming at the pinnacle of ..a romantic career, and is now looked upon as the peerless exponent of the art of piano playing. The G. and S. return season will open in Wellington on April 13. There .will also be a revival of Cellier’s “Dorothy.” The company are due in Auckland on April 25, and they will leave there for Sydney on May 5. The southern tour has been a phenomenal success, excellent houses being the rule in Christchurch, Dunedin and other towns en route. “Ruddigore” will open the season in Wellington with Marie Bremner as Rose Maybud. Strella Wilson, the soprano magnificent, is missed from the company during the present revival. James Hay, Charles Walenn, Strella Wilson, John Ralston and Winifred Williamson were a wonderful combination' during the last Gilbert and Sullivan tour of the Dominion a few years ago. Patti Russell’s “Mad Maragret” in “Ruddigore” will be long remembered, also her Yum Yum in “The Mikado” and her singing of “The Moon and I.” W. R. Coleman, the well-known scenic artist, who died in Melbourne recently, was associated with the Australian theatre for 30 years, and endowed with artistic value the setting of a vast number of stage plays in that period. Coming to this country in the first years of the Australian Commonwealth from Bristol, where he already gained a high reputation, he began his career here bv painting the scenery for the George Musgrove productions at the Princess Theatre, Melbourns, says the Sydney Morning Herald. At the end of this engagement, about two years later, Mr Coleman intended to return to England, when he received so favourable an offer from Mr J. C. Williamson that he remained in Australia, and began an association with this management which continued till his death. The last sets he painted were for the production of “The Chocolate Soldier” in Melbourne. One of his brothers was Johnny Coleman, famous for his “scarecrow” dance. Mr J. Ricketts, writing a tribute to the memory of Mr Coleman, describes him the last of a line of clever Englishmen who raised the standard of Australian scenic art to its high level. The first of these, he states, was Harry Grist, who came from London more than 50 years ago under engagement to Coppin, Hennings and Greville. At that time John Hennings, Habbe, John Little and Charles Massey were painting in Melbourne, and W. J. Wilson, George Perriman, Dick Detright and William Kinchelia in Sydney. Mr Ricketts next mentions George O. Gordon, who came with the London Comedy Company, and, with the aid of only gas and limelight for the illumination of his scenes, produced some striking stage pictures. W. B. Spong who began with the Brough and Boucicault production of “Little Jack Sheppard;” John Brunton—Dorothy Brunton’s father—first with Williamson, Garner and Musgrove, and later with Bland Holt; Phil Goatcher, “a master in every branch of the art;” Alfred Clint, senior, whose work in George Rignold’s production of “Julius Caesar,” and afterwards with Harry Rickard, maintained the standard of his predecessors, and W. R. Coleman were, Mr Ricketts points out, of the distinguished company of English artists who did so much for Australian scene-painting. He adds:—“Old theatregoers may remember. George Gordon’s beautiful Venetian pictures at the Princess Theatre, Melbourne; John Brunton’s view of Stratford-on-Avon at the Theatre Royal in Melbourne; Alfred Clint’s picture at the Sydney Criterion of the landing of Captain Cook; W. B. Spong’s Oriental subject, ‘The Dancing Girl,’ at the same theatre, and Phil Goatcher’s white satin painting on the act drop at the Sydney Lyceum Theatre.”