STAGE AND SCREEN

Nelson Evening Mail, Volume LXVI, 23 December 1933, Page 3

STAGE AND SCREEN

“An accompanist may be compared io a. companion on a walking tom. His company is either a. bore and a nuisance, or it supplements the pleasures of your journey,” writes Mr G. Yarn Barnett, one of tlic most prominent accompanists in Australia for many years, in “Music in Australia. “Consider bow many friends you have, then consider bow many among them would make lit company for a walking tour; then consider how many pianists there are, and how many make lit compnnv for soloists. For the essential qualities of companionable people are tact and restraint; the solo pianist is too much immersed in his own personality to give any consideration to the personalities of other people; whereas the work of the accompanist is governed by his understanding of the composer, the period in which the com position was written and the character and capabilities of the soloist.” Mr Barnett goes on to say that an authority lias described the art of accompanying ’ns “highly technical” and "most profound."” and stales that the requisites of the ideal accompanist include a keen perceptive sense, ability to read at sight, transpose, a knowledge of at least three foreign languages, added to a high technical proficiency. Alas! the ideal accompanist is truly a rare bird—few could measure to this anthoritative standard.

Tragic mysteries of London’s underworld are revealed in what promises to lie an unusually interesting film just completed at Shepperton. It is called "Doss House,” and its main setting is one of the common lodging houses of London. The story —written by an author who is said to have lived in a doss house himself —pictures the characters ami gives ail insight into the lives of the denizens of a typical "down-and-out’s” hotel. It is acted entirely by men, many of them oldtimers of the London theatre, with Frank Cellier in a leading role or a journalist.

With his father looking on from the wings, Edward L. Davenport, seventh generation of a. family of actors whose names loom large in American theatrical history, made his stage debut at the Playhouse Theatre last month in “Move on Sister.” Davenport, pore, was more than an interested spectator, for he played one of the principal roles in the piece. Edward Davenport is 23 years old and recently was graduated from college. Before leaving school, lie made up his mind to become an actor and had obtained his father’s consent. He voiced the opinion that, aside from an instinctive liking for the theatre, acting offered him the greatest chance for advancement, opportunities elsewhere being severely curtailed. The elder Davenport also made his how before the footlights under the fond eyes of a parent. His mother was the famous Fanny Davenport, one of the brightest luminaries in Hie history of the American stage.

JOSEPHINE BAKER SENSATION OF PARIS FAILS IN LONDON Josephine Baker, tlic most-talkcd-of coloured actress in the stage world, who conquered Europe with her bizzavo anddaring performances, reached London early in October and apparently received something of a shock to iiml that her debut did not “set the Thames on fire.” She claimed that the critics were just jealous of her. Eight years ago she went to Paris, and nothing quite like her had ever been seen there. Her vivid personality drew tlic crowds, her name became synonymous with lively wickedness, and site toured the cities of the Con(incut. In some places the authorities sought to ban her, but the crowds clamoured to see her. Fantastic stories about Her romances and desperate love a Hairs and exotic life were bruited about, and sonic bad suggested that she would never be allowed to land in England.

Twenty-nine years of age, with the figure of a girl of l(i years, “Jo,” the leading music-hall star of gay Puree, is described as a queer mixture, in appearance of Filipino with Chinese, and yet she has the abundant mouth of the American negro, which is her nationality. Her'skill is golden brown, her eyes are brown and her hair straight and jet black. She was horn at St. Louis and ran away with a negro troupe when 13 years of age. She learnt to dance and to sing. Three years later she got a “break” by being accepted in the chorus of a negro revue called “SliulHe .Along,” which was presented in the cities. From that show she started on Broadway. She used to sing.at a restaurant, where the waiters were French. They told her about France — and Paris.

Her Odyssey had begun. A wealthy woman wiio saw her perform on Broadway paid her fare to Paris, where, for salary at the Casino alone, for years she has earned an average of at least ,t!(i()t) weekly. She has had gifts lavished upon her. Yet she cares nothing for riches or for the delights of the stage avocation. She lias never smoked nor has she taken drink. She likes to lice to the'eountry after every show. She loves the simple life. Though she never mentions it, well-known writers declare that secretly she maintains a home in Paris for destitute people. An interviewer has summed up Josephine Baker as being a quaint little creature, very lonely and bewildered, and just a part in this crazy modern world.

AUSTRALIAN FLYING PAGEANT IN “SMITHY” FILM Australia gave to the world the germ of the aeroplane, yet the first machine to.go there was thrown out. Australian aeroplaniiig began with the arrival ol (he AVright Bros.’ machine in December, 1909. It was a failure; tbe nearest approach to flying being a run round a field towed bv a- motor ear.

A yoiiiifi Australian named Banks, dim id' Harry Iloudini’s mechanics, essayed a trial, and, setting the machine yoinp', managed to slide lor 100 yards, turned a somersault and smashed up the concern, lie himself escaping with a black eye. Then the Customs officers swooped down upon it at a time when there was litigation as to who was the owner. The litigation ended by the dumping of the machine into the sea outside Port ’Phillip Heads. These, interesting facts are revealed in data supplied by Air J. .Pcreival—now producing the film story of “Smithy's” “Old Bus”—bv Mr AY. K. Hart, holder of Australia’s No. 1 pilot’s certificate. ’file next machine to visit Australia was a Yoisin type, and was llown by Mr Hoiidiui on 14 occasions in JOI.O. The third machine to yo to Australia was a Bleriot. To escape the claims of the Customs authorities this. too. had to be destroyed. It was chopped up lor firewood, upon which there was

evidently no duty. A young Victorian named Duggan was the next to come before the limelight of aviation. This youth, who was living on a farm near Bendigo, built a machine and engine complete, and actually made several short straight flights.' This was the first Australian-made aeroplane; it possessed many clever points, but suffered from complicated gear. Another Australian now came forward to weave greater success from the threads spun SO years before by a brother Australian—Lawrence Hargrave. Mr W. E. Hart was the first Australian to make cross-country flights, and way back in Bill he made a flight from I’enrith to Sydney in a fog and in unfavourable weather, making a safe landing in an awkwardly enclosed space. There, is no doubt that Australia had been prominently identified with the development of world aviation. A pageant of Australian flying history from the days of powerdriven box kites tip to the present era is to be included in “Smithy's” picture, “The Old Bus.”

Germany to-day possesses a number of Hargrave’s original models. It has been claimed that Hargrave’s experiment of 1X!)4, wherein he was lifted to a height of 1 fitt supported by four box kites, first gave the world conclusive proof that man would some dav be able in fly.