THEATRICAL NOTES.

New Zealand Herald, Volume LXIII, Issue 19298, 10 April 1926, Page 8 (Supplement)

THEATRICAL NOTES.

John McCormack 011 the Greatest Song. The great lyric singer—probably the most popular tenor alive to-day— John McCormack, makes a number of interesting observations in his book covering the story of his life. He is 41 years of age'now, and, according to recent reports, is enjoying greater popularity than ever—if this were possible. McCormack i» a man who spins his golden notes without those exaggerated embellishments which have been a trait in the work of many other great singers. Ho puts truth and simplicity above everything else; lie feels with the heart, sees with the mind, and binds the two into one. Throughout his book ho tenders some fine advice to singers, and vocalists would do well to ponder over his reflections. After' years of endeavour," he writes, " I have succeeded in incorporating into a programmo from six to - eight sorjg compositions of genuine'musical substance. All the while I havo given them generously the simple songs, songs that many pronounce inferior. I admit that many I use are not ' classics,' but if they give pleasure to my hearers, do they not servo a useful purposo ? I think so. "I like best the songs of simple melody and j with simple harmonic construction, I mean, of course, the fine examples of such songs, in which the melodic line has genuine beauty, and the treatment is of proportionate value." In MeCoriuack's judgment the greatest song ever composed is Schubert's " Die Allmacht," for which an adequate English translation is " Omnipotence." "It is a flood of exultation," declares the tenor, " the outpoi ring, in music, of a poet's soul. Still, my personal preference—over any. other song—is for ' Dio Mainacht' I' A Might in May' ), by Brahms. Then there is ' Der Dichterliebe,' with the tender lovo poems of Heine as the'musical basis." Discussing the merits of the great masters, he says: " I never fail to think of what George Bernard Shaw said, replying to the question, ' Who is the greatest musician '!' 'Beethoven,' said Shaw 1 but Mozart was the only musician.' His opinion of -Australia and New Zealand : " I sang at 62 concerts dnring my Australasian tour. I haven't been back since, but lam going. For they are a wonderful people out there, and they know what they like."

Plays and Players. After leaving their native country, America,, Earl and Thecla Hunting, novelty jugglers in Fuller Vaudeville, spent 33 years in the British Isles and Africa doing their famous juggling and unsupported ladder act. Thecla, in a breezy chatty style, keeps one entertained by the hour with anecdote and reminiscences. An interesting member of Dion Boucicault's company, who is to appear in "Quality Street," is Norman McOwan, a well-known Scotch actor, and part-author of the dramatic version of De Vere Stacpoole's well-known book, "The Blue Lagoon." ' His wife, an actress of repute, Miss Violet Sterne, is also in the company. A member of the London company which Mr. Dion Boucicault is bringing to Melbourne to appear in a series of Barrie's plays under the J. C. Williamson, Ltd., management, is Miss Sara Dartrey, a clever and attractive artist, well-known on the London stage. Miss Dartrey has been playing a part and understudying Miss Gladys Cooper in "The Last of Mrs. Cheyney." According to present arrangements, the season of Gilbert and Sullivan opera, nnder the J. C. Williamson, Ltd., management, will open at His Majesty's Theatre, Melbourne,' to-night. April 10. The opening piece will be " The Gondoliers," Which will be followed by "The Yeoman of the Guard," "The Pirates of Penzance," "The Mikado," "11, M.5. Pinafore," "lolanthe," "Princess Ida," and "Patience." Miss Minnie Everett, who wiell produce the operas, has expressed the opinion that the chorus will be the finest she has ever heard in Australia, t Melbourne has been invaded by tl> theatrical profession. Tho biggest 'influx of artists ever known in Australia came under engagement to J. C. Williamson, Ltd. First came Mr. Boucicault and members of-the company engaged by him in London to appear in a season of Barrie's plays. Next came the principals of the Gilbert and Sullivan Opera Company. These were followed by Pavlova's entire London and Paris organisation. Altogether, nearly seventy artists came to provide Melbourne with as varied a selection of entertainment as the Australian stage ■has ever known—Barrie's comedies, Pavlova's dancing, and tho wit, sparkle nnd melody of Gilbert and Sullivan.

There is a small page in the J. C. Williamson production of "Lilac Time" at Melbourne Theatre Royal who has cause to be thankful for the thoughtfnJness of a certain baker. In the first scene of "Lilac Time," part of the luncheon provided for Schubert, is ari atetentuated loaf of broad j nearly 3ft., long. Every day this is sent to the theatre from a bakery, and every j night Claude Flemrning breaks it over the bead of the page who brings the wine. ' Several nights ago he noticed that the Joaf broke very easily—nearly broke, in fact, as be flourished it about. This occurred several successive evenings, so Mr. Fleming examined the loaf and discovered that in one place the crust had been cut (ill round. It appears that the baker had been to see the show and decided to simplify the. breaking process. The page is particularly pleased, as it saves him many a sore head.