THEATRICAL NOTES.

New Zealand Herald, Volume LXIX, Issue 21130, 12 March 1932, Page 9 (Supplement)

THEATRICAL NOTES.

COMING PRODUCTIONS. His Majesty's: April.—"The Constant Nymph" (Auckland Little Theatre Society). Coming.— Danie Sybil Thorndiko and Compaiiv in " Saint Joan. ' As You 'Like It," " Macbeth," Tainted Veils," et alia.

PLAYS AND PLAYERS. One (if the biggest attractions to be presented throughout Australia, and New Zealand in the early part of this year will bo Sybil Thorndike, the world-famous English aclress, and her company of 24 artists, including her husband, Lewis Cassnn, the producer, whom many consider the best producer in the world. Ihe plays will constitute a large and varied repertoire, including " Saint Joan " and Laptain Hiasshound's Conversion,' ri-i Bernard Shaw; '' As on Like It. Ihe Taming of the, Shrew. ' and ' " Painted Veils," " Madame Goes Nap," " The Breadwinner," " After All, ""<1 probably some classical pieces from hei extensive repertoire. It lias been said that Dame Sybil Thorndike might have been a sculptress with the same case ns she has become England's foremost aclress.

" Salome." Oscar Wilde's alluring play, was at. first banned by the Lord Chamberlain in England, and it was only after lio had been induced to soo Margaret Rawlings' interpretation of tho part at «i private performance that he relented, and tho ban was liftocl. A production of " Salome " will be staged in Melbourne to present Margaret Rawlings in this iole prior to her departure on the conclusion of the season of "'lho Barretts of Wimpole Street." Tho play will be produced by Gabriel Toyne (who has staged "'Die Barretts of Wimpole Street " for J. C. 'Williamson, Ltd.) with unique lighting and scenic effects.

" Not a revival but a survival, is how one of the newspaper critics referred to the production of " The Chocolate Soldier," with Gladys Moncrieff as Nadina at the Theatre Royal, Melbourne. On Iho opening night the audience held up the show for several minutes when (Gladys Moncrieff made her entrance, and the same tumultuous enthusiasm characterised every scene in tho play and every musical nutnWr. There were six encores for Gladys Moiicrieff's rendering of "My Hero," which was sung as it has never been sung before. " The Chocolate Soldier " must have a limited run, however, as the worldfamous Noel Coward comic opera, "Bitter Sweet," is to be staged at tho Theatre Royal, Melbourne, on a definite date, and new artists have been engaged.

There was an interesting coincidence in London regarding the engagement of one of tho artists to appear in " The Barretts of Wimpole Street," which is now being produced by J. C. Williamson, Ltd. at the King's Theatre, Melbourne. An actress with red hair was required to play the role of Henrietta Moul-ton-Barrctt, and subsequently it was decided to give the role to Mary Macgregor, the young Australian, who lias given many fine performances under the J. C. Williamson, Ltd., management. The day after Mr. Frank Tait, who was in London arranging for tho production, cabled his fellow directors in Australia his decision regarding Miss Macgregor, a redhaired young actress walked into Mr. Tait's offico and asked for an engagement to appear in " The Barretts of Wimpole Street " in Australia. "I am very much interested in the role of Henrietta," she explained, for lam a grand-daughter of Henrietta Moulton-Barreit."

Anyone who wandered on to the stage of tho King's Theatre, Melbourne, before the curtain rose on " Tho Barretts of Wimpole Street " would see an inert figure lying on tho couch which is the central object in the bed-sitting room of Elizabeth Barrett Moulton-Barrett. For several minutes she lies there, then the curtain slowly rises. This is how the brilliant young English star, Margaret Rawlings, invests herself with the "atmosphere " of the role of the invalid Elizabeth before the commencement of the play. And when the curtain falls on the end of that tense final scene, the actress lies quiet for a while, then slowly leaves the stage. She feels the part so much that it affects her for some time after the audience has left the theatre. This is one of the reasons why her performance is so sincere—so realistic, for Margaret Rawlings really feels what she is merely acting. And moreover, she is possessed of tho loveliest speaking voice ever heard on the Australian stage.