Stage & Screen

New Zealand Times, Volume XLIX, Issue 11293, 19 August 1922, Page 9

Stage & Screen

Theatrical Pars and Movie Notes.

THE STAGE In “Sunday” as in “Within the Law,” Miss Nellie Bramley and her capable company gave a highly-appre-ciated performance of the stirring comedy drama which, intelligently played, rarely fails to touch the hearts of the audience. Air Russell must have chosen “Sunday” to show the versatility of his company, for the majority of the parts were almost the opposite to the characters portrayed in the initial performance. This is the truest and best test of the capabilities of any company. To-niglit "Bought and Paid For” will be staged, and the season must perforce end on Wednesday to make way for “The Boy.” There should be a packed house to-night, for all interested in dramatic art are anxious to see Miss Bramley and Mr Guy Hastings in the leading roles. Grand opera in vaudeville, the latest experiment tried by the Fullers at their'Sydney house, has proved a big success. The personnel of the combination. known as the Royal Grand Opera Singers is as follows: —Joyce Hadley (soprano), Fanny Wood (contralto), Signor Sedoni (tenor), Signor Paynne (tenor), Signor Corti (baritone), and Charles Melvin (basso). The current programme at His Majesty’s is one of the best, and the annuat amateur competitions have been an additional attraction. Some of the “turns” were screamingly funny, and at times the audience simply rooked with laughter. The J. C. Williamson Royal Comic Opera Company are announced to make a return visit. This deservedly popular organisation will be seen in “The Boy,” a brand new musical comedy, which will receive its initial verdict here on Thursday. An augmented east includes Mr Lance Lister and Rosie Le Varde. Mr Arthur Stigant will appear as “Meebles” fthe magistrate), with Messrs Leslie Holland, (Mr Burridge), Anew McMaster (Colonel Bagot), Mione Stewart (Katie), and Shiela Gale (Diana). “The Boy” is quoted as being the live wire amongst modern musical plays. It has been called “The song and dance to every minute” attraction. Irv “The Boy” the new J. O. Williamson Musical Comedy, due here on Thursday, a wonderful dance is done by Miss Jessie S'herwood. In conjunction with Mr Alex. McPherson, this clever artist also executes a “Russian Rag,” which, for originality and artistry, ir, a veritable eye-opener. Miss Sherwood is an Australian, and should go far. “The Alaid of the Mountains,” “Katinka,” and “The Boy” have provided great successes in Christchurch, and at all the performances, matinees included, the audiences have been exceptionally large. Alessrs Scott Colville and Walter Monk, after a brief stay in Wellington, went south to arrange details of Toscha Seidel’s Christchurch season, which will be confined to three appearances—next Wednesday, Thursday, and Friday. Miss Henrietta Watson, an actress many Wellingtonians will remember with pleasure, is in the cast of the successful London comedy, “Lass o’ Laughter.” “The only trouble will he to get theatres,” said Mr Phil Smith, on his return to Sydney recently, when asked about his intention to form a musical comedy company of hia own for New Zealand. “If I can get Williamson’s or Fullers’ theatres .in New Zealand, I can’t go wrong. I’ve been thinking of starting out on my own for some time now, but the last time I suggested it, Williamson’s held me for something else. But now my contract with them is up, and I don’t think they want me again, so there should be no difficulty in getting away.” He said he would not think of starting in Australia. New Zealand was a much better field. “Can you get a good company together?” he was asked. “Oh, yes,” he said. “And I’ve got some new comedies ready, too—there are two of them in my pocket now. The only obstacle might be the theatres.” Some of the J. O. Williamson firm’s coming attractions for Australia are: — Oscar Asohe in “Cairo” in September; Vanbrugh-Boucicault Company in English plays; Gertrude Elliott in her repertory; “Lady of the Rose,” and “The Naughty Princess,” musical comedy; “The Cat and the Canary,” a shock drama; “Alary,” musical comedy; and a return visit of Moieeiwitsch next year, with Rachmaninoff to follow. Watch out for some dramatic and musical surprises at the Wellington Competitions, which open on Tuesday next. Miss Sheila Gale, who plays the fascinating “Diana Eairlie” in Hie J. G. Williamson big musical spectacle, “The Boy,” is Scotch, having been born in Dumfries twenty-five years ago. Jjor one so vouthful the light opera prima donna lias had: an extraordinary experience, which embraces practically engagements with all the present topnotch English and American, managements. Aliss Gale is a soprano of rare quality and culture, assets that are necessary for the role of “Diana,” at times much akin to grand opera. She has played this role m England with marked success, taking the place of London’s comio opera idol, Josie Collins, when that clever artist left the stage to be married some twelve months ago. Physically, vocally, and histrionically Aliss Gale is said to be <idmirably equipped for “Diana” which is an admixture of the romanticism of Juliet, the sensuousness of Cleopatra, and the vengeful passion of Carmen. We have all heard of the disgruntled playgoer who, on witnessing a performance of “Hamlet” for the first time, complained that it was merely a “jumble of old quotations.” The anecdote is recalled by the preliminary announcement by Mr Allan Wilkie’s business representative,; that the popular actor-manager and his permanent Shakespearean company are on Hie way here in the course of their annual tour. Certainly now that Mr Wilkie has so convincingly established himself as a vivid and moving power in the theatrical world the “jumble-of-old-quota-tions” playgoer is discounted, for the eminent Shakespearean actor has made the works of the immortal “Swan of Avon” familiar in our mouths as household words. Aliss Hunter-Watts, who has been on a holiday trip to Europe, rejoins Hie company' here, and will again sustain the leading roles of Shakespeare’s gentlewomen during the forthcoming New Zealand

From all accounts Aliss Daisy Jerome, who is appearing in Sydney with the Fuller firm, has lost none of her old-time magnetism, the audience recalling her again and again with continuous demands tor weii-remem-bered ballads. Aliss Alinnie Hooper, who has occupied the position of dancing mistress and directress of the chorus and ballet with J. C. Williamson for many a year, has signed a contract with the new Hugh J. Ward-Fuller directorate. The big J. C. Williamson production, ‘.“The Beep Show,” lias proved a great draw. It is a revusical play from Hie London Hippodrome, and is in nineteen “peeps,” each of which has soma connection with the thread of story running through the piece. The intercstoof the production was heightened by the fact that it was produced by Captain Alaxwell-Stewart, from the London Hippodrome. The dances and ensembles were arranged by Gena Richards, from the leading New York theatres. New artists who made their first appearance in “The Peep Slow”were Kathlyn Hilliard, Alona Magnet, George Baker, J. H. Wakefield, ana Dan Booker. The cables published in the newspapers indicate that J. C. Williamson, Ltd., are sparing no effort to present the world’s leading artists and attractions before Australian playgoers. Following the announcement of the forthcoming appearanoe of the complete Oscar Asche company in “Cairo” and other plays, including Shakespeare, came the publication of a cable message that Lady Forbes Robertson (Miss Gertrude Elliott) and her company had Aeen secured for an Australian tour by J. C. Williamson, Ltd. The next announcement recorded tha engagement of Laurence Grossnmth for the firm’s Australian production of “Ambrose Applejohn’s Adventure,' ’• and that still further important engagements had been made b_y the firm, including the Dion Boncicault—lrene Vanbrugh Company and their complete repertoire. Sir George Tallis has apparently been securing every attraction worth while in London. "One of the sauciest farces ever staged in Sydney” is how one of the papers described “Parlour, Bedroom, and Bath.” The critic, who went into “details,” mentioned that they are all there in one scene—the parlour m the foreground, the bedroom'and bathroom back stage. In the bedroom a real bed can be seen, and in the bathroom a real bath.” The complications that characterise the plot contribute Eome hilarious moments. The cast is un exceptionally capable one, including Phillips Tead, Marjorie Bennett, Diana Wilson, Lance Lister, Edith Drayson, Clarice Hard wi eke, Lora a Helms, and others. The reproduction in the newspapers of a picture of Emelio Polini, with her twelve-months-old baby girl, Patricia, has brought a deluge of letters to the popular actress, who is playing in “My Lady’s Dress” to crowded audiences at the King’s Theatre, Melbourne. Mostly the writers congratulate the actress upon her apparent love of family life, and aav complimentary things about the little Patricia. The London papers have been devoting a great deal of space to Sir George Tallis since his arrival in the big metropolis. Amongst other important papers, “The Times” published a lengthy interview with Sr George, in the course of which he stated that English plays were popular in Australia, and American plays unpopular, as peoplo had grown tired of them. “Before the war,” he said, “Australian audiences were chiefly attracted by light musical plays, but the pendulum had now swung toward wholesome drama.” Another London paper described Sir George Tallis as “Hie most notable feature in the Australian theatrical world and the head of the biggest theatrical firm in any country.” Emelio Polini has given no more remarkable demonstration of her art than in “My Lady’s Dress.” She has a bewildering variety of scenes, and in each one she displays her remarkable versatility. Compare her aa the forlorn and hopeless maker of artificial flowers in the cockney scene with the vivacious and winning seventeenth century Dutch girl who is wooed by the exquisite gallant. Tan der Bom. Then there is another phase of feminine character presented in the flirtatious Italian peasant who has compromised herself with a hawker of cheap finery. likewise Miss Polini gives a striking performance aa the sad-eyed, hopeless wufe of a Lyons silk-weaver who ia elowly dying of consumption. But perhaps her most remarkable impersonation is that of tha Russian moiijit wife of an “intellectual,” who frankly proclaims her preference for one of her own class. _ Her* acting is grim, vital and convincing. So successful has the farewell eea. son of the Gilbert and Sullivan company proved at Melbourne that it was extended. “Dorothy” was followed by “The Mikado,” “The Pirates of Penzance,” “lolanthe,” “The Gondoliers,” ‘The Yeoman of the Guard,” and “Pinafore” and “Trial by Jury” on August 3rd. The company are now in Adelaide with. “Merrie England.” Louis Bennison has won a remarkable triumph in Sydney by his performance in the role of Jean Panrcl, the exquisite, amorous, and gallant opera singer, the culmination of whose career is a succession of sacrifices. No one can recognise in his characterisation anything pertaining to tbe rowbov, Johnny Wiggins, or “Johnny Get Your Gun.” The Sydney papers have declared his performance to be one of the finest ever seen on the Australian stage. Another brilliant characterisation is that of Madame Sabbatini, played by Aliss Beverly Sit, c reaves in the original production in both New York and Lonmin. The railway authorities were' somewhat staggered when a consignment of theatrical wardrobes was received at Spencer street station from Her Majesty's Theatre. Alel bourne, for consignment to Adelaide. It comprised (8 baskets, eaah measuring 4 feet by 3 feet by 3 feet, and labelled “Peep Show.” This was the wardrobe for the Adelaide production of tho big revusical play, which is bigger than a pantomime. As a rule, the wardrobe for the average soectaeular pantomime fills about 33 baskets. “Tho Peep Show” is a “dressy” play of all stylos and periods. Alona Alagnet, tho sonbretto and dancer, changes her costumeuio fewer than twelve times. Several of the other artists are kept almost as busy.