Stage & Screen

New Zealand Times, Volume L, Issue 11649, 13 October 1923, Page 13

Stage & Screen

||; j| Theatrical Pars and Movie Notes.

THE STAGE

Talking to a musical and theatrical producer the other day he expressed the opinion that Mr Bert Hoyle ’J. 0. Williamson's popular New Zealand manager), missed the chance of his lifetime when many years ago he turned down the late Fred Leslie’s proposition to hie to London. At that time the genial Bert had scored a great success with his musical extravaganza “Djin Djin” (Maud and May Beatty, Marion Mitchell, Lily Stephens Nellie Wilson, Billy Percy. Harry Quealy, Ernest Fit*, Dan (VConnor, were in Pollard's production), and was turning out some of the best stuff ever produced in Australia and New Zealand. ‘ Gome to Lcndort, fame and fortune,” said Leslie to tlie youthful author.

“J. C. Williamson has been very good to me,” said Bert, “and I think it s up to me to stick to him.” “Piease rourself” was Leslie’s rejoinder, “but with you in London just now—you and your pioductions would boom.” Bert thought a spell, and finally said: “No, I can’t do it. I must stick to J.C.W.” He did so, and while he did not, as ho assuredly would have, become the idol of London he found happiness and prosperity in these islands of the Pacific, and to-day is one of the most popular and highly respected members of one of the most enterprising theatrical forma in Australasia.

To-night at His Majesty’s the ever popular “Stiffy” and “Mo” combination of revue artists conclude what has been a truly remarkable season. From the opening performance to the end of the 13 weeks of their stay in Wellington, the company has attracted large and delighted audiences, and has proved one of the most efficacious gloom dispersers and joy -dispensers ever seen in this city. Sixteen weeks —a record run—at Auckland and 13 weeks—it could have been extended to 20—is something to talk, about, and with Dumedim and jChristchurch to follow, the New Zealand tour should eclipse anything of the kind previously vended. “Stiffy” (Nat Phillips) and “Mo” (Roy Rene) have been responsible for most of the fun. The former deserves more than passing mention for the attractive manner in which the many and varied jevues have been presented. In this connection producer and stage assistants have worked wonders, and in consequence the light and airy stuff has been to crowded houses, a veritable feast of delight. The members of the company too, have proved ciever performers and indefatigable workers. Dot Davis, Queenie Paul, and Gladys Shaw have borne the brunt of the vocal work on their side. The first mentioned pair as ballad singers, snd the latter as comedienne. Mike Connors, Peter Brooks, Young Keith Connolly, and Dan Dunbar have all worked hard and contributed largely to the general success. Of the ballet (“the wonderful six") they are as graceful and shapely as they are good looking, and enter into their work with an enthusiasm and manifest pleasure that is infectious. Irene Vando ballet mistress and leader, may well be proud of herself and her companions—they will go a long way.

This afternoon the final matinee will be given, and the spacious theatre will be packed to the doors. There will be an overflow house to-night, and it would lAt surprise the writer if patrons don’t let “Stiffy and Mo” and the other members of the happy combination know what they think of them. Vaudeville patrons of Dunedin and Christchurch are in for a treat.

Monday will see the initial performance at His Majesty’s of George Wallace’s Revue Company, which has already made a great name for itself in the Dominion. In Dunedin, where the audiences are said to be colder and less demonstrative than in Wellington, the clever combination so insidiously entwined itself round the hearts of theatre-goers that, they displayed an enthusiasm rarely seen. Dunedin has voted George’s company one of the very best, has cheered it to the echo, and is now holding out the glad hand of welcome to Stiffy and Mo, and their combination. It would be just Wellington if the audiences at His Majesty’s while they speed the parting guest, extend the friendly hand to the strangers who will soon be friends. A few personal notes regarding the youthful head, George Wallace —said to be the youngest producer in Australasia —appear on this page under the heading, “A Popular Comedian.”

Mr W. S. Percy in a note prior to his departure for England said he had enjoyed every hour of his New Zealand tour, when he was afforded the opportunity of renewing acquaintance with many friends, and —he might with truth have added—making many others. W.S. is one of the most popular comedians in Australia and New Zealand. Dora Lindsay, the female Harry Lauder, has been delighting Fuller audiences during the past week. It is a pity that the Wellington season of this talented artiste could not be extended, for Miss Lindsay has an extensive and varied repertoire, and has several splendid turns up her sleeve. Her kilted partner at the piano added considerably to her success, and his accompaniments and introductory selections were played in truly artistic Style.

In a chatty letter from Melbourne, Mr J. O’Sullivan, the well-known advance agent and theatrical manager, gives some interesting details of Melbourne and Sydney shows. He says the J.C.W. productions are on the usual high plane, and that “The O’Brien Girl” is sure to go big in New Zealand, and when —as in his case — popularity goes hand in hand with ability, the reason of his long-continued success is revealed. Charles O’Mara aid Anna Burke at His Majesty’s have been providing some attractive vaudeville turns. The former is an accomplished artist, and some of his vocal offerings are really good. Leo Martin, the musical marvel, as caught on, and this youthful performer nightly goes off stage to salvos of well-earned applause. Music-lovers will be interested and pleased to learn that arrangements have now been completed for the New Zealand tour of Miss Stella Power, the famous soprano, who has been styled “The Little Melba.” The tour will be under the direction of Mr E. J. Gravcstock, who has been respon sible jor introducing so many talented performers to New Zealand audiences, and our old friend, Mr D. D. O’Connor, is touring manager. Miss Power will make her initial appearance at the Town Hall, Wellington, on Tuesday, October 23rd, and concerts will .also be given on Thursday, October 23th, Saturday, October 27th, and Monday, October 29th. \ Miss Power

is the most recent singer to gain fame in Europe. She made her debut in liondon about five years ago, and it was described as /one of the most successful and sensational ever recorded. This wonderful soprano has sung no less than 57 times in the Royal Albert Hall—that alone is proof of her sterling worth. When anyone appearing in “Sally” at Melbourne Theatre Royal wants to swear, he swears “By George,” for ' that Christian name is scattered all over the production. The play was bought in England by Sir George Tallis. It was produced for the firm by George Highland, and the stage manafer is George Kensington. George .ane and George Gee are tire two comedians in the cast. Two of the pioperty men, three of the electricians, and three of the mechanists are christened “George,” so that when anyone on the stage is calling “George” the response is so Hearty that there s something of a riot! Over 100 telegrams and messages bearing good wishes for her success reached Josie Melville on tho day of her first appearance .in “Sally,” at Melbourne Theatre Royal. They were pinned upon the walks of her dressingroom and formed a unique testimony to her popularity. This is the cast of the brief revival of “Katinka,” which J. C. Williamson, Ltd. presented at Melbourne, at Her Majesty’s, in order that Gladys Moncrieff might be seen, prior to hei departure from Melbourne, in the role in which she leapt to star rank:—Arthur Stigant as Tliaddeus T. Hopper, Reginald Roberts as Ivan Dimitri, Claude Flemming as Boris Strogoff, Leslie Holland as Knopf, John Forde as Petrov, Nevill Town as Arif Bey, Madge Herrick as Tatiana, Flossie Lusk as Varenka, Cecil Bradley as Mrs Helen Hopper, Hazel Meldrum and Tom Moore as the Cabaret Dancers, Adele Crane as Olga, and Gladys Monciieff as Katinka. The play was produced by George A. Highland and, the ballets and dances arranged by Alice Parkes.

This is the cast of the VanbrughBoucicault production of “Mis’ hlell o’ New Orleans”:—lrene Vanbrugh as Nelly Daventry, Janet Eccles as Delphine Faiaise, Ethel Wellesley as Melaine, Lena Halliday as Zephyrine, an old negress, C. M. Hallard as George Durand, Martin Walker as Felix Durand, Henry Latimer as Unc’ Boz, an old negro, Dion Boucicault a 3 Pere Clement, a priest. The play was produced by Dion Boucicault. “Mis’ Nell o’ New Orleans” is described as “a comedy of moonshine, madness, and make-believe,” in three acts, by Laurence Eyre. It is different to anything in which the VanbrughBoucieault company has previously appeared, and, in fact, is a decided novelty so far as the Australian stage is concerned. The atmosphere is that of French carnival time in the semiFrench town of New Orleans, Louisiana, made familiar by the Southern and negro stories and legends of G. W. Cable, to whom the author acknowledges himself indebted for his assistance in supervising the Southern dialect.

Ethel Wellesley, who will be seen in the part of Melaine in “Mis’ Nell o’ New Orleans,” is one of the most important members of the company, and for some time she has been understudy to Miss Vanbrugh. She anpears as the ingenious Kate in “The Twelve Pound Look,” which is now finishing its ran as a curtain-raiser to “Mr Pim Passes By,” ana it may be said that she was given, this part because she showed pronounced ability in handling it as understudy to Miss Irene Vanbrugh, who formerly played it in London. Irene Vanbrugh has three times appeared specially before Royalty. The first time was the command .performance of Lord Lytton’s “Money,” at the Duke of York’s Theatre, on August 26th, 1911, in the presence of the present King and the German Emperor and their respective suites. The second occasion of a Royal command occurred when she did J. M. Barrie’s “Rosalind” with consummate art about twelve- months afterwards. The third occasion was the performance of Barrie’s sensational trifle, “Half an Hour,” in which Miss Vanbrugh and Mr Boucicault had the support of a star cast, including Sir Gerald du Manner, Miss Hilda Trevelyan, and Mr Owen Nares. This was given by Royal command prior to the departure of Miss Vanbrugh and Mr Boucicault for South Africa and Australia.

J. C. Williamson, Ltd., will give “The Beggar’s Opera” a long' tour. After the Sydney season, the play goes to Adelaide, then opens at Melbourne Her Majesty’s, following ’ the Royal Comic Opera Company. Then a comprehensive tour of New Zealand will follow.

After the brief revival of “Katinka” at Melbourne His Majesty’s, the season of i.he Royal Comic Opera Company came to an end with a few nights of “The Merry Widow.” Then came “The Beggar’s Opera.” There are 69 songs in the opera, which, it has been said, was born under a lucky star, for it has ever been successful—from 1728 till the present day, and no one imagines for a moment that Melbourne will mar this record. A. Howett-Worster is prominent in the cast as Mac Heath, the highwayman, whom the men feared and the women loved. George Highland_produces the play for J. C. Williamson, Ltd.

Wee Cfeorgie Harris was not the only member of the “Rockets” Company at the Melbourne Princess which visited the Zoo recently, who had not previously seen a giraffe. In fact the peculiar quadruped was just as much a novelty to Charles Austin as it was to Georgie. Lorna and Toots Pounds had a faint idea that they had somewhere or other viewed one at close quarters in the past, but they were not too sure of it. While at the Zoo a visit was paid to one of the keeper’s cottages where two frisky tiger cubs were being reared Mr the wife of a member of the Zoo staff. Toots boldly wanted to hug the striped skinfuls of mischief, but Mr Wilkie, the acting-director, would not permit it While not at all vicious the tigerettes are now rough playmates, and will claw silk frocks and hosiery to tatters in a few moments.

Charles Austin, junr., son of the London comedy star of “Rockets,” at the Melbourne Princess, made his “first appearance on any atago” just prior to the public school vacation as a member of the cast of “Courtship Gilder Difficulties,” a romantic comedy sketch played by the boys of the Ivanhoc Grammar School, where little Charlie is a pupil. Jle was cast for the role of an engaging flapper, and made a decided “hit.” The boys also put on “Parker, P.C.,” one of Mr Austin's comedy creations, the re hearsals of which ho personally suporintepdacL

The Japanese Relief Matinee, organised by Mr Hugh J. Ward in association with air Harry Musgrove, of Harry Musgrove Theatres, Ltd., and Sir Benjamin and Mr John Fuller, for tho New Palace Theatre, Melbourne, brought together one of the strangest theatrical combinations ever appearing together in one show. In addition to Miss Ada Reeve, now starring at tho Tivoli, whose hold on the affections of Australian theatregoers grows with the passing years, there were other great Loudon star#: Lorna and Toots Abounds and Charles Austin, of tho “Rockets” Company; Wee Georgie Harris, Arthur Lucas, Donald Stuart, Jack Kirbv, Ivy Moore, alao of “Rockets 1 * j Morris and Kuming, the Big Four, and Leonard Nelson from the Tivoli, Jennings and Gerald from tho Bijou, Carlyon’s Jazz Band.

“Little Nelly Kelly,” the George M. Cohan musical comedy, has repeated its wonderful New York success in London, where it was recently one of the few shows theatregoers were displaying any real interest in. One writer describes it as a unique production in which every artist is a dancer and the moat successful musical piece since “The Merry Widow.” “Littio Nelly Kelly” is to be produced in Melbourne later by Mr Hugh J. W T ard. Mark Dnlv the inimitable comedian of “The O’Brien Girl” and “Tangerine, ” left a smile behind him at the New Princess ’Theatre, Melbourne, for the stage staff. "When he vacated liis cosy dressing-room, which he had occupied for so long and took a personal pride in, he tacked up a card on the door on which was written “Douglas Fairbanks” in place of the one on which his own name was inscribed. After all it may have been unconscious prophecy on Mr Daly’s part. Mr Fairbanks is now starring at the New Princess in his great picture, “Douglas Fairbanks in Robin Hood,” and there is no little speculation as to whether he will not later be seen at Hugh J. "Ward’s. Beautiful Theatro in the flesh when he and Mary Pickford come to Melbourne.

FILM GGSSiP

This week tho Queen's Theatre programme is headed by the Paramount attraction “Glimpses of the Moon.” This 16 a beautifully set up picture, and deals with marriage romance of today. Bebe Daniels, Nita Naldi, and a big cast of players are seen in one of the most artistic moving pictures of the current season. The picture contains some wonderful society settings, and the stare wear some remarkable gowns The modern flapper! What an important creature she really is. Another moving picture has been devoted to her. “Auam’s Rib,” the starring attraction at. the King’s this week, besides being a great entertainment takes Miss Flapper us the subject for something in tlie nature of a treatise, and views her and her present-day loves, follies, and charms in an entirely new 'light. The cast of “Adam’s Rib” is all star. Elliott Dexter, Anna Q. Nilsson. and Theodore Koslofi. The modern version of “Camille, with Rcdolph Valentino and Alla Nazimova, is set down as the attraction at the King’s next week. If the whole of iilmdem had been searched no two better types than these two could have been found to portray the roles of tho characters *of this world-famed success. Tho story written by Alexander Dumas the younger has been praised for generations, and neither age nor time has detracted from its popularity. The screen version is said to be one of the moot remarkable screen adaptations of the ago of the moving picture. Next .week tho programme at the Queen’s Theatre will ba headed by “Kick In.” Betty Compson, Bert Lytell, and May McAvoy ai*e the leading players. Critics declare that Paramount’s “Hollywood” will be the greatest moving picture of all time. Just about everybody who is anybody in filmland is in the cast.

“Children of Jazz,” one of Para mount’s offerings for coming release, jis said to be the one up-to-date film story of tho year. Lovers of tho great sport of tlie reverted light fantastic will look forward to this» picture with anticipation. Theodore Kosloff, the famous Russian dancer, is caist in tho leading male role. “Hunting Big Game in Africa With Gun and Camera” has been termed, justifiably, “the most complete motion picture of wild animal life ever made.” The beautiful, the ugly, the swift, the ungainly—they are all there, singly and in herds—at water-holes and darting across the plain or diving into tho jungle undergrowth. Animals roam in thousands across the great plains of Central Africa. The hartebeest, food of the ]ion, keeps in herds for protection, gazelles step daintily, impala antelopes, lions, a leopard at km kill, ostriches, wart nogs, a herd of giraffes, mammoth elephants, _and the King of Beasts —all are pictured in this amazing film, now showing at the Empress. Dancing endurance tests originated long before the present American craze. In “Hunting Big Game in Africa,” the chief social event of the Ekanba tribe, consists of the matrimonial dance, in which men and women dance until they drop. The wives are chosen for their endurance. Incidentally, tlie price of a wife is anything between five to fifteen cows, and a man may have as many wives as he has cows to pay for. An elephant ie just as vain about having his photo taken as a .human being, according to the trainer of Oscar, the elephant actor in “Soul of the Boast.” Oscar not only developed into an excellent actor when introduced to the cameras, but became a “location” fiend, tremendously eager to work. Every'morning early he would trumpet loudly and stamp around in his quarters until his trainer led him out and let him practise his art before the camera.

“Temptation” featuring Eva Novak, Bryant Washburn, June Elvidge, and Vernon Steele, promises to give an entertainment full of incident and interest. It tells of restless wives and discontented husbands of a foolish woman lured on by a cynical man, and of a home-loving man fooled bv the wiles of a fascinating widow are wonderful.”

The impartial observer would never dream of accusing Charlie Chaplin of being particular about Ids wreen clothes His shapeless trousers aro just like any other old pair of tionsers, his shoes look as though they had on co belonged to a man several sizes larger than himself. However, appearances are often deceptive. Those tants that look as though they had eon rescued from the nearest garbage can, and the coat which seems to be a cross between an Eton jacket and a cut-away, aro tailored for Charlie with as much care as tho finest suit of din tier clothes that over graced the form of a Bond street beau. Charlie insists that each screen suit ho exactly similar to its predeocs; or. One of the finest boot, shops in I os Angeles has the dimensions of the Chaplin foot—almost ns famous ’ aa tlm fairy feet of Trilby—and Charlie has placed a standing older for boots, because ho is very hard on footwear. Although it is tho man who counts, tin’s characteristic costume has helped to make—■ the often imitated, but never equalled, Charles Chaplin. “The Little Church Around the Corner” deals in a dramatic manner with affairs in and around a coal-minium

town in Pennsylvania. Kenneth Harlan plays the part of David Graham, and Claire Windsor, that of .Leila Morton, the miueownor’s daughter. Four hours to make up! It took Arthur Edmund Carew every minute : of that time to transform his features ! for his role of Sveng in “Trilby ” du ! Mauricr’s famous French classic, j which Richard Walton Tully has just produced. Constance Talmadge is taking a brief rest following the completion of 4 Dulcy.” Her next picture is to be “The Dangerous Maid,” an adaptation of Elizabeth Killis’ “Barbara JWinslow, Itobel.” Ernest Lubitch, the well-known American producer, will produce for Warner Bros. Hia first picture will be a story of Europe with a small cast.

“Tansy,” a master picture, with Alma Taylor in the leading role, is a picture that combines the picturesque charm and indescribable beauty of English ecenery with a love story that is as refreshing as a spring breeze blowing over the Sussex Downs. The New Zealand public i 6 only too well accustomed to Arabian films made in California, in which Western cow ponies serve ns Arabian horses and prickly cactus plants as palm trees. Now comes an Arabian film, actually made in Arabia by a French company. Here’s a chance to see a real Arab steed, with tapering legs, and dainty hoofs, a deep chest and wellshaped neck, and daredevil feat 6 of horsemanship. The film is entitled “The Sheik’s "Wife,” and is one of the biggest European films of the year. Without loss of grip or thrill, “Lily of the Alloy” is a film which tells its atory without the aid of a single title. It is the firet long no-title picture that has ever been produced, and tells a coherent story for two hours in* the “language of action.” There is no doubt whatever about the big strides made in British film production during the last two years. The Welsh-Pearson Film Companyhave followed up their successes of tlie “Squibs” series with “The Romany,” a drama of gipsy life. All the super* stition, romance and pa-ssion, clinging to these wanderers have been woven into a story that sweeps swiftly along to an astounding and thrilling finale. It is beautifully produo'xl amid Scottish highland scenery^ “The Great Lover Louis BennisoxVs stage success, has been made into a motion picture. In a delightful manner, it deals with the caprice and whimsies of grand opera artiste. The leading figure, the idol of the gentler sex, is the famous tenor, Jean Paurel, played by John Sainpoxlis, well-known aptor of the American stage. Every day was ladies’ day with Jean Paurel, and eo they called him “The Great Lover.”

Another Zane Grev story to be screened is “Golden Dreams,” full of thrills from start to finish. Tlie “piece do resistance” is the scene in which the wild animals of a travelling circus are let loose on the villain ana his band. Zane Grey himself is a great traveller, and spends part of each year in tho great South-West, whore “Golden Dreams” takes place. Fritzi Brunette, whose name fits her big, black eyes, and dark hair, is the schoolgirls’ favourite actress. Out of e\ery ten letters she receives from admiring picturegoers, nine are from school children. She will be seen shortly in “A Wife’s Awakening,” a Master Picture.

Colleen Moore plays the title rol© in “Tlie Wallflower,” a Master Picture, and a _ more captivating little wa&j flower it would be hard to find. Miss Moore has demonstrated her ability for comedy many times, particularly in “So Long Letty,” and “Dinty.” _ “Slander tho Woman,” showing at Everybody’s this week, is a gripping uUjma- on the subject suggested by the title. Dorothy Phillips j3ays the part of tho girl, who was judged unjustly by the world on circumstantial evidernoe. Angry and hurt by the insults of society, she took refuge in her mountain lodge, where- more exciting adventures awaited her. This film furnishes excellent entertainment throughout. Also screening is “Women u ait > ’ starring Creighton Hale and Marguerite Clayton. “Babies or Wealth P” is the straightrorward theme of “The Poverty of Riches screening at the Empress this jveck. Jjeatrice Joy, Richard Dix, | Jjouiso Lovely, and John Bowers prove most conclusively that riches do not i always make for happiness and that the poor are sometimes rich.