THEATRICAL AND MUSICAL NOTES.

Otago Witness, Issue 3549, 28 March 1922, Page 44

THEATRICAL AND MUSICAL NOTES.

Bi

PASQUIN.

Monday, March 27.. The bill announced lor the first presentation at the Princess Theatre to-night is a well varied one of 10 acts. Of these four are entirely new—viz., the Darwinians (who give a brilliant exhibition on a revolving ladder). Pagden and Stanley, the Rodger Trio (sensational acrobats), and Beaver (the ta.king juggler). The artists retained from last week are James Teddy, the world’s champion jumper; Tubby* Stevens, the diminutive comedian; Rustus and flanks, dancers; and the others engaged are the Honolulu Four and Kennedy Bras. Miss Ella Shields, the famous male impersonator, will open a Dunedin season on Wednesday night. Miss Shields is bringing to Dunedin the same company of vaudeville artists that supported her through her Australian tour. The Dunedin season, which is limited to four . nights, will commence next Wednesday. Miss Marie Tempest, in association with Mr Graham Browne and her tour company, will commence a farewell season under the J. C. Williamson direction at His Majesty’s Theatre on the 29th inst. For the opening attraction is announced “Mr Pirn Passes By,” a three-act play that has proved singularly successful in England, and more recently in Australia. In addition to t.he principals, those also appearing will include Messrs Ashton Jarry, Frank Ailanby, Steff M‘Donald, Mi sses Marie Ney, Dorothy Hamilton. Armoral Kemp, Doris Giiham. and Kathleen Gardiner. Mr Wilfred Cotton, who is well known in theatrical circles in New Zealand, will manage the tour for Miss Tempest. The repertoire for the season will include plays new here, an( l r a number of old favourites. “Tea For Three” is another new play which will be presented by the Tempest-Browne company. Many of my readers will be interested to know that we have a talented young dancer in our midst in Mr Leslie C. Reynolds. Mr Reynolds has been associated for the past eight years with the world’s most famous dancers, including those of the Russian Ballet. He has studied under Lydia Kyasht, the Russian premiere danseuse; Mile. Rerra de Moroda, the famous ailc . er * and the only true exponent of the Grecian art living; also M. Ali Khan who specialises in Persian and Egyptian dancing. Miss Anna Pavlova was particularly interested in Mr Reynolds as a male exponent of the art. and expressed her best wishes on his sailing for New Zealand. It is to lie hoped he may be seen in public before leaving the Dominion, and some lessons would no doubt be appreciated by those who are desirous of studying the art of classical dancing, which is 'so much in vogue at the present time. Mr E. J. Gravestock will arrive from Australia next week in order to organise the forthcoming tour of Miss Rosina Buckman, New Zealand’s world-famous queen oi song. Mr Gravestock, who is well known in musical circles, directed the recant tours ot Dame Clara- Butt and the N.S.W. State Orchestra. He recently resigned from his position as concert manager for Messrs J. and N Ta.it, whom he was with for 10 years, and will in future direct his own enterprises. Miss Buck man is the first of a series of international celebrities promised Mr Gr nvestock Prior to coming to Australia, the new enterprenour was associated with the concert profession in Lon don for 10 years, during which time he was closely connected with the business control of most of the world’s best-known musicians. Miss Buckman will be supported by her husband, Mr Maurice D’Oisly. a well-known Engliso tenor. Tile tour of the Dominion will commence at Auckland towards the end of Mav.

the Only \\ iv.” the most popular of the modem acting versions of Dickens’s "Tale of Two Cities,” was written in collaboration by Canon Frederick Langbridge, who died _ at Limerick in January, in his seventy-third year, and Freeman Wills. Other plays by Canon Langbridge had not the same success. He was a facile writer of verse and of novels, such as “The Dreams of Datiia” and “Love Has No Pity.” Duncan Nevin writes to say that lie is just off on a tour of Canada.' He expects to be back in Sydney’ about Christmas. Mr Victor Prince, who returned to Williamson musical productions recently after some vears in other forms of acting, has been appearing in Gilbert and Sullivan opera m Sydney. One of his parts is the Grand Inquisitor in “Tile Gondoliers,” first played in Australia by his father, Mr Howard Vernon. Apropos of the gorgeous dressing of ihe modern pantomime. an English writer states: “When watching Clarice Mavne in ‘Jack and the Beanstalk’ at the Hippodrome, I couldn’t help wondering why the cow had to be sold to pay the rent, while Jack’s wardrobe would have fetched a fortune. For never had principal boy so many sets of dazzling raiment. Even when Tie' climbed the beanstalk he took up with him at least four costumes, which he changed on the giant’s premises whenever he could get off ihe stage long enough to get info something still more swish than its predecessor. Clarkson in all his glory never arrayed anyone more gorgeously than dance Marne.” Clarice is the lady

who has been drawing £3OO weekly during the pantomime season in England. Connors and Queenio Paul were at latest, appearing at Fuller’s New Theatre, Sydney. Allan Wilkie is forging ahead at a great rate with his Permanent Australasian Shakespearean Company. When the organisation started on its career some 18 months ago, even enthusiasts were doubtful as to how long it would survive. Allan Wilkie alone was sure that it would succeed and help along his ambition to make Shakespeare popular in this part of the world. Now he can claim to have staged 12 plays in 50 towns in the Commonwealth and New Zealand. More than 500,000 people have witnessed Mr Wilkie’s productions, and in all the leading centres the social, civic, and educational heads have feted the enterprising actor-manager. A fortnight ago, at the Palace Theatre, Melbourne, the return season was opened with “Julius Caesar.” The Governor-General and Lady Forster showed their sympathy with Mr Wilkie’s endeavour by being present. The company is to appear in Sydney at Easier. Observations by Marie Tempest, who is touring New Zealand, are at least always interesting. Writing to a London theatrical paper, she says of present-day plays:—“One might as well expect to live and thrive on a constant diet of pies and cocktails. The world is suffering from moral indigestion that has inevitably followed years of gross war-feeding. There are in the British Empire millions of young men and women who have never had the opportunity to form rational and refined tastes in regard to theatrical productions. Offer such people the best, comedy, arid they simply won’t understand it —they don’t know what it means.” Says the critic of the Sunday Sun: “To Marie Tempest and Graham Browne are due the sincere thanks of theatre-goers for affording them such a superb interpretation of one of the best English comedies tlyit has been seen her for years. On the scale of excellence, ‘Mr Pim Passes By’ is as much above the type of American plays that have been dragged here during the past year or so as rare wine surpasses on the scale of taste the charms of gingerbeer that has been allowed to stand with the cork out.” The new managerial arrangements of Mr Hugh Ward, and the collaboration with him of Sir Benjamin Fuller, are subjects of much interest in theatrical circles. In his early appearances in Australia, Mr Ward played “old man” character parts, and many theatre-goers were surprised when they found that he was comparatively youthful. His make-up was always excellent. A memorable specimen of his skill in this way was his representation of the Emperor of China, in “San Toy.” After varied stage experience in A meric he made his first appearance here as an old man in the second production of “A Trip to Chinatown.” His comedy and dancing were features of many later Williamson productions. Afterwards he had his own companies, at one time in association with Mr George Willoughby. He toured India and other Eastern countries, as well as Australia and New Zealand, and after appearing in London and Paris he was back in management in Australia when he joined the Williamson firm. ‘ That was before Mr J. C. Williamson’s death. Mr Ward has shown a special gift for directing carnivals for charitable and patriotic purposes, and his work in this direction at the time of the war was remarkable. Sir Benjamin Fuller is a son of Mr John Fuller, am English tenor, whose singing was long familiar to audiences in all parts of Australia. In New Zealand members of the family established an entertainment business which gradyally spread to many parts of the island. Then the business was linked up with Australia, at first in association with the_ Brennan vaudeville •Sir Benjamin Fuller and his brother, Mr John Fuller (the younger) direct entertainment enterprises of several kinds, with representation in all the leading cities of Australia and New Zealand. In Melbourne they control the Bijou, Gaiety, Palace, and Princess Theatres, and in' Sydney the National Theatre and the Grand Opera House.

IVE( LINCTON WING WHISPERS

Br Petek Paw March 24. Dear “Pasquin,”—Maude Hanaford and William Kelly concluded their Wellington season in “The Sign on the Door” to-night. The play was much appreciated, but the attendances were not what such a fine play and such capable acting merited. To-morrow night we are to have Miss Marie Tempest and Mr Graham Browne in “Tea for •- hree.” This company should do better tor there has been a reduction in prices to 6s, 3s, and Is. The theatre-going public, is not able to stand the 7s 6d racket" and managers, seemingly, are recognising this fact. Miss Tempest is always delightful, and it is to be hoped that she will have large audiences during her limited season here. For Easter we will have Ella Shields and her company back again—and I understand at reduced prices of admission. Williamson’s “Merrie England” opera company will bo at Auckland for the holidays. Mr Jack Lovelace arrived on Monday from London. He is a moving picture producer with much American and Continental experience, and it his intention to float a company to erect an up-to-date studio in New Zealand and produce film plays. THEATRICAL ENTERPRISE. INTERVIEW WITH MR HUGH WARD. (Fbom Our Own Correspondent.) AUCKLAND, March 21. Some interesting particulars regarding ihe new theatrical organisation which has just been formed in Australia were supplied by Mr Hugh J. Ward, one of the principals, who recently resigned from the directorship of J. C. Williamson (Ltd.), and who is a through passenger by the Makura for Vancouver. He stated that the firm was to be known as the Hugh Ward Theatres (Ltd.), and that it had been formed for the purpose of producing high-class attractions, ranging from farce to grand opera. There were three members of the firm—viz. : Sir Benjamin Fuller and Mr John Fuller and himself. The two former would continue to devote their chief attention to their large vaudeville interests, while Mr Ward, as managing director, would give all his time to the enterprise bearing his name, his partners from time to time giving him assistance in t.he direction of business advice. Mr Ward made it clear that the Fidler firm and the new one would be completely separate entities, with himself as chairman of directors of the latter.

“We have taken over the Princess and Palace Theatres in Melbourne,” he continued. “and intend to spend at least £30,000 in redecorating and beautifying them, a little architectural reconstruction being necessary. In Sydney we take over the Grand (Ipera House, w here w e will play spectacular pieces, such as pantomimes, etc. We also intend to build in that citytwo of the finest theatres in Australia, and a site for one of tb6rn has already been secured. Fullers have also placed at the disposal of the new firm two theatres in Western Australia, one in Brisbane, and two in Adelaide, and have given it a calf on any of their theatres in New Zealand for the presentation of attractions. Wo shall thus be thoroughly independent of any other theatrical combination owning theatres where first-class attractions are offered.” Mr Ward said he was leaving for America and England by the Makura to obtain plays for production in Australia and New Zealand, and to secure artists. The firm had under consideration the building of a new theatre in Auckland, said Air Ward, and a site had been suggested.