The Stage

Otago Witness, Issue 3713, 12 May 1925, Page 64

The Stage

SOOKINCS.

PRINCESS THEATRE. Pullers’ Vaudeville. HIS MAJESTY’S THEATRE. April 30 to May 6. —Thurston Hall Comedy Company. May 9 to 16. —Harry Lauder. May 30 to June 13.—J. C. Williamson (pencilled). June 15, 16.—E. J. Carroll (Kreisler). J une 27.—E. J. Carroll (Hawaiian Musical Company). June 29 to July 14.—Allan Wilkie (pencilled). July 18 to 27.—Elsa Stralia. BURNS HALL. April 30, May 2, 4. —Edna Thomas, Recitals. ANSWER TO CORRESPONDENT. M. C. P., Hcriot.— Has already appeared. THEATRICAL AND MUSICAL NOTES. Br Pasqtjin. Monday, May 11. . _‘‘ Tile jr ad >' Buccaneers,” Gayle Wyer's hnn A re ii' e ’ P rovt ;tf a popular attracf..?" the Princess Theatre lust week. Uio production was presented in a right and highly entertaining form, and an attiactive feature was the dancing by the chorus and the singing. On the vaudeville Side some good turns were provided. The .o Daveys are a skilful and amusing pair of jugglers, and Cardini, the card manipulator, succeeds admirably in keening his audience mystified. The balance of the programme was contributed by Anita oil awe (the personality comedienne) and Harry Taft, whose turn includes a number r son £ s whistling novelties. Ihe great Scottish entertainer, Sir Harry Lauder, opened his season at His Majesty's lheatre on Saturday night. He proved just as versatile and entertaining as ever, ana had a great reception. Among his new numbers none was more popular than his fine character study. “The Boss o’ the Hcose.” This was one of the finest things in nis remarkable repertoire. Another new

song was “The End of the Road.” Sir Harry remarked at Invercargill the other day to an audience that crowded the Municipal Theatre that he intended t.o retire at the end of this world’s tour. He had, he said, 25 years in the entertainment world, and had always tried to bring sunshine and laughter wherever he went. The Thurston Hall Company concluded its season at Ilis Majesty’s Theatre on Wednesday night, when a thoroughly satisfying performance of “The Broken Wing” was performed. A feature of the production was the splendid stage effects achieved.

The annual meeting of the Dunedin Choral Society was held on Tuesday night in the Bristol Concert Chamber, and was attended by some 100 members. The Hon. G. M. Thomson (president) occupied the chair. The annual report stated that the honorary membership at the end of the year totalled 523. The active membership now stood at 129, including a few on leave. The following office-bearers were then elected for the ensuing year Patron, the Governor-General; vice-patron, the Mayor of Dunedin; president, Hon. G. M. Thomson. M.L.C.; conductor, Dr Galway; leader, Mr J. Wallace; accompanist, Miss Hartley ; hon librarians, Mr Leslie Adams and Mr J. Clarke; hon. solicitor, Mr W. R. Brugh; hon. auditor, Mr David Leslie. “Off to London?” said a friend to Mr Walter Fuller who has booked his passage by the Corinthic, which sails on June 10. “Yes,” said Mr Fuller, “and I am indeed sorry to leave New Zealand, where my wife and I have made so many friends.” 4 'When do you expect to return?” Mr Fuller was asked. His reply was a deprecatory shrug of the shoulders. The following players, all well known in Australia and New Zealand, were London casts on March 11:—Irene Browne, Joseph Coyne and Vera Pearce in “No, No, Nanette” ; Madge MTntosh in “Smaragda s Lover.” . , , J. C. W r illiamson, Ltd., have secured the option by which they will control the company which at present owns the Coliseum '1 heatre in Queen street, Auckland. If the arrangement is concluded, £30,000 will be spent on the completion of one of the finest theatres in Australia or New Zealand. That theatre-going is not compatible with a Christian life is the view of the Rev. •Tames Baillie, a well-known Baptist minister, of Bath. In nearly every play, he says, there is a villain in the piece. Even in Shakespeare’s best-known plays, such as “Macbeth,” “Othello,” or “Ring Lear, the vices of malice, envy, deceit, and lust are shown up in all their cunning hideousness and foulness. Actors who have to reproduce such a character effectively must study it closely and work it up with intellect and emotion until it has become a passion. The actor has to live day in nnd dav out, absorbed in the character. What is the effect on the moral qualities of this prolonged brooding? “As a Christian man I cannot purchase my recreation at the expens© of another man a soul, Mr Baillie adds This outburst has been provoked by prominent Nonconformists cx P r !? s ' nrociation of “The Passing of the Ihird Floor Back,” as a “magnificent sermon preached from the stage. i„A; o 4;« 0 P The German import and export of 1924 show that 2,830,617 metres of films were imported into Germany while above 12 500,000 wore exported. This shows Germany exported 9,000,000 metres loss than IW A'pinuant situation was created recently In London theatrical circles by a letter from Mr Leslie llenson, manager and oomedian to Mias Cicely Dehenham, the musical comedy star. As a result of th« criticisms and suggestions in this letter, Miss Deben-

bam threw up her part in ‘'Patricia,” the musical comedy at His Majesty’s Theatre. “My only criticisms,” Mr Henson stated in referring to the matter, “were such as any manager has a perfect right to make. Miss Debenham did not agreo with my point of view. She treated the letter as a personal affront. I have asked her to reconsider her position, but in the meantime a substitute will be found. Miss Connie Clive has taken up the part, but she is due to start on. tour. Miss Norah Russell, who was the original understudy, will probably carry on for n time.” Miss Debenham said that she re--ceivecl the letter just as she was going on the stage. “I was not feeling well at the time,” she added, “and it upset me very much. Mr Henson is my greatest friend, and I had no idea he could write such a letter. Anyway. I am too ill to go on playing the part, even if I wanted to do so.”

Although little known to the Auckland public, a complete motion picture studio has been in full swing ns>t 50 yards from one of Auckland’s busiest thoroughfares for some four or five weeks (says Auckland Herald). A few steps from the busy street, with its ceaseless bustle, the rush of trains and the noise of factories and traffic will bring one into the old-world ballroom of Government House in the days of Sir George Grey. Here the charming crinolined ladies and gallant gentlemen curtsey and bow to the strains of a mid-Yictorian orchestra. Here, also, would be found the bewhiskered officers of the 65. th in their uniforms of red arid gold-braid magnificence, the captains of the old-time four-masters, politicians, land company officials, and citizens of Auckland, in those stirring and eventful days of the Waikato War. Sir George Grey’s farewell ball to the British regiments on the eve of their departure for the front, forms one of the most picturesque and fascinating epi-

sodes in “Rewi’s Last Stand,’ the film romance of the “Battling Sixties,” founded on historical fact produced from his own story by Mr Rudall Hayward, and from the historical information in Mr JamesCowan’s books on New Zealand Wars, published by the New Zealand Government. The “Travellers’ Rest” Inn, used as the head quarters of the Forest Rangers, that famous band of guerilla, warfare troopers, led by the beloved Vcn Tempsky has been reproduced on the screen by Mr Hayward from drawings and information kindly supplied by a descendant of the owner. Pauline Frederick continues (to hold enthusiastic audiences at Melbourne Palace in “Spring Cleaning.” The Allan Wilkie Company brought its series of Shakespearean productions to a close in Melbourne, and later staged Goldsmith’s delightful comedy, “She Stoops to Conquer.” Referring to this company’s performances the Australasian says: —“The season just concluded has been a rare treat for lovers of Shakespeare, though they show a very strange taste in crowding to the plays which are best known and most often acted, and going in comparatively small numbers to those which one seldom has the chance of seeing. The most popular plays have not been the comedies alone. “Hamlet” and “Macbeth,” as well as “Twelfth Night,” had crowded houses, and “Cymbeline” and “The Winter’s Tale” not at all well patronised. One would imagine that “Cymbeline,” “The "Winter’s Tale,” “Two Gentlemen of Yerona.” would be more popular than tragedies, and that it would take less mental effort to follow them for the first time. Miss Joan Muirella (Auckland) had a good audience at the Wigmore Hall this week on the occasion of her second recital in London, says The Post’s English correspondent, writing under date of 14th March, when she sang in Italian, German, and English, her programme being an attractive and interesting one. The Times says that Miss Muirella is gifted with a voice that is beautiful in quality, “but she has not yet added to Nature’s bounty the art which w'ould enable her to control it and make it sound even throughout its range. It is partly a matter of diction; the singer’s teeth never come to grips with the consonants, so that her words are indistinct and the vocal-line lacks backbone. But there is also a fault in the rhythmic sense, which that infallible test, the recitative of Mozart, exposed immediately. This was broken up into jerky phrases of two or three words, instead of carried through as a continuous declamation. The simpler problems of the aria were more successfully overcome, and the other songs were well sung within the somewhat narrow limits of the singer’s interpretative powers.” It is an interesting fact that Pauline Frederick originally intended to become a grand opera singer. However, she decided to go in for light opera instead, and later graduated into drama. She starred with William Gillette in “Samson,” and her appearance in “Joseph and His Brethren,” “Innocent,” and other plays established her as a star in her own right. On the screen she holds a supreme posinot only by reason of her acting ability, but also because of her remarkable powers of emotionalism. One of her greatest successes was achieved as Donna Roma in the picturisation of Hall Caine’s “Eternal City.” i Galli-Curci, like other great artists, found that poverty was a great incentive to ambition. Her paronts met with serious business reverses, and it became necessary for her to give piano lessons to help keep the family out of want. While she worked very hard, she let no day pass without devoting part of it to her voice, urged on by the encouragement given her by Mascagni ; nnd after the family had extricated itsolf from financial difficulty, she went to Rome to try her fortune in opera, and soon afterwards made her debut at the Costanzi Theatre. Her debut was a success, and she signed a contract at the munificent fee of 25s per performance. This was the beginning of the career of the singer who is now said to be drawing the highest fees ever paid to a prima donna in England, America, or Australia. WELLINGTON WING WHISPERS. fßj Pkteb Pan.] May 7. Dear “ Pasquln,”—Galli Curoi is coming. Bert Royle, J. O. Williamson’s Dominion representative, has received definite advice that the songbird will give five concerts in New Zealand, but. unfortunately for you, she will not visit Dunedin; concerts will be

given only in Auckland and Wellington. Ji is understood that time will not permit Galli Curci to visit the South Island. Three concerts will be given in Auckland and two in Wellington. I'he system of pieferential booking will be adopted, and it will cost one guinea (plus tax) per head to heur f ae l U( ly. Her husband, Homer Samuels, is her accompanist, and Manuel Berenguer is the flautist.

Following on the above announcement comes advice that Elsa Stralia’s proposed tour of the Dominion lias been abandoned. Ibis is a pity, lor the Australian contralto nas been having a wonderfully successful tour of Australia.

e xt week, on the 12th, 14th, and 16th. VVnliam Heughan, the Scottish basso, will give recitals here. Ibis is his third visit to Wellington, and no doubt it will be as successful as the previous ones. He speaks with enthusiasm of the great time he had m Dunedin, and all through Otago and Southland. W hen the New Zealand tour finishes next month Ileughan will go to Canada and the United States. Hyman Lower, the Australian violinist, will accompany him.

Wellington is to be the opening city for the tour of the J. ('. Williamson Comedy Company in “ Wildflower ” and “Miss Nobody from Nowhere.”, Marie Burke, an English artist, heads this combination. Charlie Berkeley will be clown from Auckair week to prepare the opening. Alfred Frith is the principal comedian. Some members of the Wellington Professional Orchestra were of the opinion that the orchestra should go into recess for this winter, but W T alter Fuller (a great enthusiast in the cause of good music) persuaded them to carry-on for this season. Frank Crowther, who is musical director at Ilis Majesty’s, and also conductor of the Professional Orchestra, intends making a trio to the Old Country next year, so this will be the last season he will conduct the orchestra.

Kaai s Hawaiian Troubadours concluded their season at the Grand Opera House last mght and have left on a short tour of the smalls ’ of this province before proceeding to the South Island.

There is a great vaudeville bill just now at His Majesty’s. There are 10 acts, and all of them good. Paul Warton and cornpan v give a thrilling display of acrobatics with the aid of a springboard: it is a great act. Then there are Amy Rochelle (who grows more popular every week), Estelle Rose, the Alton sisters, Sandrisi and Copelh, Yideau and Kirby, Victor Burke (who has sung himself into the hearts of Wellington audiences). Charles Stein wa/, Ernest Pitcher* and Curly Sherwood. No wonder business is tophole.

MUSIC AND DRAMA. NEW PLAYS FOR THE DOMINIONS. „ __ _ „ . LONDON, March 19. Mr J. rs. J- ait, London representative of Messrs W illiamson, Ltd., has returned from a business visit to Italy. He was able to make arrangements with Madame Toti Dal Monte, the leading soprano in the Grand Opera Company which was recently in Australia, to come to London to sing in opera later on in the year. This will be the gifted artist s first visit to England, though on returning from Australia she scored a gieat success with the Chicago Opera. Company and the Metropolitan Opera Company at New York. At Covent Garden, she will sing in “Lucia di Lammermoor.” “II Barbiere c!e Seville,” and “Rigoletto.” Madame Lina Scavazzi, who was also a favourite in Australia, was recently offered the leading part in Catalini’s opera “La Walla,” at the Sc-ala Theatre, Milan, but she was unable to accept the engagement, as she is fulfilling engagements at Algiers and Tunis in “La Tosca,” “Fedora,” and “Aida.” She will also be performing at the Constanza Theatre, Rome. Messrs Williamson, Ltd., have bought the Australian rights of “Katja the Dancer,” “The Pelican,” and “Spring Cleaning.” and all three will lie produced in Australia this year, and in due course in New Zealand. “Katja the Dancer,” a new musical comedy, is being played successfully at the Gaiety Theatre. The two dramas are probably the movst successful of the London season. “The Pelican,” which was put on at St. Martin’s Theatre and is now at the Royalty, is of the strong human type, and it seems to have been based on what is known as the “Russell Case.” A man challenges his own parentage of his wife’s child, and, after Ihe court cose, the woman takes the child to France and educates him, and the man re-marries. When the boy grows to be about 17 his tendencies and his appearance prove beyond doubt that he is the legitimate son. The woman is about, to marry a Frenchman, but for the son’s sake she re-marries her first husband, second wife has in the meantime died. The plot, is very well worked out, and the play lends itself to strong dramatio acting. Its authors are F. Tennyson Jesse and H. M. Harwood. Much has been said and written about “Spring Cleaning.” Briefly, it is the story of a hard-working business man who tries to save his wife from her fashionable decadent friends. One of his remedies is to bring in to a dinner party given by his wife a woman of the demimonde, on the principle that her morals are no worse than those of the men and women his wife is entertaining. Some of the leading actors in both these modern dramas will be chosen in London. The remainder of the companies will be made up in Australia. Messrs Williamson, Ltd. are gradually extending their interests in Great Britain. They have an interest in “Lightnin*,” a comedy known in the Dominions, which is at present being played at the Shaftesbury Theatre, and also in the new opera, “Frasquita,” by Lehar, author of “The Merry Widow.” This work, of the Carmenesque typo, has had nn enthusiastic reception at Edinburgh, Glasgow Manchester, and Liverpool, with Miss Jose Collins as lead, but it has not yet been staged in London. [Some of the plays mentioned above are already being played in Australia.—Pasquin.]