THEATRICAL AND MUSICAL NOTES.

Otago Witness, Issue 3757, 16 March 1926, Page 76

THEATRICAL AND MUSICAL NOTES.

By Pasquin. (I«rge Ward, and his merry band of ttCartainers are recognised as amongst t&o? special attractions that Fuller’s bring W New Zealand, and their latest revue—- * Keeping Fit ”—drew big houses to the Princess Theatre last week. As always, fun is the keynote of this excellent George Ward show, and in the hands of the pro«Vio*r himself, Bert Le Blanc, and Les Warton, the fuu was fast and furious throughout. New songs in novel settings were introduced, and a clever ballet attended with characteristic ability to the dancing sid-i of the revue. The vaudeville portion of the programme was a particularly good one, and the appreciation of the big audiences during the past week was pronounced. First, there were the Janetski Trio,, expert lnusiciahs who charmed their hearers with a variety of melody specialities. The Romano brothers presented “ living statuary,” Florence and Clifton produced comedy and thrills, and the “singing rover” —Alec. Kellaway—was heard in new and pleasing solos. A complete change of programme will be presented to-night. The first change of programme in the present dramatic season at Ifis Majesty’s Theatre was made on Thursday evening, when the distinguished English actor, Guy Bates Post, who won such favourable opinions for his clever work in “ The Masquerader,” appeared in “ The Green Goddess.” The large audience that gathered indicated the widespread interest in the occasion. In the part of the Kajah Mr Post found full scope for his rich and varied talents, and created a character that will live long in the minds of all who witnessed the performance. His appearance and every movement, as well as his words, suggested that ugly and

sinister figure—a man in whom all the learning and graces of what we call civilisation has failed to touch or restrain the elemental animal passions. At the same time his creator made it clear that there is something to be said for his point of view, and at times one felt that the Rajah scored heavily with some pointed contributions to the eternal controversy between East and West. Without in any way detracting from the Rajah’s outward charm of manner Mr Post always gave a subtle and indefinable suggestion of something ulterior and not to be trusted. As Lucilla Miss Eileen Sparks gave a spirited and graceful characterisation of a true woman, courageopr to the death in the face of fearful danger. Mr Leslie Victor gave an orthodox and distinctly humorous portrait of Watkins, the rascally attendant of the Rajah, and really was responsible for most of the humour that is to be found in the play. Mr Winnington Barnes showed Major Crespin as s. rough, hard-swearing Englishman, with no manners and a strong addiction to whisky. As Terence, Mr Eric Maxon had a far more pleasing part, and he played it quite satisfactorily. Another of the company who made an important contribution to the success of the piece was Mr Ashton Jarry, as the bearded and fanatical high priest of Rukh. A large number of supporting actors made up the pictuesque servants-in-waiting, regular and irregular troops, priests, musicians, and litter bearers, ‘* The Bad Man,” a delightful comedy, the third production, will be staged to-night and to-morrow night. Essie Jennings, back from her six months’ trip to America, declares that home is best, and the best fun in the world i&vplaying in Jim Gerald’s revue at Fuller’s (says a Sydney paper). “America is a good place for a holiday,” she says, “but I am a real Australian, and this country will do me. I saw a greut many new plays, but the majority were a rehash of the old stuff. I managed to secure one or two good scrips, and these will be duly presented at Fuller’s, with my husband in the chief comedy role. Australia is the actors' paradise. < It costs money even to breathe in America. Although salaries may be higher there, expenses are so much greater that in the long run an actress is better off in Australia than earning bigger money in the United States.” The first of the series of short British films mingling romance and racing, in

which Steve Donoghue, the jockey, will appear, is “Riding for a King.” Jt is well underway, and tells how a jockey who has been the devoted admirer of a lovely girl since he gave her riding lessons, comes to ride in the Lincolnshire Handicap for the man to whom she is secretly married. The Auckland Choral Society will open its 1926 season with Gounod’s “Faust,” about May 13. It was originally intended that Coleridge Taylor’s “Hiawatha” should be the first production, but since the society lias been fortunate enough to secure the services of Arthur Jordan, the celebrated English tenor, for its next concert, it has been deemed advisable to put on the opera first, and thus give the celebrated singer a bigger opflprtunity of displaying his fine voice. “Primrose” and “Betty” are to come to New* Zealand shortly, but definite dates have not yet been pencilled. Mr Dion Coucicault and the members of the company he has engaged in London on behalf of J. C. Williamson (Ltd), are to open the Barrie season at the Melbourne King’s Theatre on March 20. the initial production being ‘Quality Street.” An interesting feature of the cast will be the inclusion of Miss Mary Jerrold as Susan, the role she played in the recent London revival. Regarding her performance the Daily News said:—“The most notable feature of the acting was the fragile humour and pathos of Miss Mary Jerrold’s Susan. It was as beautiful as an old mezzotint.” On their way to Melbourne are the principals of the J. C. Williamson (Ltd.), Gilbert and Sullivan Opera Company, who are to open at His Majesty’s Theatre, Melbourne, following the season of the famous Pavlova. The artists coming include Strella Wilson, who has won a high place on the operatic stage in America, Sydney Granville, Winifred Williamson, James Hay, Charles Walenn, Kathleen Anderson, Betty Blackburn, and Raymond Ellis. Lance Fairfax. Bernard Mannrng, and others will join the company in Melbourne. The opening piece will be “The Gondoliers.” Minnie Everett will produce. In his younger days, John Ralston, now playing Schubert,, in “Lilac Time,” at Melbourne Theatre Royal, was associated with the late Henry Bracy. who, it will be remembered by those who knew him, was something of a dandy and particularly careful of his boots. These were of immaculate patent leather and were always brilliantly polished. Mr Ralston happened to tread on Bracy’s foot, leaving a smear of mud. The actor glared at him, restraining his anger with difficulty, then turned away. Next, morning, at rehearsal, Mr Ralston greeted Mr Bracy with a cheerful ‘Good Morning.” Bracy looked 11m straight in the face, and said severely, by way of reply, ‘There are some very people in the world, don’t you think?”

In referring to the departure for Melbourne of Mr Dion Boucicault and the company engaged by him on behalf of J. C. W llliamson (Limited) to appear in a series of Barrie’s plays, the London Daily Express referred to Mr Boucicault as “ a producer that every member of the profession looks, up to. At the age of 66,” said the Express, “ Dion Boucicault remains the most efficient of stage producers. His handling of C. E. Openshaw s c All the King's Horses,’ in which his wife, Irene Vanbrugh, will appear at the Globe, is masterly in its knowledge and precision. You never hear such things as ‘Wouldn’t it be better if J stood here?’ or ‘Let’s try it this way.’ He knows every word of the play, and lie knows every part all through, and he can visualise the play as it will be on the first night. In their recent trip to Australia, it is said, Boucicault made £50,000. Now he is going back again to produce the Barrie plays, and he will rehearse the company on the boat the whole way over.” Altho. h still in the early twenties Miss Elsie Prince has been a leading comedienne on the London musical stage for several years, a distinction she achieved at 17, when she was cast as Aladdin in a Hippodrome pantomime. Her success was never in doubt, and in the opinion of Mr Julian Wylie, a noted producer, she was certainly the best Aladdin and one of the best principal hoys London has ever seen. In revue, too Miss Prince has had triumphs, and it was as a dainty and alluringly vivacious figure in “ Brighter London ” at the Hippodrome that Mr Hugh J. Ward saw her. and decided to bring her to Australia for the title role in “ No, No, Nanette.” Several engagements have already been offered Miss Mascotte Ralston, who came second in the Melbourne Sun Pictorial beauty competition, by local representatives of film companies. Miss Ralston is said to be a perfect screen type, and a big career has been predicted for her in the pictures. Miss Ralston, however, is content to stay in Australia for the time being until she has had further experiMr Harry I. Cohen is in London again, general r .anager for Westlan Productions (Limited), now staging at St. Martin’s Theatre a play entitled “ The Ghost Train.” After 12 years of married life Victoire Hale secured a decree of divorce from Creighton Hale, screen star, on the ground of desertion. The tfro children were given to the custody of Mrs Hale. Herschel Henlcre, whe .was in Dunedin some weeks ago, stepped off the boat from New . ealand one day recently at 12.30, and appeared at a Sydney matinee two hours afterwards. W. T. Parke, an eighteenth century oboist, records that ,in 1789, during the Covcnt Garden season, which began (a coincidence) on January 26, “there were presented for the first time a pantomimic ballet, adapted from the French stage, called ‘Thcp Death of Captain Cook,’ with the original French music, which is highly descriptive nnd ingenious.” One of the actors had the had luck to get a fatal stab during the scuffle between Cook and the savages. Gwen Burroughs is returning to Sydney from America by the Sierra, and also Marion Marcus Clark, who has been over there for many years. Both are to play in “The Seventh Heaven” in Sydney, a new drama, for which the leading lady will be Remy C'arten, an American actress. George Parker is returning to produce the piece. Miss Burroughs was lost in Dunedin with Louis Bennison.

Kitty Reidy and Howett Worster reproduced in London the Australian success in the production of “Wildflower.” Both were repeatedly recalled. Critics, however, are divided in their opinions. The Daily Mail says: “Pretty Kitty Reidy was emphatically successful. She has a volte of a quality seldom heard in musical comedy, but it is a pity that she cannot forget the audience. *We are alone together,’ she whispered to the flower, at the same time ogling the dress circle. Such little things jarred.” The Daily News critic was not impressed. The success of “Wildflower,” says The Times critic, was largely due to Kitty Reidy, whose singing was one of the most pleasant parts of the entertainment. She can also act, and dances competently. Renee Kelly, who is playing her original role of Judy in “Daddy Long-Legs” at Melbourne, recalls some queer performances in which she has taken part. The most uncanny performance of “Daddy Long-Legs” was given at St. Duustan’s Hospital, in England, for the blind soldiers. The whole company took part, but, of course, there was no scenery. To play to row- and rows of sightless eyes was an experience Miss Kelly found exceedingly trying. The blind men, she says, followed the action of the play without difficulty, and took the comedy much quicker than the average audience. Another peculiar experience, says Miss Kelly, was playing this piece to the Mormons of Salt Lake City. Most of them occupied boxes, and had their wives with them, but they refrained studiously from laughing. Mr Edwin Dennis, of Wellington, has been appointed for the second year in succession adjudicator in the musical section at the Oamaru competitions. His \vi. Eugenie Dennis, will judge the dancing events. . Tl ' e Don Cossack Choir, which is due in Australia in April, made a welcome appearance at the Queen’s Hall, London, with Russian folk songs, among which was the , X° lg , a Boat Son K-” The choir, under the baton of M. Jarov, showed an amazing capacity for crescendo, the tone varying from a whispered pianissimo to a iorte which was superb in its volume and fierce power. The Kedroff male quartet, made up of singers from the Tsarish Imperial Opera House, appeared at the Albert Hall on the same afternoon, so London was treated to a plethora of Slav folk music. The rate of Chaliapine’s appearance in Australia is still in doubt. As lie will sing at Covent Garden during the season which opens in May it is likely that his Australian tour will be postponed for a few weeks. Romantic comedy has wonderful staving Powers. “ Sweet Nell of Old Drury,” assoeiated in Australia with the name of Nellie Stewart, is still being played on tour in England, as in many earlier years, by Julia Neilson and Fred. Terry. Peter B. Kyne, rate as one of America’s greatest creators of fiction, arrived in Hollywood recently to begin work on the screening of one of four original stories. It is ‘ Rustling for Cupid,” which will be directed by John Ford, maker of “The Iron Horse.” The first of the Kyne pictures, “ The Golden Strain,” has been completed. It has Kenneth Harlan and Madge Ballamy in the featured roles. Most of the pictures were taken at Fort Huachuca, Arizona, where the action of the stor;* takes place. “ The Golden Strain ” is soon to be released in Australia and New Zealand. “ Disgusting,” “ nauseous,” “ unreal,” are the opinions of some critics of the Earl of Lathom’s play, “ Wet Paint,” which has been privately produced in London. The central figure is a kept woman, who marries in order to pursue her vocation under the cloak of respectability. Her plot fails, and she is forced to seek Continental employment. The Earl of Lathom replies that the play is a real picture of certain phases of life as it actually exists, and declares that anyone moving on the fringes of society will support him. He considers the play extremely moral, because it shows ' the woman’s terrible fate, and only the slightest alteration would be needed to enable it to pass the censorship. London managers have consistently rejected the earl’s plaj r s. In the past five years he has spent a considerable fortune in financing others. Some critics assert that now he is definitely established in the Noel Coward school. Marie Tempest, whose brilliant acting in “ Hay Fever ” has charmed London, gave up musical comedy work in 1899 because of a disagreement with George Edwardes, that master of musical play production. Edwardes wanted her to wear a costume in “San Toy” to which she objected. Both were determined. After a matinee Miss Tempest asked to see Edwardes alone in the theatre. He had the house cleared, and sat in the stalls. She came on to the stage in the contentious costume, turned her back so that he might see .what she objected to. and said: “ I refuse to look like the hind leg of anyone’s donkey.” Edwardes lost his temper, sent her a letter insisting that she should'wear the costume, and rather than do so she gave up her part and left musical comedy with her voice at its prime. It is said that “ Rose Marie ” recently took £16,000 in a fortnight at Drury Lane, and that “ No, No, Nanette,” at the Palace Theatre, has collected £306,194 in the United Kingdom since March last. The value of building up a theatre tradition is exemplified by the announcement of the 200th performance of the present Aldwych piny, “ A Cuckoo in the Nest.” The , length of the run of “ The Farmer’s Wife ” (Court Theatre) has been exceeded by only 10 plays in the history of the English stage, of which six were musical pieces. “ White Cargo ' has survived numerous changes of cast (Mr Horace Hodges, who gave a marvellous reading of the part of the doctor, is returning to it), and will shortly celebrate its 700th performance in London. It is still possible, therefore, despite rents, rates, and taxes to make money in the theatre with all kinds of plays if they hit the public’s fancy.

WELLINGTON WING WHISPERS. (By Peteb Pan.) _ March 11. Pasquin,Whirled Into Happiness ’ concluded its season on Saturday night last, and the company has left on a country tour en route for Auckland, iSril- to ®^ ne y* There is some talk of the Williamsons sending this same company back in May with “ Primrose.” Mr “Wally” Monk has been in town doing the publicity advance work for the ‘ farmer’s Wife” company, opening in the Opera House on Monday night next. He is at present in Nepier, but is to return in time for the opening here. A splendid cast of old and new favourites has been sent over by the J. C. Williamson Firm for this big London success. Mr W. A. Low, who was in advance of the “ Cappy Ricks” company, has left for Sydney with the members of the company. Miss Kathleen Murie, a Wellington girl, who has been touring with the company, left its ranks here. She was conspicuously successful in the role of Florence Ricks. * Mr P. Lytton, the well-known theatrical manager, who took “Cappy Ricks” through New Zealand, left by the Tahiti en route for England, where, in conjunction with E. J. Carroll, he proposes to produce the dramatic play of “ Cappy,” which has not hitherto been seen in the metropolis. Last night Mr Edwin Dennis, A.R.C.M., F.N.C.M., London, who has come down from Hamilton to commence a singing studio here, gave an invitation recital, assisted by his charming wife, Eugenie, who is an elocutionist and dancer of no mean talents. The programme was ambitious, but Mr Dennis was equal to its demands, and being in fine voice (he is a dramatic tenor; he wem through with flying colours. Mrs Dennis specialises in French comedy, and having spent most of her early youth in French convents she has a perfect command of the language. They are a decided acquisition to our musical world. The usual St. Patrick’s Night concert in the Town Hall will this year be graced by the presence of Arthur Jordan, the English tenor from the Dunedin Exhibition. Mr Jordan is a popular performer here. Miss Teresa M‘Enroe, one of our best-known local girls, who has not been heard much in public since her return from abroad and her subsequent marriage, is also to appear, and the rest of the programme promises to be as attractive as ever.