The Stage

Otago Witness, Issue 3888, 18 September 1928, Page 70

The Stage

BOOKINGS. HIS MAJESTY’S THEATRE. September 17 to October 6.—Dunpdln Competitions. October 13 to 20.—Fuller-Gonsalez Grand Opera Company (pencilled). October 23 to 31.—Percy Hutchison’s English Comedy Company, '* The Laughing Optimist.” November 14 to 24. —Margaret Bannerman’s Company, “ Our Betters." November 29 to December 5.—J. C. Williamson Ail Star Vaudeville Company. THEATRICAL AND MUSICAL. By Pasquin. “ I atn firmly convinced that New Zealand and Australia are ripe for an annual season of grand opera, providing the people can get it at a reasonable price,” stated Signor Folli, manager of the Fuller-Gonsalez Grand Opera Company, on his arrival at Auckland. “ The result of the present tour, however, will show •whether it is possible.” The idea underlying the present tour, added Signor Folli, was to find out whether an annual season at popular prices was possible. That the provision of opera at popular prices was the best way of developing an appreciation of good music he was firmly convinced. Sir Benjamin Fuller was quite enthusiastic about the scheme, and was prepared to lay out the necessary capital providing he got some assurance from the public that it wanted it. On the results of the present season the future of the scheme largely depended, said Signor Folli, although it was significant that Signor Rudolph Gonsalez had returned to Italy for the purpose of looking for artists who would be suitable for other tours. “ But it rests with the people,” said Signor Folli. “If they want opera they will get it.” George Ward and his revue company are presenting a popular entertainment at the Princess Theatre. Last week the company staged ‘‘ Revue —It Is,” and it provided the vehicle for plenty of fun. Mr Ward is, of course, the chief funmaker. and he is well supported by Colleen Hope, Al Maurice, Kathleen Ward, and Charles L. Sherman. Dave Meredith and his Melody Five put on a good instrumental turn, while Alma Victor, Kath and Olive Usher, Jean Keith, Gus Dawson, and the chorus girls also present items of individual merit.

The J. C. Williamson Comedy Company concluded its enjoyable season at His Majesty’s Theatre last night. The three Travers’s pieces—-“ Rookery Nook,” “ The Cuckoo in the Nest,” and “ Thark ” were most artistically presented and beautifully staged. The comedies proved vastly entertaining, and quite a welcome change from some of the theatrical fare of recent years.

Lily Elsie, the popular London stage star, is following in Sybil Thorndike’s footsteps, and is taking her own company to South Africa to play in “ The High Road ” and “ The Trial of Mary Dugan.” The London Star contains an interesting reference to Herbert Mundin. who is the principal comedian in the J. C. Williamson, Ltd., production of “ The Desert Song ” at His Majesty’s Theatre, Melbourne. Herbert Mundin,” says the Star, “ is going to be lost to the British stage for two years, we regret to say. He leaves for Australia to play the leading comedian’s part in * The Desert Song ’ and other musical comedies. Thus the Williamsons. who control most of the theatres in Australia, rob London of an artist we can ill afford to lose. Two years is a very long time to be away from London. With all its glamour as- the metropolis of the British theatrical world London is a very desirable place to work in, but the definite offer and guarantee of two years’ work in Australi: at a big salary balances that glamour. Herbert Mundin’s case is indicative of what may happen to many other West End stars. With the London theatres in their present uncertain state such a contract as the Williamsons were able to oner him is something no London artist can ignore.” Beth Mackey, daughter of Lady Mackey and the late Sir John Mackey, is a member of the J. 0. Williamson Comedy Company (headed by Mr Hastings Lynn), which played Ben Travers’s comedies “ Rookery Nook,” “ A Cuckoo in the Nest,” and “ Thark ” at His Majesty’s Theatre last week. Last year she appeared with the Muriel Starr Company. “ The Ingenues,” by which title 20 beautiful girls from the famous Ziegfeld’s Follies (now appearing with J. C. Williamson’s Vaudeville Company in Australia) are known, have created a sensation in the Commonwealth, and it is hoped that they will be seen and heard in New Zealand. A few years ago these same young ladies were teachers, stenographers, secretaries, home girls, or schoolgirls. They were a little more than that, however, for they had studied music, and eventually formed themselves into a jazz band and staged one of the most remarkable jazz musical acts ever seen on the stage. “ The Letter,” with which the Van-brugh-Boucicault Company will probably open its New Zealand season, is a powerful play by Somerset Maugham, and contains many tense scenes m which Miss Irene. Mr Dion Boucicault, and —.maa M'Kinnel appear to distinct advantage. Immediately the curtain rises sensational incidents occur, and the interest is well maintained. In the scenes where the woman (Miss Vaubrugh, waiting her trial for the mysterious murder), her friend and barrister (Mr M’Kinnel), and the plausable and cunning Chinese law student (Mr Boucicault) take prominent parts the acting is said to be of the very highest standard. “ The Letter ” is not a convenient play

for late-comers, for upon the dramatic event that occurs the moment the curtain rises hinges the whole of the action that follows.

Miss Margaret Bannerman, the beautiful English actress, who will appear at His Majesty’s later in the year in Somerset Maugham’s “ Our Betters," has the commendation of the brilliant author for her work in his no less brilliant play. Mr Maugham, in commenting on the London production, said that the belief that one had to go to France or Germany to see good acting was absurd. One would have to go a long way to see better acting than that of Miss Bannerman.

The Leon Gordon Dramatic Company, which recently played “ The Trial of MaryDugan ” and “ Scandal ” in Dunedin, during its New Zealand tour rehearsed “ Interference,” a new play, which was first produced at Napier on Saturday, September 8, with Charles Hallard in the leading role. The play was given for only one performance, after which the company left for Sydney, where the real tour is to begin. The company- will probably return to New Zealand early next year. Mr Hallard was specially brought trom England to play the part which Sir Gerald Du Maurier created in London. He will be supported by ,Leon Gordon and several other members of the company.

Dale Collins, the Melbourne author ami playwright, has written a play, 1 assengers,” which will be produced in the English provinces for three weeks in October, and will then be staged in London The scene of the play is on a small mail steamer between England and Australia. The ex-Dunedinite, Harry Cohen, is to be the producer.

Allan Wilkie and his Shakespearian Company are due back in New Zealand in I‘ ebruary.

Keen interest was taken in the offer for sale of the Tivoli Theatre, Sydney. The best offer was £89,000, but it was refused, and’ the property- passed in. Among those present was Mr John Fuller, but he took no part in the bidding. The opening offer was £70,000, and -this was advanced to £89,000.

Bayard Veiller is again finding out how profitable the business of writing plays can.be. Up to the middle of last mouth (says a New York paper) he is said to have drawn £52,400 in royalties from “ The Trial of Mary Dugan.”' This included his share of the receipts from the companies playing in New York, on the west coast. „in Berlin, and London, and his portion of the moneys derived from the plays sale to the articulate kinema people. And the end is far from being in sight.

“ My earliest boyhood days were spent in New Zealand in a little place called Hope, near Nelson, and you can imagine now intensely interested I am in appearing on the stage in the country of which I have such pleasant recollections,” said Percy Hutchison, actor-manager, on his arrival in Auckland from Sydney. Mr Hutchison is a nephew of Sir Charles Wyndham.

Miss Betty Ross-Clarke is to return under engagement to Sir Benjamin Fuller to produce plays in Australia and NewZealand. She said that she would not know definitely w-hat plays she would stage until she had seen the Fullers in Sydney, but “The Storm,” which includes an unusually spectacular forest fire scene; Somerset Maugham’s “ Rain and possibly- “The Baby- Cyclone,” a charming comedy, would most likely- be brought to the Dominion. -x.

Frank Harvey, for 12 years a popular favourite in Australia and New Zealand, plays two small parts in “ Many Waters,” a new play by Monckton Hoffe, in London. The London Era says: “One remembers with pleasure Mr Harvey’s prosperous theatrical manager. ... A vulgar business man w-as uncompromisinglyset forth by Mr Harvey.” Houdini’s secrets died with him, and a reading of “Houdini: His Life Story,” by Mr Harold Kellock, leaves the reader completely mystified. Yet there is no suspicion of fraud in ' his “ escapes.” Houdini’s real name was Ehrieh Weiss, and he was the son of a Jewish rabbi. We read _ this description and marvel: “ They (New- York newspaper reporters) were enlisted to put the irons on Houdini. Then he insisted that they superintend the nailing up of the box (it was a stout packing case containing 2001 b of lead). After the cover "was hammered down, a steel band was fastened about the box for good measure. Then it was roped and allowed to slide down a chute into the waters of the bay-, where it floated almost wholly- submerged at the end of 100 ft of line. At the end of 57 seconds there was a splash beside the box, and Houdini bobbed into view. He swam to the tug, and the box was hauled in after him. It was intact. The nails and the steel bands were still in place. The cover was then prised and there at the bottom lay the handcuffs and leg-irons. Their locks had been sprung open, and they were in good working order.” A dramatic event without precedent since the Middle Ages took place in Eugland in June. A mystery play was performed in a cathedral—in Canterbury Cathedral, the premier church of Great Britain. The play was “The Coming of Christ,” by John Masefield, and each day, many hours before the performance, great queues formed along the way the Canterbury pilgrims went, hoping to find a place. The cathedral (yvrites a correspondent) could have been filled ten times over for each performance—a fact that speaks well for the action of the dean of Canterbury Cathedral in making the wonderful old building once more the scene of rich pageantry and drama. It is a thing that often used to be done, but the custom was discontinued hundreds of years ago.

The Daily Telegraph (London) has an interesting account of a performance of

Faust ” at Covent Garden, which was remarkable in that the title role was taken by a Scotsman, with a French artist as Marguerite, a Russian as Mephistopheles, and last but not least—an Englishman as conductor. The first was Joseph Hislop, the second Maryse Beaujou, the third the great Chaliapin, and the fourth Kugene (xoossens. The Telegraph says; Ihere was a distinct air of expectancy in the crowded house. What kind of ensemble would these conflicting personalities make under the difficult temporary conditions ruling in our one national opera house ? Could the representation, even of so simple an opera as this of Gounod, possibly be homogeneous? These questions were answered in the first act. It was obviously going to be a thing of patches, some of them purple indeed. 1 robably not within living memory has siich a Mephistopheles appeared at Covent Garden, Whether you agreed with it or r.ot. there could be no denying the sheer domination of it. It is in no sense derogatory to the work of the other artists to say that when this new Menhistopheles was on the stage he completely itiled and occupied it. No Faust or other desperate hero in the whole operatic gallery could have a dog’s chance for a moment against such a malignant, forceful personality. Chaliapin, indeed, urged his individuality so far that all was not well with the ensemble at times. In the nrst act it seemed that there was to be a struggle between the conductor "and the conducted, and we were glad to see that the conductor intended to retain command. To sum up. one felt there was a Jive wire at the conductor’s desk, and a high explosive on the stage most of the time But one is unlikely to forget the redoubtable Russian. Every entrance and every exit was a masterly movement, sinister and inexpressibly diabolic. His laugh at the. end of Act 11, when Faust and Marguerite were in each other’s arms, must have made the most blase operagoer shiver for a second. WING WHISPERS. By Peteb Pan. WELLINGTON, September 13. Dear . ‘ Pasquin,”—We are having a very quiet time theatrically just now, since the conclusion of the English Comedy Company’s season. Next in order is the Percy Hutchison Comedy Company in Mr What’s His Name ” and other howlers. .Hie Competitions closed on Saturday night last with a crowded audience to witness the prize-giving by the Mayor. The society has suffered another loss this year, and it may be necessary to close down for a year or two, according co references made at a recent meeting; this with record entries and splendid attendances towards the finish of the season is hard to understand, unless, as suggested, wireless keeps more people than formerly home at the fireside. Stiffy and Mo figure in a new bill this week as two Australians posing as bullfighters in Sunny Spain, which revue boasts some really beautiful dress and setting effects, and serves to introduce the company in colourful roles. His Majesty’s is a favourite rendezvous these days. Acknowledged as the most educational concerts in Australasia, the Cesaroni Saturday evening popular recitals will resume at the studio of Signor Lucien on Saturday evening, marking the eleventh of the series.

On Saturday and Monday the Grand Opera House will be used for the presentation of wligt is always a most popular exhibition of physical culture, the Y.M.C.A. gymnasium in what is termed “Joy Jerques.” There will be some 300 performers, and this year a novelty will be the clown acts. Mr J. A. Duffy is once again in charge, and great interest is being shown by the clever pupils and friends in the annual display of gymnasium work. Mr Frank Crowther, of Fuller fame, is handling the orchestral side of the programme.

Shura Cherkassky, the young Russian pianist, commences his Wellington season on September 18, with two following concerts on September 20 and 22. On Saturday evening the Wellington Royal Choral Union will be heard in “ The Damnation of Faust,” in which the greatest local interest is being shown. Hie production of Berlioz’s work promises, an evening that will remain in memory for some time.

Elizabeth Blake, who is in private life Mrs Stanley Natusch, and who recently arrived from Home, is interesting herself in repertory work, and is associated very prominently in the four one-act plays to be submitted at the Masonic Hall tomorrow and Saturday. There are several well-known amateurs in the casts, and the plays to be offered include “ Cathleen ni Houlihan.” by W. B. Yeats; A. A Milne’s “The Artist”; “The Interlude of Youth” (author unknown, date 1537); and” “ The Wooin’ O’t,” by W. D. Cocker Names in the players’ I'ist include 'Mrs John Hannah, Mrs E. J. Fawcett, Mr Norman Byrne. Miss Agnes Page, Miss Louise von Zedlitz, Miss Barbar i Robison, Messrs L. H. Herd, J. R. Herd, J. H. Lee, and John Brown. The twelfth concert of the Wellington Orchestral Society is set down for Thursday next, when, among other items, the Orpheus Quartet will assist, also Mr Ray Kemp, Mr C. W. Kerry is conductor and Mr Leo de Mauny is solo violinist as well as leader.