The Stage

Otago Witness, Issue 4042, 1 September 1931, Page 62

The Stage

THEATRICAL AND MUSICAL. By PASQUIN. The production of “ The Bohemian Jrirl ” by Mr John T. Leech’s Lyric Choir and Orchestra in the Town Hall last night revived memories of the past. Old theatijggoers will never forget the melodies of this favourite opera. A string of melodic pearls ” it has been called, because of its inexhaustible tunefulness. Tonal beauty, balance, blend, and faithful characterisations are notable features in the opera, and the Lyric Choir proved equal to all demands. The principals were Miss Anne White (Arline), Miss Noni Davidson (the Queen), Miss Maude Kenward (Buda), Mr Alfred Waljnsley (Thaddeus), Mr William Ruffell (the Count), Mr Mortley Peake (Devilsloop), Mr James Simpson (Florestein), and Mr T. D. White (the Captain). Partly with a view to introducing something novel into this year’s Competitions festival, and partly with the object of raising additional funds in order to consolidate the finances of the society, the jommittee has decided to stage lan Hay’s famous thrce-act comedy, “ Tilly of Bloomsbury,” on Wednesday, Thursday, and Friday at His Majesty’s Theatre. An excellent cast of characters has been secured, incidentally all being competitors at previous festivals. This kindly gesture from the old competitors, in associating themselves with this year’s festival, is much appreciated by the society. The comedy has been a record-breaking success whenever and wherever produced. The following are taking part in the piece:— Misses Anita Winkel, Jessie McLennan, Erana Newbold, Elsie M'Peak, Gwenda Burt, Hilda Smith, and Irene Hill, and Messrs J. B. M'Conncll. D. Dall, Clarence Paine, R. Simpson, M. Gaston, R. Herbert, Harold Paine, and F. H. Lampen (who is also in charge of the production). Mr F. H. Lampen, who is producing “ Tilly of Bloomsbury,” will leave immediately after the season closes for Christchurch to produce “ A Country Girl ” for the Operatic Society there. Miss Iris Edmonds, who is at present adjudicating in the dancing sections at the local Competitions festival, is ballet mistress for the Christchurch Operatic •Society. Jim Gerald’s latest revue in Sydney is “ Don’t tell the Wife.” Formerly a member of a vaudeville company run by Sir Harry Lauder, which played in about 200 towns in Canada and the United States during the past two years, Don Julian, a “lightning artist,’ is a through passenger for Sydney by the Maunganui, which arrived at Wellington on Tuesday from San Francisco. In an interview on his arrival, Mr Julian had much of interest to say concerning Sir Harry Lauder, whose name is known wherever English is spoken, and who is at present on tour in South Africa “ Harry Lauder is the cleanest artist who has ever appeared on the’stage,” said Mr Julian. “His humour is always clean and wholesome, and he believes that the questionable element in vaudeville is helping to keep decent people away from theatres where it is played. He believes that it is only second-rate comedians who have tc resort to it. Of course, Sir Harry is geting old now, and at times he gets tired,’ continued Mr Julian, “but I believe that he only waits to get out before the foot lights to feel young again. He lives for that. As for his radiant personality, called by Americans ‘it,’ he had it before they ever knew what it was. He knew what it was to put a tear and a laugh together, before Al .Tolson and other subartists were ever thought of. He is still wonderfully popular, especially in Canada, and I doubt whether anyone in the world can draw such houses as he does. In Washington, D.C., he attracted an audience of 7000 on one occasion. Merely with his songs, his kilt, and his band, he entertains vast audiences with his ‘Roaming in the Gloaming,’ ‘ Stop Your Tickling. Jock.’ and the like.”

Robert Geddes, years ago a member of the Auckland Operatic Society and for some years successful on the English and American stage, was at latest touring the United States with a quartet party including Browning Mummery, the wellknown Australian tenor. Friends in Auckland recently had the pleasure of hearing Mr Geddes and his associates “ over the air.”

Muriel Starr, the well-known actress, has been given the part of Mary Magdalene in the Pilgrimage Play to be given in the Hollywood Bowl, a huge open-air theatre. Miss Starr is well remembered here for her work in “Within the Law,” “ East of Suez,” and other plays. Balokovic, the violinist (says a Wellington paper), has a superb technique, and a most agreeable platform manner, free of every trace of ostentation and with no suspicion of flattering his audiences. Peculiarities in men of genius are apt to be taken for granted, but Balokovic, who is obviously a genius, without tricks and mannerisms, appeared to be as much a well-balanced man as a truly great artist. He made friends of his hearers on the instant.

Josephine Trix, soubrette; the Marbellos, Spanish dancers; Rene Riano, the girl with the eccentric legs; the Two Rascals (Charles O'Donnell and Eddie Field) ; Clem Dawe, Peggy Pryde, Lee and King, Lily Moore (sister of Carrie). Major Sax and a ballet of Suntanned Girls are appearing in celebrity vaudeville in Sydney at the Tivoli. The Fallow Twins perform, and Fred Quintrell conducts the orchestra.

There are over 100 people in the chorus supporting Joseph Hislop in his grand opera season in Melbourne, and 45 instrumentalists. The opera season is proving a big success, the booking being heavy, and people coming from all parts of the

country to witness “ Carmen,” “ Tosca,” and “ Faust.” Messrs J.C.W. are charging moderate prices, bringing the special treat within the reach of most people.

Anton Dolin, the famous dancer, took the part of Satan, naked and fiercely athletic, in the biblical ballet, “ Job,” by Dr Vaughan Williams, produced recently at the Cambridge Theatre by the young Camargo Society. Beautifully severe music, marvellous drawings, and remarkable scenes depicting the heavens opening and the Deity enthroned, were a feature of the performance. The actor who took the part of the Deity was masked. Geoffrey Keynes, Miss Ninette de Valois, and Gwendolene Raverat inspired and designed the ballets, also the drawings. BRITAIN’S OLDEST THEATRE. FAMOUS HOUSE 165 YEARS OLD. Bristol’s Theatre Royal, the oldest theatre in the country, lately celebrated its one hundred and sixty-fifth birthday. This quaint playhouse tiicked away amid the old houses of Bristol's cobbled quayside was described in the prologue which Garrick wrote for its opening on May 30, 1766, as “ the most complete in Europe.” Its stage was once the scene of the wedding feast of Maurice Barrymore, father of John and Lionel Barrymore, the film stars. “ My theatre is reputed to be haunted by the ghost of its first manager, Mr Powell,” Mr Douglas Millar, the present manager, says, “ He is said- to stride up and down the stage declaiming once again Garrick’s prologue. “ I am pretty certain that many famous spirits haunt the old place. Mrs'Siddons, Edmund Kean, the Kembles, Jenny Lind, Sims Reeves. Lady Bancroft, the Sisters Terry and Mrs Kendal are among those who have played here.” A HANDSOME GIFT. An anonymous donation of £lOO has been given to the Hawera Main School to assist in furthering music among pupils, particularly in securing instruments and tuition for children whose parents cannot afford it. As the boys are already well catered for by the school's excellent military band the money will probably be used for the girls, and prices are being obtained for stringed instruments. “HARD AND FORCEFUL.” Garry Marsh was in New Zealand some years ago as Mark Sabre in “ If Winter Comes.” Now he is films in England. In its notice of a new film, “ Keepers of Youth,” the London Sunday Times says: the acting of Garry Marsh in “Keepers of Youth ” is unpleasantly hard and forceful I should hate to think that anything so ugly in character should ever infest in the guise of teacher any of our public schools. But so brilliantly real is it, so convincing, and so well finished that we feel ourselves up against a _ national peril, a public menace. This is high praise. This piece, ■written by Arnold Woodley, is described on the programme as “ the successor to ‘ Young Woodley.’ ” “BOTH PRETTY LONELY.” Edna Best, the English actress who ran away from Hollywood when just about to commence work in a picture at the Metro-Goldwyn-Mayer studios. because she couldn’t bear to be separated from her actor husband. Herbert Marshall, is back in London, She and Marshall, however, are going back to Hollywood. Marshall is to make a talkie for Paramount, and Edna will return to the Metro-Goldwyn-Mayer studio. _ Here’s hubby’s version of Edna’s hurried departure from Hollywood: “Edna left the Goldwyn people simply because there was too much delay, and we both felt pretty lonely. There was no ill-feel-ing. really.” Edna Best will be remembered for her excellent work in “ Loose Ends.” MOTION PICTURE LOSSES. The most informative statement in relation to the moving and talking picture business in Australia issued for a considerable time past has been made avail able -(says the Melbourne Age) by Union Theatres, Ltd., and Australasian Films, Ltd., which operate largely in New South Wales, Victoria, and the ot&er States. These companies were constituted as the result of a merger effected many years ago between Amalgamated Pictures, Ltd.. West’s, Ltd., Spencer’s Pictures, Ltd., and the Greater J. D. Williams Amusement Company, Ltd. The two companies abovementioned suffered for the half-year ended December 27, 1930, a loss amounting to £48,012, comparing with a profit of £41,544 for the previous half-vear, and the profit of £59,606 for the half-year ended December 28, 1929. Investments include buildings in Union Theatres (Victoria), Ltd., and Union Theatres Investments, Ltd. The combined balance sheets of the Union Theatres, Ltd., and Australasian Films, Ltd., dated December 27, 1930, show the following figures:—Liabili ties: Capital, £1,300,000; mortgages, £56,645; debentures, £81.000; .hank, £223,198; loans, £95,206; bills payable, £153,395; sundry creditors and provision for taxation. £215.417; .reserves and undivided profits, £351,520. Assets: Freehold, subject to mortgage as above, £258,232; plant, equipment, etc., £254,401; stocks of films, etc., £96,956; debtors, £170,117; investments in other companies, £1,092,969; leases and goodwill, £603,707. The directors state that trading figures for the half-year ended June 30, 1931, have not yet been completed, but that indications are that further heavy losses have been suffered by both companies. The contributing factors are the reduced spending power of the —>blic and the extraordinary heavy taxation to which the amusement industry has been subjected. Substantial reductions in operating costs were made earlier in an endeavour to meet diminishing revenues, but the con-

tinued down-ward trend of receipts has now caused the directors to deal with the situation on much more drastic lines. The steps now taken reasonably justify the expectation that it' will be possible to balance accounts provided the revenue (which is comparatively low) is maintained at its present level. STAGE SALARIES. A STUDY IN CONTRASTS. A gifted Parisian singer receives £5OOO for each week that he appears at the Dominion Theatre. A London favourite lets fall, in an interview, that his theatre salary of a paltry hundred or so is mere pocket money.' his real income being derived from the “ talkies.” Leading ladies contemptuously decline offers of two or three hundred a week, and flit laughingly to Hollywood, where their advent is, possibly, not unresented by the stellar divinities already in possession. After posing for a single film they, still smiling, throw up their contracts for hundreds of thousands of dollars, either in pique, or because they “ really cannot desert Mr Micawber.” Soaring to the rapturous regions of operatic management, the ordinary canons of arithmetic apparently cease to function normally. We have lately been favoured by the appearance, at our principal theatre of a foreign vocalist, inadequately remunerated by £l5OO a week—a sum, we are assured, he can readily command for a single concert in Vienna, Berlin, or elsewhere in the Fatherland. He loses his voice after two performances. An efficient English substitute is discovered. He reappears, suffers again from aphonia, and seeks a Continental cure. A few days’ sojourn abroad—what masterly medicos pervade Central Europe—brings about another triumphant rehabilitation, and then, mirable .dictu, a well-known professional musical critic tells us the understudy was really the better vocalist of the two.

Inspired paragraphs give us to understand that no London theatre can possibly pay 7 unless its holding capacity is taxed to the utmost for at least seven performances in each week. If this be really so, the old adage anent “buying money too dearly” would seem to b-* worthy of consideration. The fight must, surely, be a hopeless one. But still, somehow, they struggle on. What Quixotism!

After nearly 60 years’ active association with matters theatrical, both as actor ana manager, I look back wonderto tlie days when the highest weekly salary in the almost renowned Haymarket Company was £l2—-a figure only reached m the case of Miss Madge Robertson—thank heaven, still with us—her husband. w - H Kendal, and that “grand old man, M. H. Chippendale. Henry Howe, who spent 40 years of his life' at the Haymarket, received £11; Fred Everil l a great comedian, £8; W. H. Clark £4Mr Coe and Mr Weathersby, £3 each. I cannot recall, with certaintv. what Miss Caroline Hill. Miss Fanny Gwynne* or Miss I< anny Wright received, but Mrs Chippendale’s salary was £B. I paid these amounts myself in 1871, so I can speak “ with some authority.” The rapid inflation of London salaries first started when dramatic authors began to insist on the engagement of particular artists. Lynx-eyed, quick-witted agents soon put the selected ones wise to the situation, and when “ approached,” as the favourite term ran. thev. naturally, made-full use of their inside‘information. In the provinces competition for pantomime comedians was carried to an almost incredulous pitch by rival managers. In last October’s Quarterly Review I cited, in this connection, the following facts. I was the first manager to offer Mr Wilkie Bard a pantomime engagement. His reputation is now-, in every sense, world-wide; but the first contract he signed with me was for £2O. Three years afterwards I gave him £6O, three years after that £l5O, and his last pantomime contract at the same theatre was for £3OO a week, plus another £3OO for the usual fortnight’s rehearsal. Such a rate of increase puts even geometrical progression helplessly in the shade.—Joe Graham, in the London Observer. “THE WORLD’S SWEETHEART.” GREAT DRAMATIC ARTIST. It has gradually dawned upon the motion picture public that “ America’s Sweetheart ” is really a great dramatic artist. From curls to coiffure Mary Pickford has always been the screen symbol of romantic girlhood. Her naturalness caused some people to take her for granted, with no consideration for the magnificent spark of talent back of her difficult characterisations. On the screen she can be <is demure as a maiden at prayer, or as delightfully rowdy -as an alley madcap. She is capable of great intensity or restraint, of rollicking humour, or drawing room poise. Miss Pickford was born in Toronto, Canada, and began her stage carber in that city at the age of five with the Valentine Stock Company. At eight she was a featured player and had toured in the play “ In Convict’s Stripes.” A year later she was starred in “ The Fatal Wedding.” When she was 13 she played with Chauncey Olcott. Her real name was Gladys Smith, and every member of her small family was a trouper, including her mother, her sister Lottie, and her brother Jack. It was David Belasco who christened her Mary Pickford. Thia was after she had played a season in melodrama in the old Thalia Theatre on the Bowery, and, in desperation to get on Broadway had braved her way in to see the distinguished producer. Belasco. charmed by her beauty and impressed by her determination, gave her a chance in “The Warrens of Vir-

ginia.” She originated 'he role of Betty Warren. Miss Pickford’s first screen work resulted from a visit to the old Biograph Studios, where she happened to meet D. W. Griffith. He hired her on sight, and her first film appearance was in a 500foot picture called “Her First Biscuits," in which Florence Lawrence and William Courtwright appeared. In 1915 she was vice-president of the Mary Pickford-Famous Players Company, earning an amazing salary and sharing in the profits of the company. A year later her own organisation was formed. Two years later she became an independent producer, making pictures for release through First National. Early in 1919 she became one of the organisers of United Artists Corporation, the other members being Charles Chaplin, Douglas Fairbanks, and David Wark Griffith. This organisation, headed by Joseph M. Schenck, still releases her pictures. Her first talking picture was “ Coquette,” which brought into play her years of stage experience. Her second was “The Taming of the Shrew.” the only film in which she has co-starred with her husband. Douglas Fairbanks. Miss Pickford and Fairbanks were married on March 28. 1920, and together they have done much to heighten the respect of the public for the film industry. WING WHISPERS. By Peter Pan. WELLINGTON. August 27. Dear “ Pasquin,”—Since the departure of Balokovic for Auckland, the city has been musically and theatrically quiet, though the Competitions continue in the Town Hall with a measure of success. The judges are having a strenuous time, and audiences sympathise with their task. The programmes in the evening, however, are most interesting, and this year’s are exceptionally entertaining. Associated with Regent pictures this week, two renowned skaters, Joy and Lazzeroni, have been delighting crowded attendances. The pair present a dazzling turn, exhilarating and graceful to watch, and as skaters must be ranked high up in the world’s best. Chamber music of a most interesting nature was played bv the Wellington Players at Nimmo’s Hall on Saturday evening. It is fortunate for music in Wellington that there are players persistent and brave enough to keep before the public periodically all that is best in the way of chamber music. No society has done more for the cause of this particular branch of music than the quintet, beaded by Mr Leon de Manny, violinst and conductor. The personnel includes as well. Madame de Manny, piano; Desmond Lavin, second violin; Claude Tanner, ’cellist; and Frank Crother, pianist, who plays the viola as a change from his keyboard accomplishments. In spite of the fact that the recitals have so far been ran at a sm.nll loss, the players are determined to keep the performance of chamber music alive in this part of New Zealand at least. The second recital drew a gratifyingly large audience, and with four years’ record behind them, it was only to be expected that the programme would be a diverting one. It was a treat for those with discrimination. The chamber music composed by Brahms is as choice as any, and .to his Piano Quartet in C minor, full justice was done. Debussy’s String Quartet in G minor was impressionistic; it played with all the subtle wealth of colour and was a delightful interpretation. Further French music was Saint-Saens’ Piano Trio in F major, which drew genuine and spontaneous applause. Mrs Walter Fuller was the soloist —a mezzo-soprano with a flair foi languages, who interpolated three songs. “Romance.” by Debussy; “Brume.” by Poldowski; and ‘ Nebbie,” by Respighi, were cordially’' received, and Mrs Fuller received hearty congratulations upon her artistic performance. Helpful programmes were supplied, the illuminating “notes” being the work of Mr L. D. Webster, one of the city’s most energetic workers on behalf of good music. Rudolf Besier’s “ Barretts of Wimpole Street,” the tale of Browning and his wife, was read here on a recent evening by the Good Companions Club, of Wellington. Mrs Jenkins was producer. The play was presented in costume, the oldfashioned dresses being particularly effective. Rehearsals are in satisfactory progress for the performance on September 19 of “ Tannhauser ” by the Royal Wellington Choral Union. A suite of four movements by Rachmaninoff and concertos by Rubenstein, Schytte, and Liszt were the chief instrumental attractions of a programme given in Nimmo’s Hall last evening by two talented girls, Lalla Vandersloot and Nora Gray, using two pianos for their delightful programme. An arrangement of the “ Blue Danube ” for two pianos was also performed. Groups of modern songs were given by Miss Mollie Fenton, who had pianoforte accompaniment by’ Mr Gordon Short.

Mr Gordon Bryan, examiner to the Associated Board, is to play the Paderewski Piano Concerto with the Wclington Philharmonic Orchestra at its next celebrity concert —the third for the season. Joseph Hislop and Isidor Goodman appeared at the first of these four celebrity affairs; then Mark Hambourg and Peter Dawson. The New Zealand tour of “ Sons o’ Guns ” having concluded, the company is expected in Wellington from the south to-morrow morning, and leaves the same night for Auckland by the Limited. The departure of the Monowai from Auckland has been postponed till Saturday morning to enable members of the company to travel by her to Sydney. Miss Ruth Perry 7, of' Solway College, Masterton. gave a delightful recital at Nimmo’s Hall, Wellington. Many of her Masterton friends attended. Miss Perry’s varied and artistic programme comprising fifteen songs demonstrated the beautiful quality and unusual range of her voice. Despite a slight nervous restraint in the opening numbers, the first group of songs was pleasingly rendered. In the Brahms numbers, with their dainty lilt. Miss Perry was obviously at home, and the soft plaintiveness of the Hebridean songs, Mrs Kennedy-Fraser’s “ Land of Sea Gull Under Waves” and “Shieling Song,” demonstrated her artistic conception and fine control. From this point of . view, the gem of the evening was the Irish song, “Noon Hush.” Miss Perry showed powers of dramatic interpretation

jarely seen in a young performer in t> h « rr G ? ry °, f A ll 6 Sea,” “Jerusalem,” and Tally-ho, all of which were vocifer°u®ly encored. The concluding number, . Garden/’ with ’cello obbligato, brought a delightful evening to a close. Her audience left the concert hall conticlent that in the world of song Mis< 1 erry has a future Miss Wycherley, a young cellist of Palmerston North, contributed six numbers to the programme, all of which were pleasingly rendered. Her work reached a high standard in tone technique. The accompanists were Mrs Ginn and Miss Mavis Muirhead. It is hoped that shortly Mi.s Perry will repeat the recital in Dunedin.