STAGELAND

Southland Times, Issue 19393, 6 November 1924, Page 9

STAGELAND

OF PLAYS AND PLAYERS.

(By

"Playgoer."

Cyril Ritchard, the well-known dancer who recently left to try his luck abroad, cabled lately that he was accepting an offer to appear with the Ziegfeld Follies, New York, on November 1.

Mr P. L. Julian, the clever character actor appearing with Beatrice Holloway and Robert Greig at the Tivoli, Wellington, has the rare distinction of playing for two seasons in Paris with Sascha Guitry, the Irving of France.

Thurston Hall will be in Australia from England before the end of the year for “So This Is London”—to be produced by Williamson-Tait, Ltd. What do Americans think of the English? And what do the English think of Americans? That is what the play seeks to show—with a bit of an added rip into the Americans.

Mr Reg Collins, formerly of Auckland, has signed a contract with Seymour Hicks and Ellaine Terris for their Australian tour, and is now playing in Melbourne. He has made a most favourite impression, and his career is watched with great interest. Mr Collins placed Victor in the J. C. Williamson production of “Madam X,” was the Rev. Spelvin in “Stop, Thief,” had a dual role in “The Fortune Hunter,” and also appeared in “Are You a Mason?”

Mr Arthur Cornell, who displays a nice talent for comedy in “Fair and Warmer,” has another outstanding part in “The Misleading Lady,” which will still further evidence his skill in depicting humorous roles. In “The Misleading Lady” Mr Cornell is said to give a flawless performance of an individual who thought he was Bonaparte. It is a vividly drawn character which gives the actor opportunities for skilful touches.

Harry Claff, whose sketches, “The White Knight” and “The Arabian Knight,” in which he is ably assisted by Winnie Wagner, have proved so popular in Fuller vaudeville, tells a good story against himself. Once when he arrived in a provincial town in England he felt sure that he would not make a good impression, so he went along to a doctor and asking him for a letter stating that his health would not permit of his appearing at the theatre, and he explained his reasons. The doctor looked at him queerly, and then said, “Sir, do you know I am a director of that theatre?” Claff decided to appear.

Mr Gus St. Leon, who has just died in Australia, was perhaps the greatest somersault rider and clown the circus world has ever known. His daring horseback feats were only equalled by his elegant grace, but his ability as a clown will be perhaps the most pleasant memory of this veteran of the sawdust ring. His jokes were wholesome, humorous, and clean. There was no unpleasant sting, even for the ringmaster. Mr St. Leon was 89 years old when he died. Two sons will continue the business, they being the third generation of St. Leons to control the St. Leon Circus, which is now over 90 years old.

Sir George Tallis, who is in London just now, told the special representative of the Sydney Sun that the London and New York theatrical season is “very dud,” and has produced no good authors. He was most impressed by “What Price Glory,” but it was too American for Australia. He thinks that English chorus girls have no stamina or personal charm comparable with Australians, and prefers tights to the latest vogue of bare legs. Sir George has booked the London success “Primrose,” and also the Viennese musical comedy "Kadza,” for Australia. Mr Guy Hastings, a prominent member of the Nellie Bramley Company, has had considerable experience in England as a stock actor. His modesty and distinctive air make him a well-liked figure in theatrical circles, and he is equally at home in drama and comedy. Mr Hastings came out to Australia in 1912 under engagement to Mr Bert Bailey. “I thought I was staying six months,” he says, “but it’s extended to twelve years.” Sydney’s 20 most beautiful girls are wanted by the J. C. Williamson management (stated the Sydney Guardian recently). Although no definite announcement has been made, it is probable that they will be given an opportunity to appear on the stage, and so receive the tribute that their beauty deserves. On a certain morning, all pretty girls are asked to be present at the Theatre Royal at 10 o’clock, when the fortunate 20 will be selected from the applicants. Twenty handsome young men are also invited to present themselves. (What the management's choice was we have yet to learn.)

Maidie Scott, specialist in character studies, passed through Auckland last week, en route to the new Williamson-Tait vaudeville circuit. In an interview she was enthusiastic about the revival of vaudeville in London. Revue, she said, was on the wane; vaudeville was regaining its old place, and even bade fair to boom. One of the best signs was the opening of the New Oxford Theatre as a house of varieties a few weeks ago. The picture theatre people were becoming alarmed when she left because at current prices vaudeville was becoming a strong competitor, and the public was growing rather tired of having a single huge American film as an evening’s entertainment. It was likely that a series of short films would become the most popular kind of picture programme—a sort of film variety show.

Stage realism has probably never before been so impressively achieved as in the great mine explosion which thrills New Palace Theatre, Melbourne, audiences during the performance of “Old Bill, MJ?.” The scenes behind the scenes just prior to the cataclysmic upheaval in which the cavernous underground workings in the coal seam are reduced to chaos to the accompaniment of reverberating detonators, folfollowed by the frantic rush of terrible miners seeking escape from the devastated drive, has all the atmosphere of a coal mine. A seemingly endless procession of “miners,” begrimed with coal and roughly dressed, and carrying the Little regulation safetylamps, pass through the dimly lit stage at the rear of which charges of gunpowder are being laid for discharge by electrical current at the given cue. In the wings red flares and other aids to verisimilitude are held in readiness. When the moment arrives electric plugs are pushed into contact with the current, and three deafening explosions occur, immediately following which the ingenious fabric of the scene collapses into a tangled smoking ruin. As viewed by the audience the spectacle is easily the most vivid illustration of the resources of modern stage-craft.

A sort of theatrical civil war is going on in England between the Actors’ Association (a trade union organisation) and the Stage Guild, which the association views as a reactionary rival. Mr Robert Courtneidge, one of the leading producer-managers, transferred from the guild to the association last month. A little earlier the association was threatening Sir John Martin Harvey with a trade union boycott at Newcastle if he continued to employ members of the guild io his company, but the threat, at latest advices, had not been carried out, though the general secretary of the association declared that it was to begin soon. “Sir John Martin Harvey is being dealt with because he is the most anti-trade union manager in the guild,” he added. The causes of the war are the contract offered to artists by the Stage Guild and antagonism to the Stage Guild as a body. The Actors’ Association wants to see theatrical companies “a hundred per cent. AA,” and to that end it proposes to enforce a campaign of the “closed shop” in certain provincial towns.