Under the Sun

Southland Times, Issue 22040, 13 June 1933, Page 2

Under the Sun

Australian Scenes

A Journalist on Tour

(By

I. G. G. M.)

SOME SYDNEY SHOWS. The show business in Sydney seems to flourish in spite of the depression. Talkie houses, flesh-and-blood theatres and amateur groups were doing good business. And the firms advertise. Many have installed a spruiker at the front door. “This way ladies and gentlemen see Jim Gerald in the hilarious bed-room scene. You’ll laugh for a week.” Ominous signs perhaps. But the theatres have to be filled somehow. Companies must pay dividends, actors must live and the numerous papers must pack their columns with comment which is eagerly scanned by the high brows and low brows in the Paris of the Pacific. A Magnificent Talkie. “Cavalcade,” Noel Coward’s work, and shown with much pomp and ceremony at the State Theatre is perhaps the greatest film, using for its theme the horror and devastating effect of war that has yet been produced. His story is one of tragedy and disillusionment. England at the beginning is happy and glorious. When the picture fades away empty churches, a jazz mad world, wrecked lives and a girl crooning a “blues” song in a cabaret are the only evidences of our supposed modern culture and refinement.

The picture opens with Clive Brook leaving for the Boer War, a member of the City Imperial Volunteers. He returns after the campaign convinced that war is grim and terribly real; but his heart is light nevertheless, for his family is waiting for him with loving arms. To bridge the gap between the South African War and the World War the Titanic incident is included. This robs Brook and his wife of one of their two sons. The World War comes with startling suddenness. Brook, now an elderly man, again proceeds to fight. His remaining son joins him. Every terrible incident is included. Doomed lads drinking champagne in restaurants, flappers yelling recruiting songs, distracted mothers, parted lovers, —and moving through it all thousands, of young men march as the years sink into oblivion until they see a figure of the crucified Christ and acknowledge it by falling down dead and broken. Brook’s son does not return. The two old people drink the health of a new year with a hopefulness for which there seems to be little justification. “Cavalcade” is easily the best thing that has come out of Hollywood. It is indeed curious that such a fine English film should be made by an American concern. The Old Theme.

The Anthony Kimmins piece, “While Parents Sleep” was drawing crowds to the Criterion while I was in Sydney. It follows an old, old theme that has kept authors alive since the year one. “A Story of Frustrated Seduction,” would make an admirable sub-title for this play of 1833 or 1933 customs and manners. Until the middle of Act II is reached the audience has a feeling that something terrible is about to happen. When the act concludes, however, everyone knows that the show after all is perfectly respectable, and that the first impressions were entirely incorrect. Lady Cattering, capably played by Mona Barlee, is the wife of a man many years older than herself. Her husband is about to take over another colonial Governorship, and she, being starved for love, arranges to take Neville Hammond, Kenrick Hudson, as A. D. C. so that she will have young company. She tries, but without success, to seduce Neville, the same night that Jerry, Neville’s brother, John Wood, attempts, also unsuccessfully, to seduce Bubbles Thompson, Agnes Doyle. It now remains for “Nanny” Ethel Saker, to smooth out the curves, and to show the audience what a clever fellow the modern author really is, for undoubtedly the play takes rather an unusual twist here. “While Parents Sleep,” is the style of comedy that will always draw good houses. Somehow the world likes to think that its leaders of society are capable of sinning. The spectacle of the leisured class being rescued from a horrible fate by an old nurse girl is also a concession to the masses. A Spectacle of Beauty. “Waltzes from Vienna,” at Her Majesty’s was charming. An entirely new system of lighting was employed. Instead of the usual foot-lights and wing-lights, the stage was flooded from a group of lights arranged on the outside of the upper balcony, and these, together with the customary spot-lights from the roof, and a series of lights fastened to moveable towers within the wings, enabled the operators to give the settings every graduation and colour, or combination of colours with the most artistic effect. Nothing wrong could be found with the staging of “Waltzes from Vienna.”

A trite story hold this show together The younger Strauss, John Moore, who is in love with his music, is not allowed to think too seriously about composing by his father played by Aubrey Mallalieu. Old Strauss remembers his own

troubles in his early days. The Countess Olga, Miriam Sabbage, is captivated however, by the son’s work at the piano, and by means of trickery succeeds in placing the boy at the head of his father’s orchestra while the elder Strauss is detained at the Russian Embassy. When Strauss, senior, returns his son is leading the orchestra through his own composition—“ The Blue Danube.” Of course the waltz is a great success, and all ends happily. A slight love interest runs through the piece, Strauss, junior, winning the hand of the lovely Therese Ebeseder, Shirley Dale, the court confectioner’s daughter. Good music, mostly from the works of the younger Strauss, dominates the whole production. Hofrat Julius Bittner has shown a skilful art in arranging and blending it. Six other authors are also concerned in the composition of “Waltzes from Vienna.” The dancing was another attraction of the piece. The ballets were finely performed, and were very effective. Very talented was the premiere danseuse, Ivy Kirby, a competent young woman who spun about the stage with more grace than a butterfly. The Independent Theatre.

“Precious Bane,” adapted from the novel of Mary Webb by Edward Lewis, was presented by the Independent Theatre. This piece concerning superstition and ignorance was an uncommonly fine effort, and reflected much credit upon the producer Miss Doris Fitton. The Independent Theatre is an organization very similar to the Workshop Theatre movement in Invercargill. It produces plays which would not in the ordinary course of events be seen in Sydney. The players, of course, give their services voluntarily. Commenced approximately three years ago by Miss Fitton the movement is now to be turned into a limited company. About twenty four plays all of dramatic and literary interest have been produced. Such well known works as Sidney Howard’s “Silver Cord,” Noel Coward's “The Young Idea,” and Margaret Kennedy's and Basil Dean’s “The Constant Nymph” have entertained Sydney audiences. At the Savoy Theatre the organization has established a record by playing there every Saturday night without a break for two and ahalf years.

(To be Continued).