“THE SHEIK"

Sun (Auckland), Volume 1, Issue 86, 2 July 1927, Page 22

“THE SHEIK "

WONDERFUL STAGE EFFECTS WHEN THE PLAY WAS PRODUCED IN SYDNEY

REALISM AND SAND “The Sheik’ 1 has really arrived in Sydney. He abducts a beautiful maiden at St. James’s Theatre. The most vital part of the play seems to be a marvellous stage sand-storm. It overtakes Diana Mayo in the desert; she is stricken, senseless, to the ground; and in this state she is picked up by the Sheik and carried off to his tents. Contrived by Philip Lytton, with the co-operation of the experienced 'William. Moore, the St. James electrician, the storm is a producing triumph. Before the spectator is a wide expanse of desert, with mounds of sand, and a few trees—for artistic effect—on the right-hand side of the stage. The wind consistently comes in on the tj-ees, bending them toward the centre of the stage, and threatening to engulf everything in its course. First there are hints of the approach of the storm. In the background the clouds darken, and shadows appear to overspread the ground. The wind increases. Finally it rises to hurricane force. At this stage the air is thick with flying sand. At the opening performance some of the sand went into the auditorium. This unpleasantness was soon remedied. Somehow a way has been found whereby none of it now leaves the the stage. A stranger to such disturbances, Diana Mayo is unable to resist, for more than a few seconds, the wind and sand. It is different with the Arabs. Groping their way, with an arm over their eyes, they find shelter of a sort in various ways. Diana is deserted by her guide and other attendants—partly by design. Into the scene come two camels—fine specimens, by the way—with their drivers. But to the animals the storm does not seem to be anything more than a mere incident in the day’s routine. Naturally the presence of the long-necked creatures is to heighten the effect sought by the producer. At length the storn\ passes. With the cessation of the wind the sand begins to settle. Soon the air is clear, and the human phase of the drama is again in full swing. Suddenly the Sheik appears. He sees Diana lying in the sand. She had scorned him when, earlier in the play, he had warned her of the dangers of the desert. Further, he had declared that he would have her in his own good time.

“The Sheik” is beautifully mounted. Scenically there are some very impressive pictures. Throughout the costuming is rich and colourful. Fine exponents of the sheik and Diana Mayo have been secured in Robert Ginns and Kathleen Pickard.

But in the way of Recommendations the production would be memorable if for nothing else than the sandstorm—a truly great i ’ ievement in stage realism.

"Overwhelmed, but immensely happy.” That was how Lily Elsie summed up her feelings on her return to the London stage in “The Blue Train,” after ten years’ retirement. The “Lily Elsie charm,” which made her first favourite among musical comedy actresses 20 years ago, is as strong as ever. "My part is terribly slight and I do not think that my performance in it is at all marvellous,” Miss Elsie said. “In fact, I know* there is room for improvement where I am concerned. My voice, for instance, was n£ver trained. I must try to sing better. But it is splendid to be back on the London stage. I was half dazed. I wanted to cry, and I was so nervous that I was almost paralysed. I felt that people might be expecting so much from me—so much more than I could give. It is far, far worse to come back to the stage after a long absence from it than to start on the stage. The experience was an infinitely bigger ordeal for me than was the first night of ‘The Merry Widow’ 20 years ago, for instance.”' Miss Elsie received about 150 letters and telegrams washing her luck and more than 20 baskets and bouquets of flowers. She does not regard her present part as her last one; she would like to appear in a “straight” comedy before she finally gives up the stage.

There is not a dull moment in “Lady Be Good,” which is described as a whirlwind musical comedy of the style that appeals to all. The plot is but an excuse to hang some valuable material in the shape of clever and snappy dialogue, catchy music, lively songs, graceful ballets, the drollest of humour, and wonderful dances. It would indeed appear as though every member of the company from the principals to the coloured menials, had been infected with the dancing germ. The result is a strikingly original entertainment amidst the most beautiful settings; with rich dressings and gorgeous frocking. There is a smile in every line and happiness in every s®ng. The company, headed by Elsie Prince and Jimmy Godden, will open in Auckland on July 2.

Few \mderstudies in musical comedy have taken a leading role with such success as Marie Bremmer, who recently concluded seven consecutive performances in the title role of “Rose Marie.” Her first appearance in tho part was at a matinee. Miss Bremner has had very little stage training. She played a small part in “Lilac Time.”

Frank Clewlow, a talented English actor, will make his first appearance in New Zealand with the Allan Wilkie company. Mr. Clewlow was for many years at the famous Repertory Theatre in Manchester. He was stage director to Mr. Allan Wilkie when the actormanager toured India some years ago, prior to his coming to Australia. Mr. Clewlow relinquished the post of stage director of the Carl Rosa Opera Company recently to come to Australia to appear again in Shakespearean productions. He will take the part of the King in “Henry yi11.,” which Mr. Wilkie has added to his repertoire. Another important addition to Mr. Wilkie’s company is Dennis Barry, an actor he has also engaged recently in England. Mr. Barry will figure as Romeo and have other important parts during the forthcoming New Zealand tour.

The Ao-Tea-Roa Maoris, taken to Australia by Stanley McKay, are playing a season at the Australian Picture Palace —afternoon and evening. The six girls forming the combination are heard in solos, duets and choruses; appear in the poi, canoe and other dances; and introduce customs—quaint and pretty—peculiar to the Maori.

Sir Harry Lauder, who has returned to London from the United States, is playing at the Victoria Palace, S.W. —his only arranged London engagement for the next two years. He is going on a “farewell world tour.” His programme in London will include the revival of such popular old songs as “She’s My Daisy” and “It’s Nice to Get Up in the Morning,” and the first presentation in England of a new number which has made a great hit in New York and elsewhere —“I’ve Just Got Off the Chain”—a song about a man who" has been married 25 years and just contrived to have an evening to himself.

I have just attended the dress rehearsal at the Burgtheater of Franz Werfel’s new dramatic legend in six scenes, “St. Paul Among the Jews.” writes the Vienna correspondent of the “London Observer.” This historic play takes place in ancient Jerusalem, several years after the Crucifixion, during the period of the Emperor Caligula. The author wants to contrast two worlds—the setting sun of Judaism and the rising star of Christianity. Judaism in its most tolerant outlook is represented by the lofty-minded old Rabbi Gamaliel, who looks upon Christ as a great man, but not divine; while Gamaliel’s former pupil. St. Paul, stands for Christianity, believing in the divinity of his Master.

The conflict between Gamaliel and St. Paul is somewhat blurred by the fact that the former leaves an impression of great gentleness, like his ancestor, Hillel, while St. Paul appears as a fanatical zealot. Although passionately fond of Gamaliel, he causes his doom. In the final scene, which occurs on Atonement Day, to the sounds of the “shofar,” Gamaliel *is about to kill St. Paul as the greatest peril to Judaism, but when it comes to the point, he cannot. He calls to the God of Israel for enlightenment, but for the first time in his life the voice of the Lord does not answer him. St. Paul, however, claims to have heard the heavenly message to g*o forth, wander through the world and preach Christianity. Messages of persecutions, of slaughter of Jews by Gentiles. arrive, the Temple is consumed by flames, and Gamaliel is afterwards brought in a corpse. It means the doom of Israel. All this is connected with the failing rebellion of .the Jews against the Romans, and the personal tragedy of the High Priest, whose son perishes. Of the numerous figures, one of the best and most life-like is the Roman Prefect, Marullus, while both St. Paul and Gamaliel lack convincing dramatic power. The production, which shows several fine stage-pictures, accentuates the theatrical side too much.