STAGELAND

Sun (Auckland), Volume IV, Issue 1028, 19 July 1930, Page 24

STAGELAND

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COTHURNUS

FIXTURES

HIS MAJESTY’S THEATRE Now Playing.—“So This is Love.’’ September.—“ Tutankhamen,” Amateur Operatic Society. Coming.—Leon Gordon: “Murder on the Second Floor," and other plays. William Faversham: “The Prince and the Pauper” and other plays.

Claude Dampier, once a popular turn on the Fuller circuit, was touring England when the last mail left.

Celia Johnson, one of the latest London actresses to reach stardom, is already spoken of as the next Peter Pan.

Charles McCallum, of Auckland, who has returned to Sydney after a tour of India, is playing Laertes in Arthur Greenaway’s production of “Hamlet.”

HEART-THROB PLAYS

LONDONERS ENJOY “EAST LYNNE” REVIVAL

POPULAR OLD MELODRAMAS

The popularity of old-fashioned melodrama, not only in the small provincial towns, but in London itself, seems to be increasing by leaps and bounds (writes a Loudon theatrical critic). I spent a thoroughly entertaining couple of hours in a suburban theatre one night last week watching the heroics of that great favourite, “Tod” Slaughter, in "East Lynne,” and the composition of the audience was significant. I had not seen Mr. Slaughter since the good old days at the Elephant and Castle Theatre, and the number of obviously West End playgoers pouring into this suburban house last week prompted me to join them.

Mr. Slaughter is a very clever man He and his company play “East Lynne” and the other old ‘heart-throb” dramas with the utmost gusto, and thp most deadly seriousness, with generous helpings of incidental music thrown in—so that the more sophisticated section of the audience is unable to resist the temptation to support the pit aud gallery in their hearty cheers, hisses, and boos.

Yes, they really booed that archvillain with the saucy eyes, Sir Francis Levison, while if the number of people in evening dress did not actually cry during Little Willie's death, they at least pulled out pocket handkerchiefs! I am sure that Mr. Slaughter and his company would be the last to resent this gentle “leg-pulling” in which large sections of his audiences indulge. After all, he is doing a genuine service by giving modern playgoers an opportunity of seeing these amazingly funny melodramas, just as Simon Old is doing with a different, school of Victorian drama at the Kingsway. And as the combination of people who take this sort of thing dead seriously with those who come frankly to have a quiet laugh behind their cheers and hisses results in full houses wherever these “heart-throbbers” are played nowadays, I repeat that Mr. Slaughter is a very clever man!

THEATRE STREET

Karsavina Writes the Story of Her Life IMPERIAL RUSSIAN BALLET Tamara Karsavina, the famous Russian dancer, second only in importance to Anna Pavlova, who was her senior during her novitiate, has written her memoirs. She calls them “Theatre Street.” J. M. Barrie has added a preface, and the book is said to be the vivid outcome of a fine and sensitive mind, and a highly cultured woman. Karsavina was a member of the Imperial Russian Ballet, and she de-

scribes the discipline for its children as strict as a monastery, and a good education other than dancing was provided. Their clothes were plain uniforms like charity school children. Half the book is devoted to her early stages of

study and preparation for the stage. Her parents were very poor, and the struggle was always great to keep beauty in the home. The youthful Tamar shared the honours of the Russian Ballet when Diaghileff took it to Paris, and she was the partner of the remarkable Nijinsky, and shared his laurels. Eventually she married an Englishman, and settled in England, but not before she had conquered London as the premiere danseuse of the Russian Ballet. Pavlovh was never her rival. She had her own ballets after that first Paris season.

She went through the Russian revolution, and found herself in a position of fighting the Soviet for the life of her small son. Afterward, when Karsavina was resident in England, her brother fell into the hands of the Russian Cheka. He ivas forced to tell the names of his foreign correspondents, and his sister’s name thus came up. At that the commissar wheeled in his chair and said, “You are the brother of Karsavina? Gizelle is her best part, don’t you think?” As they talked of the dancing star the conviction was forgotten. “Tell her to come back,” said the commissar. “Tell her she will be received with honours.”

The book will repay the reader, as it is probably the most sparkling as well as the most comprehensive account yet written of the fortunes of the Rusian Ballet and the Russian renaissance of dancing.

“The Love Race,” a successor to “Love Lies,” and “So This Is Love,” has been presented in London. It has an all-British cast, including Cyril Pitchard and Madge Elliott. Stanley Lupino is author, producer and comedian. i Mamie Watson, the original “O’Brien Girl” in Australia and New Zealand, had the leading part in "Hold Everything,” at the Palace Theatre, London. “Her qualities of charm and refinement made her a welcome acquisition to the show,” is how one critic registered his appreciation.

During the Allan Wilkie season Sydney the plays to be revived, whi< will be new for the company, a Bulwer Lytton’s "Richelieu” ai

Sliakespear’s “Henry IV.” “King Lear” will also bo dono, not a frequent play on the Wilkie repertory. “Richelieu,” Mr. Wilkie says, was recently revived in America by Walter Hampden, a famous actor of classic parts, and it was most successful. It is very dramatic, and the language is in flowing blank verse. The old English comedies, “The School for Scandal” and “She Stoops to Conquer,” will also be done.

IN LONDON NOW

Many Good Plays Attract the Public PRICES COME DOWN There is little need to talk of a slump in the theatre, writes a correspondent in a recent London journal. Good plays continue to attract, and on the whole it is the bad plays that come off quickly. There is no cause for anxiety because “Journey’s End” is finishing in a fortnight and “The Apple Cart” came oft last night. Both have had very long runs. Plays of such different types as “The First Mrs. Fraser,” which has already been seen by more than 300,000 people; “Bitter Sweet,” Mr. Cochran’s revue at the London Pavilion; “A Night Like This,” “The Three Musketeers,” “The Middle Watch,” “Michael and Mary,” “A Warm Corner,” “On the Spot” and “The Silent Witness” continue to draw crowded houses at every perform ance, aud “Othello” played to approximately £2,200 in its first week at the Savoy. If the “slump” brings down theatre prices it is all to the good. The cheap seats at the Winter Garden for “The House That Jack Built” have given a new long lease of life to that revue, and three other theatres are following suit. Maurice Brown is presenting the Old Vic. “Hamlet”, at the Queen’s Theatre, with seats ranging from Is 2d to Ss (id; the Strand is to reopen, also with cheap prices, and Julian Wylie’s musical comedy, “Here Comes the Bride,” is to be transferred to the Lyceum Theatre, where the seats have invariably been lower in price than elsewhere in the West End, and now comes the news that the Duchess is to reopen with Ss 6d stalls.

“Honours Easy” finishes next Saturday evening, and on Tuesday week Alec L. Rea will present at St. Martin’s Theatre Neil Grant’s comedy, “Petticoat Influence,” originally done by the Repertory Players on a Sunday evening in March. Mr. Grant, who is a London journalist and the author of that excellent play, “Possessions,” tells me that he lias con siderably altered the second act. which was before a trifle too farcical Diana Wynyard again has the part of the young wife who blunders divertingly into diplomacy. Frank Allenby and Robert Holmes will also appear, with Sir Nigel Playfair as the Cabinet Minister and Jane Millican as his wife. John Hastings Turner is the producer and the settings have been designed by Laurence Irving. A week later “The Command to Love,” which had a preliminary run at the Arts in February, opens at Daly’s Theatre. Yvonne Arnaud will play Manuela, Ronald Squire appears as Gaston, and Isabel Elsom has the part of Marie Ann. Others in the cast are Julian Royce, H. R. Hignett and Frederick Culley.

“MR. CINDERS”

Fairy Story Comedy Popular in Sydney ELSIE PRINCE RETURNS The fact that one had to wait rather long for it to unfold itself made the plot of' “Mr. Cinders” all the more diverting and delightful when one did begin to pick up the thread at Her Majesty’s last night, writes a Sydney critic of the latest J.C.W. production The story of Cinderella is retold in this joyous musical comedy. Jim. the poor relation, is left behind to console himself with the

company of the housemaids when the Merton Chase party goes off t<> the millionaire’s ball. But an invitation is after ward found for J im, and tin* pretty housemaid follows along in her limousine. Into an atmo-

Elsie Prince sphere of 17th century frills and flounces aud furbe ] lows arrives Jim, posing as a cele- ! brated explorer on the strength of iau article he has read. Then comes | the transformation of the pretty j housemaid into the daughter of the I house, and the discomfiture of the ; wicked aunt and the disagreeable j cousins. It is all very fairy-storyish and bright and merry, and the audience I enjoyed it immensely. } Hindle Edgar, as Jim, is a new com- ' edian from England, and was very definitely a big success. Elsie Prince ; received a rapturous welcome on her reappearance at the head of an excellent c,ast. | The chorus was more a feature of I the show than ever, and contributed much to the pronounced success of | the performance.

A VIOLIN VOICE

German Actor's Great Performance in London

MASTER OF UNSPOKEN WORD

It is remarkable how the art of the really great, actor dissipates and eliminates lauguage barriers, writes Alan Parsons in the "Daily Mail.” One felt it with Lucien Guitry—one felt it again at the Globe Theatre, where C. B. Cochran and Maurice Browne presented the famous German actor, Alexander Moissi. I beg no one to deny himself the rare treat of seeing this splendid artist on account of knowing little, or even nothing, of the German language, for such is the quality of his acting that his every intonation is crystal clear—liis appeal is universal. The play chosen was Tolstoy’s “Der Lebende Leichman,” or “The Living Corpse.” Fedya’s tragedy is one of weakness, .of vacillation and procrastination. He has neither the will to return to his wife Lisa, who loves him, nor to set her free to marry her admirer, Victor. We see him going steadily down the hill of moral degeneration, till we find him in a cheap restaurant with an open bottle of wine and a revolver by his side. But he caimot make up his mind to do the deed—with a terrible cry of “Ich kann nicht” he flings the pistol away. All he can do is to leave a note saying that, he has killed himself. Lisa marries Victor, and is prosecuted for bigamy, an informer handing over Fedya, the living corpse, to the police. Perfect Elocution After making an impassioned speech to the court attacking the divorce laws, he finds his lost strength of mind at last, and a revolver shot sets Lisa free. A story more than usually steeped in Russian gloom, but tense and dramatice. and a gripping study of a neurotic, weak-willed man. Herr Moissi’s performance is superb throughout. One has perhaps been apt to think of the German tongue as sibilant and not naturally beautiful, hut he plays upon it as on a violin, and it at once becomes eloquent and musical. His elocution is perfection—every syllable is given its fullest value, and his voice has a peculiarly warm and caressing quality, with a pianissimo which carries to every corner of the theatre —sometimes he seems to in tone rather than speak the words. His rare outbursts of passion are terrific. It is this golden voice that naturally appeals most strongly, but he Is a master of the unspoken word, who can express volumes with a wave of the hand or a toss of the head. In a word, the man is a supreme artist. If I have any criticism to make it is that he invested Fedya with much more sense of humour than that melancholy man can ever have possessed Notable Team-Work Herr Moissi is supported by a very fine company, which gives so notable an exhibition of team-work that it would seem invidious to mention one name rather than another, but I liked especially the Lisa of Charlotte Schultz. Thb production is most attractive, showing what diverse and striking effects can be obtained by clever light ing and very simplified scenery. I seem to sense the genius of Reinhardt in the way on a dark stage great pools of bright light are concentrated on the players.

Edna Best, Irene Vanbrygh, Herbert Marshall, C. V. France and Colin Clive (the first Stanhope of “Journey’s End”) are to play Holmar’s comedy, “The Swan,” in London.

Sybil Atholwood, a daughter of “Jimmy” of that ilk, is playing the Moss Empire Circuit in England. New Zealanders will remember her as lead in “Nobody’s Widow” when Captain Barr’s comedians played that piece two years ago.

i THREE HAMLETS

London’s Reaction to The Talking Film CRITIC MAKES COMPARISONS Seldom have three Hamlets been seen in London within a month —and three such very different Hamlets! (writes E. A. Baughan, a London dramatic critic). Two of them, John Gielgud and Alexander Moissi, are actually playing in neighbouring theatres —the Queen’s and the Globe. A comparison of the three suggests itself.

From a treatrical point of view, Henry Ainley’s recent performances of Hamlet were the most magnificent. He has a wonderful stage presence, and a voice that sings the music of j Shakespeare’s verse with a beauty ' that falls on ears as balm after the i raucous tones of the talkies. You might even hold that this sudden Shakespeare fever is a reaction from the talking film. It is certainly an effective reply for those who have minds to hear. But, however you may view Hamlet, and the fascination of Shakespeare’s conception is that he has many sides, mere beauty of elocution and romance of bearing will not do. Hamlet must not be a burly handsome prince who feigns madness for the sake of theatrical effect. Physically ordinary Nor is it clear, as Goethe thought, that Shakespeare sought to depict a great deed laid upon a soul unequal to the performance of it. That is, in the main, the interpretation of Alexander Moissi, the most recent of the three Hamlets. He is pysically a very ordinary Hamlet, but with the dis-! tinction of a curious supersensitive- , ness. He has no emotional strength, and in moments of stress his voice 1 rises to a toneless shriek. His I strength lies in the quick self- j communion of the soliloquies. That I Hamlet of half-tones is not the Ham- j let Shakespeare drew. And what was the Hamlet that j Shakespeare drew? Whole volumes ! have been written on the subject, but j most of the criticisms have been in- 1 validated by the refusal of the writers ; to recognise that Shakespeare was a j man of the theatre, and wrote to please ! his audiences. In Elizabethan days j madness was a safe card to play, j Elizabethan plays are full of it. But Shakespeare, being a greater dramatist than any of his contemporaries, knew that a real madman is' not a proper figure for tragedy. Hamlet is never absolutely mad. His scenes with Horatio, the man whom j he most admires mainly for possessing qualities opposite to his own, j plainly prove that his mind worked normally when ho could free himself i of the obsession that he was an instrument of vengeance, the slave of destiny. An actor must take the text as his j guide, and it is truer than most com , mentators think that the part plays j itself. To make Hamlet’s madness a j mere cold-blooded, calculating method of hiding his intended vengeance is I absurd. What young man, grieving j for the sudden death of his father, and shocked by the gross haste of his j mother's "incestuous” marriage, would not have his mind disordered by the ■ appearance of his father’s ghost, con- i firming the vague suspicions he had already formed? As the late Louis Calvert wrote, “Put yourself in his place.” Not a weak nature It Hamlet had been a mature and unscrupulous man of action, his course would have been easy enough. The only obstacle in the way of his vengeance would have been his love for his mother and desire not to hurt her. To a young man of Hamlet’s sensitiveness and habits of introspection, the sudden slaying of his mother’s husband could not have seemed a small thing. Does it argue such a very weak nature, as Moissi depicts, that he could not bring himself to slay the king in cold blood? The Hamlet of my imagination is just a young pritace of sensitive nature, and yet of strong emotional impulses He is a poet, as most of Shakespeare's characters are, and though he has all the impulses to kill, he cannot fit action to them.

Because John Giellgud gives full expression to the text, and presents a young man faced for the first time ill his life with tragedy, he has been able to portray the most consistent Hamlet I have seen. He may lack this or that quality of the great Hamlets of the past, but he makes youth, inexperience, and sensitiveness rather than weakness of will the real obstacles to Hamlet’s vengeance. I think that if John Gielgud were a foreigner, all London would acclaim his Hamlet. Above all, he has youth, and the technique to express it. and a Hamlet who is not young does not explain himself.

Helen Cane, a Christchurch girl who is making a success on the London stage, appeared recently in Sir Nigel Playfair’s revival of “The Beaux’ Stratagem,” a Restoration period comedy. Her performance as Dorinda was praised highly by the critics.

Sir Gerald du Maurier and Gladys Cooper will reappear together in a new play in London. The piece is a comedy by H. M. Harwood, the author of several West End successes. Miss Cooper—in private life Lady Pearson —will be seen on the London stage for the first time this year. Two of London s young actresses, Celiq, Johnson and Dorice Fordred, will play important roles. American theatre managers are convinced that musical shows are the best form of entertainment with which to fight the talkies. Twenty-two new productions of this kind are to be staged in New Y’ork between now and the early autumn. Among those scheduled for production are “Princess Charming” and “Dear Love,” two shows which Clayton and Waller have already done in London. Helen Gilliland and Vera Pearce will play in ‘TJear Love.” Vast sums are lavished on some of these New York musical pieces. Earl Carroll is said to be spending £50,000 on his new “Vanities.”