ACROSS THE FOOTLIGHTS

Taranaki Daily News, 20 June 1931, Page 22 (Supplement)

ACROSS THE FOOTLIGHTS

* ..COMING EVENTS. . OPERA. HOUSE. iTo-night.—‘.‘All :Quiet on the 1 Western Front’’, (all star), Universal special ’production.' . June 22 to '24'.— 'Feet First” (Harold Lloyd), Paramount production. June 25.—‘Dance recital by pupils of Mona Kirwin and “The Girl from Havana” (Lola Lane-Paul Page), Fox Movietone all-talking produc--i . tion. ' . .. i STtine 27.—“ The, Vagabond King” (Jeanette iieDohald-Dennis King), Paramount all-colour operetta. EVERYBODY’S. ' To-night, Monday and Tuesday. ' ! “Escape” (Gerald Du Maurier-Edna i Best), British production. June 24 to 26.—“ The Dawn Patrol” (Richard Barthelmess), First Nai tional special production. ' June 27 to 30.—“ Reducing” (Marie Dressler-Polly’ Moran), Metro-Gold- ; wyn-Maycr production. July 1 to 3.—“ Within the Law” (Joan Crawford), Metro-Goldwyn special '• attraction. 'THE REGENT. > ; To-nighr, Monday and Tuesday.— J* “Rough Romance” (George O’Brien) Fox Movietone production. ■ June 24. to 26—"Dixia na” (Bebe Dan-iels-Bert Wheeler-Robert Woolsey), Radio.-special, production. June ’27 to'3o.—‘’Last of the Duanes” , (George O’Brien), Fox Movietone production; and “Soup to Nuts (all star), Fox Movietone produe- . tion. Julv Ito 3.—“ A Warm Corner” (Leslie ’Henson), British special all-tallying comedy. • • • * “ROUGH ROMANCE.” . ’ . Thrills, plot and love interest galore against; a sweeping background of the great outdoors! That is ‘-'Rough Romance,’'first all-talking drama of the north w : oods, commencing at the Regent to-day at 2 and 7.45 p.m. Those who have seen this Fox Movietone production featuring George O’Brien and Helen Chandler and directed by A. F. . cay it iA the biggest .outdoor picture to reach the audible screen. “Rough Romance” is literally crammed with action and situations. Here are some of the big “punches”: A mad free-for-all * fight between lumberjacks and trappers during the. course of a -logging town “jamboree.” The gun battle on the streets of the .little town of Olanche in which O’Brien, ambushed by the heavy, Antonio Moreno and his partner, kills the partner'and is rushed out of town, badly wounded, by a pal. The scene in which Miss Chandler and her father throw the,.,sheriff off the trail as he seeks O’Brien or. a charge of murder. The breath-taking sequence in which O’Brien plunges into a raging river filled with logs., in order to. rescue Miss Chandler. ’ln addition to O’Brien, Miss Chandler and Moreno, the cast contains such well-known players as David Hartford, Harry Cording, Roy ■Stewart, Eddie Borden and Frank Lanning. • *- * • “ESCAPE.” The outstanding play of one of the greatest English authors of all time ■ comes to the screen of Everybody’s Theatre to-day at 2 and 7.45 p.m. when John Galsworthy’s “Escape” has its initial showing. It is the first of his 'works to reach the talking' screen. Admirably suited to film adaptation, the picture has a wide range of appeal. The story is most timely, coming when the entire nation is aroused over recent gaolbreaks and prison riots. Galsworthy’s keen observations on prison conditions, combined with his incomparable dialogue, brilliant characterisations and thrilling -climax “Escape” as a real event in the history of the audible screen. The film, produced by ■Basil Dean, boasts an all-star cast of superlative players, headed by Sir Gerald Du Maurier, Edna Best and Mamel Poulton.

• # * * “ALL QUIET ON WESTERN FRONT.”

Once in the proverbial blue moon there comes to the screen a picture before which all critics of motion-pictures must stand silent; a picture which proclaims that the screen possesses powers inherent in no other medium of artistic expression; a picture which appeals with equal strength to the intelligence and to the emotions. Such a picture is “All Quiet on the Western Front,” Universal’s super-production of Erich Maria Remarque’s famous novel, which shows at the Opera House tonight. There have been war pictures which were primarily spectacles. There have been war pictures which were primarily romances. ' There have been war pictures which were primarily melodramas. “All Quiet on the Western Front” is primarily the story of youth —the youth of all nations —in war. It is the story of one youth who symbolises in himself the fate of all youth, comrades and foemen, cast into the flaming maw of war. Lewis Ayres, Slim Summerville, John Wray and Louis Wplheirn head the cast of thousands. !

• * * • DANCE RECITAL BY MONA KIRWIN

The dance recital to be presented in the New Plymouth Opera House on Thursday next by the pupils of Mona Kirwin should appeal to all lovers of operatic dancing because of its varied and spectacular offerings. Vola Watson’ a child of talent well-known to local audiences, appears in three solos, toe, cossacK and acrobatic, and two duos, one an adagio in which she is partnered by .Ngaio Parkes, another promising <lancer; the other, -a rousing Irish lilt, with Jean Fyfe as partner. Jean Fyfe in her solo number “Valse iSeptembre” will delight with her . remarkable suppleness and grace. Diminu tive Beverly Fyfe will captivate all in her two solos, “La Militaire” a*.d “A Woodland Sprite.” Other items of great charm are the ''Cake Walk” by Allison McCullough, “Eastern Dance” by Sonia Oldridge, “An Old Fashioned Measure” by Thea McCullough and Margaret Sheppherd, “The Glow-worm and Butterfly,” by Jean and Bove ly Fyfe, “The Scarf Dance” and “The Castanet Dancer’’ by Ngaio Parkes, and an “Operatic Toe Solo” by Mona Kirwin. Gladys Lay will be seen in a classic dance of great beauty. Two attractive ballets will be offered—“ Hula Maidens” in which Evelyn Cartwright is the soloist; the other “Grasshoppers at Play is a series of sinuous movements with Vola Watson as soloist. No pains have been spared to make the frocking attractive and in every instance the costumes are dainty and lovely to see. “The Girl from Havana,” an all-talking picture, will also be presented on the programme.

, “THE DAWN PATROL.” A John Monk Saunders story has been made into a dramatic screen epic by Richard Barthelmess and it will come to Everybody’s Theatre next Wednesday. It is a First NationalVitaphone production called “The Dawn Patrol” and as its name might imply it narrates the tense and thrilling story of a group of British flyers in the early years of the World War, whose coinage /'and bravado in facing overwhelming odds created a condition unique in the entire conflict. Saunders is the author of “Wings,” “Legion of the Condemned’’ and other air stories. The director of “The Dawn Patrol” is Howard Hawks, who is himself a licensed pilot and has a large following as an author and director. Barthelmess enacts the role of Courtney, commander of the squadron, who loathed his job of. sending “schoolboy” flyers to their inevitable death. Ho is supported by Douglas Fairbanks, Jr., and Neil Hamilton in thci two principal characterisations, while the other parts are played by Gardner James, Edmund Breon, Clyde Cook, James 1' inlayson and William Janney. # # # r . * “DIXIANA.”

“Dixiana,” Radio’s mammoth al.-teeh-nieolour operetta starring Bebe Daniels of “Rio Rita” fame, will commence a season at the Regent on Wednesday next. Laid amid the colourful scenes of old New. Orleans,;the play has every ingredient which makes for success tragedy, drama, comedy,' tender romance, powerful acting, tuneful niunbeis, ballets, and-a story that holds together’ well. The tale tells of a young Dutch planter who falls in’love with the beautiful star, of a New Orleans circus troupe, and marries her in spite of the opposition of his haughty moth-er-in-law, and the deadly rivalry of an unscrupulous card sharper, lhe scenes in tile circus, at the Van Horn planta' tion, and in the gambling hell can only be described as the last word in modem stage-craft. Bebe Daniels makes a ravishing Dixiana, and is excellently supported by .Everett Marshall as the youthful planter. Those clever comedians, Bert Wheeler and Robert Woolsey, keep the fun going right merrily. “FEET FIRST.”

Happy days are here again! Here comes Harold Lloyd in his newest Paiamount release, “Feet First,’ with a brand new; bag of tricks that will make everyone’s sides ache with laughter. There is action to every second, topping the thrills of “Safety Last.” This time the Monarch of Mirth comes as a smiling shoe clerk, pursuing a beautiful o-irl, charming Barbara Kent, who appeared with Harold Lloyd in “Welcome Danger.” “Feet First” is the comedy king’s second, big all-talking picture, and will open a three night engagement at the Opera House on Monday next. It is a high and dizzy romance, that will send’‘the chills up and down the spine, and is ah event that the whole family will look forward to with keen anticipation. Get set for the gloom destroyer of 1931. It has a supporting cast, which includes Robert McWade, Lillianne Lemhtcm, Alec Francis and Noah Young. ° * * * “THE VAGABOND KING.”

“The Vagabond King,” Paramount’s operetta starring Dennis King and Jeanette McDonald, will play a return season of one night only at the New Plymouth Opera House on Saturday, June 27. Critics have stated that this film, which is 100 per cent, technieolour, and which is rich in the values that sound has brought to the screen, is one of the most amazing yet. produced in Hollywood, and that it. will continue. to be making history long after other socalled feature films have been, forgotten.

OPERA HOUSE, HaWERA. June 23 and 24.—“ The Spoilers” (Gary Cooper). June 25 and 26—“ What a Widow!’ (Gloria Swanson). / June 27, 29 and 30.—“ Plunder” (“Rookery Nook” company). GRAND THEATRE, HAWERA. June 24 and 25—“ The Boudoir Diplomat” (lan Keith). June 27 and 29.—“ The Sea Wolf” (Milton Sills). # ♦ * * “GOLD HELP HOLLYWOOD.” The comment of a leading American Journal, “Variety,” on “Rookery Nook,” the first Ben Travers sound picture, is interesting. “If this,” said the writer, “is a symptom of what a down-trodden, debt-paying, bai-jove, how-d’ye-do country can do in the way of talkies, then God help Hollywood.” Such comment marks the first step towards the recognition by America of England’s equality, if not actual supremacy in the production of high-class motion pictures. The same cast is in “Plunder, another Ben Travers comedy, which was the picture selected for showing to the recent Empire Conference delegates. “Plunder” differs slightly from “Rookery Nook” in type. True, it has the same humour, the same situation, but. it frequently grows more tense, as ih the Scotland Yard sequence, and an undercurrent of drama prevails through it and never lets the interest flag or the comedy become overdone. However, it is farce, right through, and the dialogue fairly sparkles with the inimitable Ben Travers wit. The story is based upon the attempt of Tom Walls and Ralph Lynn as co-conspirators to dispossess the scheming Mary Brough and her son Robertson Hare, of jewels which really belong to Ralph’s fiance, Winifred Shottcr. If one can imagine the witless Ralph Lynn committing theft and manslaughter and then hoodwinking Scotland Yard into believing that he didn’t, one gets an idea of the humorous possibilities of the plot. • * * • FORMER FRIEND OF LONDON’S. Some years ago a young architectural student at the Mark Hopkins Institute in San Francisco had a thrill. He was introduced to a stocky and muscular young man, bronzed with the tan of the seven seas, who had leaped to fame with his vivid, powerful stories of life and adventure. The young man was Jack London; the art student Alfred Santell. From that meeting Santell developed an intense admiration foi London’s work. His feelings were so strong that he decided to give up his promising architectural career and try writing instead. He modelled his initial efforts on his friend’s stories and strove to get the same gripping drama and action into his own tales. He became a scenario writer and later a director. When “The Sea Wolf”-came to be filmed it was only natural that he should be chosen to direct it. “lhe Sea Wolf, with Milton Sills, Jane Keith and Raymond Hackett featured and a support-

ing cast headed by Mitchell Harns, Nat Pendleton, John Rogers, Harry Tenbrook and Sam Allen, will have its first showing at the Hawera Opel a House next week. #• * * * REHEARSAL PHOTOGRAPHED. Gloria Swanson’s new picture, “What a Widow!”, is the product of a revolutionary innovation in the business of making pictures. For this comedy was the first to be completely filmed in re-, hearsal form before actual production. The complete story was photographed and recorded in rough form in three days’ time. No attention was paid to proper costuming or lighting and the majority of the sets were unfinished. Insofar as action and dialogue are concerned, however, the film afforded a complete screen record of the story. The novel experiment was successful to an extent beyond expectations. It led to a tremendous saving in “retakes and the editing of scenes. It clearly indicated the “footage” to be anticipated during actual filming of the story and afforded invaluable guidance to the film editors in advance. And in addition it resulted in a finer picture, with proper timing of dialogue, more closely knit action and various other improvements made possible only by the players’ better understanding of their individual problems after seeing the picture. “What a Widow!” will be shown in Hawera next week. » ♦ • • AN ASTONISHING “COME-BACK.” Btdty Compson, who plays the leading feminine role in “The Boudoir Diplomat” is one of the actors and actresses who have benefitted by the advent of the talking picture. After playing in comedy parts with some dramatic work following, she achieved stardom in “The Miracle Man.” She retained her popularity for years and then almost in a day she dropped to obscuiity with no contracts ’ forthcoming. Eventually she had an opportunity to play in a picture to be made on Hollywood’s famous "Poverty Row”, which was the producing headquarters of the lesser companies, where actors were worked at a swift pace, and pictures were completed in a week. After this first pictur© offers poured in from makers of these “quickies,” and she again plunged into screen work with more energy than ever. Entirely forgetting the big producers, she reigned for more than a year ae “the Queen of Poverty Row. Then came the talkies and, her voice being satisfactory, stardom once again. Her '’•'come-back”, was one of the roost astonishing of its kind. "The Boudoir Diplomat” will be shown at the Grand Theatre next week. ♦ * * • 'THE SPOILERS’ FOUNDED ON FACT A gang of men who laid waste £7,500,000 worth of gold mining "’aims, under cover of the law thej mocked, gave Rex Beach the theme for his story that has become one of the great outdoor romances of literature, “The Spoilers.” Practically every situation in Beach’s novel is based on fact. Even the fight between Glenister and McNamara -was real, a terrific battle waged- between Chris Swanson and Alexander MacKenzie having , furnished Beach with his inspiration. Swanson, a huge, powerful man, was a leader among the miners whose claims had been despoiled, while MacKenzie, outwardly the representative of the United States Government in the district, was head conspirator. The fight between MacKenzie and Swanson was the turning point of the affairs at Nome; from that moment began the breaking up of the MacKenzie gang and the return of their own property to the miners whose claims had been jumped. Paramount re-filmed “The Spoilers” on a large scale, the first time as an all-talking production. Gary Cooper is featured in this production, which shows at the Grand Theatre next week. Supporting him are Kay Johnson, Betty Compson, James Kirkwood, Harry Green, “Slim” Summerville and Lloyd Ingraham,

WOMAN’S BEAUTIFUL PLAY. PERFECT PART FOR FAY COMPTON Alan Parsons writes in the London Daily Mail: — . . Like all dramatic critics, I am asked twice a week, “Do you get terribly tired of the theatre?’’ „ It is plays like “Autumn Crocus, which Mr. 'Basil Dean produced last nio-ht at the Lyric Theatre, which ensure that the answer shall always be “No.” 1 have not been so deeply moved ■ in the theatre for many long months, yet so delicate, so elusive, so insubstantial is this lovely little idyll that I despair of trying to praise it— can only beg playgoers to see for thernSC For'what is this talc, after all, but that of a middle-aged school-mistress, holiday-making in the Austrian Tyrol, who finds herself caught up by sudden love for an Austrian innkeepci . For a few precious hours she plays with the idea of giving up all for love, but sanity prevails—there is the keeper's stolid wife and her own still more stolid travelling companion—and. with a breaking heart, she turns her back on dreams, and goes out once more into her drab and loveless world Slight enough; yet here here is the whole tragedy of tragedy so wonderfully, exploited i “Der Rosenkavalier”— which for a fleetin" moment finds, youth in its grasp, only to lose it all as soon again. It has the same pathetic appeala “The Constant Nymph, and I feel that there must be some magic in th, Austrian Tyrol, around which these lovely plavs are written. - , The comedy characters arc delightiui]y observed—the English vicar and .his adventurous sister, the hearty Geunan Darbv and Joan, and the young couple so eagerly trying out a “companionate » »ot oni, beautifully drawn, but might have been created for-Fay Compton. She W to perfection the Autumn Crocus, the spring flower that blossoms again in the autumn. It was beautiful to watch her gradually warming to Life, Love and Romance, like a peach on a garden wall a truly lovely piece of .acting. Francis Lederer, the young Czechoslovakian actor, had a more afficult task. His voice is sometimes a little harsh, but he has enormous charm of the Maurice Chevalier kind, very good looks, and considerable acting ability. I fancy that he will soon become a favourite. . Good plavs usually inspire good acting, and I would like to name the whole of°Mr. Dean’s admirable east. I must content myself with a special word of praise for Muriel Aked’s wonderful English spinster, Martita Hunt’s disapproving school mistress, and Frederick Ranalow’s pleasantly vocal German tourist. In short,. a lovely play, exquisitely cast, beautifully p on and produced, and perfectly acted. . The authoress Miss Dodie Smith, who calls herself C. L. Anthony, is said to be employed by some furnishing emporium in the Tottenham Court Road. If she can continue to cope with, furniture and still write plays like “Autumn Crocus,” well and good. Otherwise . . .

SCREEN STORIES. WHERE THE SUPPLY COMES FROM (Written for the Daily News by Robert S. White.) With the major producing companies in Hollywood making approximately 300 motion pictures each year, the problem of obtaining sufficient literary background for these celluloid stories becomes, indeed, a serious one. While the world’s bookshelves provide a very helpful source of suitable literature, yet popular books alone supply less than half the required number of scripts each year. Original stories, written directly for the screen, have always been in the majority, as subjects for production, although, since the advent of talking pictures, plays and novels have steadily increased in importance as literary sources. For the silent Screen it 'waft necessary to select stories that could be told pictorially: Maliy great books would not make great pictures because action was the'first requisite. But the advent of sound has changed this situation considerably, making possible the telling.of any story whether it be mainly action, dialogue, or a witty combination of both, with equal success. It is interesting to note that, of 18 pictures in production or newly completed at the. Paramount studios, six are adapted from popular novels, six are original ideas engendered within the studios by salaried writers, and four are based on successful stage plays. Of the first group are ‘'The Conquering Horde’’ by Emerson Hough; “Finn and Hattie” from Donald Ogden Stewart’s “Haddock’’ stories; ‘‘Dude Ranch” by Milton Krims; “Man of the World”, based on Michael Arlens “Cavalier of the Streets”; “Ladies’ Man” by Rupert Hughes, and “An American Tragedy” by Theodore Dreiser. The group of original stories includes “City Streets,” “Dishonoured,” “Skippy,’’ “Tarnished Lady,” “The Vice ■Squad,” “Scarlet Hours,” and “The Smiling Lieutenant.” The play adaptations are “June Moon,” “Kick In,” “Up Pops the Devil,” and “Unfaithful.” Of particular interest also is it to note that two of the original screen productions, “Dishonoured’’ and “Scarlet Hours” are the works of the directors, Josef von Sternberg and Edmund Goulding, respectively. While the latter has been credited with the story and direction of several recent pictures, including “The Devil’s Holiday” and ‘ lhe Trespasser,” von Sternberg is a newcomer in the writing field. This enlarging of his production scope, however, is perhaps a significant move, being a forerunner to the time when the author of a motion picture play will follow its production throughout every stage and up to the final snip of the cutting scissors. Von Sternberg offers no explanation for his sudden turn to writing, leaving one to surmise that in the desire to obtain suitable material for Marlene Dietrich’s second Paramount picture he came to the conclusion that his own ideas were as good as anyone elses. Better perhaps, for his use, since one has less difficulty and can be more convincing when arguing vyith one s self. Goulding’s current production “Searlet Hours,” is his second for Paramount, and incidentally his second for Nancy Carroll. He is probably the oldest advocate of the writer-director method of production. “If every director wrote his own stories it is highly probable that his finished product would be more satisfactory at least to him,” maintains Goulding. “It is a comparatively simple matter for a man to carry out his own ideas with camera and puppets, whereas it often becomes difficult to grasp .what an author expects of one of his scenes. “Of course, the system is not practical in most cases to-day. Only a few directors can write, and almost no authors can direct. But it is certain to

prove its superiority, at least in the production of big pictures, before many years have passed,” he concludes with a smile. The.odore Dreiser’s epic Pulitzer novel,” “An American Tragedy,” will serve as an extremely interesting demonstration of the possibilities of the talking film as a medium of dramatic expression. Ever since the publication of Dreiser’s novel, the question has been constantly raised as to whether this work could be transposed to the screen. Naturally, there is a vast difference in popular appeal between the novel on one hand and the silent screen on the other. Notwithstanding the large sum of money paid for the picture rights of this story by Paramount a few years ago, company executives recognised the difficulties of producing the play under the restrictions of pantomime in the silent screen. It was then decided that it would be better to forego this investment than to produce the picture in a form that either would lack the necessary dramatic power, or violate accepted community standards. But now that the talking picture has replaced the silent film, the production of this great story has become an actuality. Retrieved 'from the filing cabinets of the Paramount story department, where it has rested among unused synopses from plays, short stories, novels, and half-finished ideas, “An American Tragedy” was once again brought into light. Production is now under way at Hollywood studios under the direction of the genius, Josef von Sternberg, and with such prominent young players as Phillips Holmes, Sylvia Sidney, Frances Dee and Irving Pichel in the castIt is a matter of demonstration, not debate, whether a story of this type can be produced in a satisfactory manner. But the actual production will, at least, prove these possibilities of the screen. The task is admitted a difficult one, when it is known that the talking picture of “An American Tragedy” will select and transpose into approximately 90 minutes of screen time the dramatic values of a book of 840 pages. The final production whether success-

ful, partly so, or not at all so, will demonstrate as never before the horizon and general scope of the talking screen. Paramount’s executives believe it will prove a sensational triumph for the screen. They are so sure of its success that they back their belief with their reputations as producers. If “An American Tragedy” succeeds as a film, one more source of literature will have been developed, for just as this unique tale has defied picturisation in the past, so are there other stories equally great awaiting the call of “Camera.” -■

WONDERFUL NELLIE STEWART. A GALA PERFORMANCE. Nellie Stewart appeared at a gala performance «slie organised at Mosman, Sydney, recently, and selected the whole of the first act of “'Sweet Nell of Old Drury,” and the balcony scene from ‘‘Romeo and Juliet.” In both Miss Stewart appeared, playing with wonderful spirit, vitality, and physical suppleness (states the Sydney Morning Herald). A 'thoroughly competent company had been got together, and the members gave excellent artistic support. Miss Stewart showed that the lapse of years has not dulled her remarkable powers of mimicry in the slightest. The passage in which she imitated the snuff-taking and the arrogant demeanour of the feared and hated Jeffries was received with roars of appreciative laughter. Her assumption of the very peso and gait of the Chief Justice was extraordinarily realistic. After a performance of “The Fishermen of England,” from “The Rebel Maid,” by members of the Mosman Musical Society, Miss Nellie Stewart, as Romeo, and her daughter, Naneyo ■Stewart, as Juliet, gave the famous balcony scene. This was a remarkable performance for the versatile Australian actress, who had made her name in almost every form of theatrical production except Shakespearean drama. Earlier in the programme Nancye Stewart .and Mayne Linton gave musical sketches, and Vinia de Loitte—widow of Howard Vernon —gave a clear and interesting'.turn, “Recollections of Comic Opera.” “PRECIOUS BANE.” A STAGE VERSION. A etage version of “Precious Bane,” Mary Webb’s famous Shropshire novel, was presented by Mr. Edward Lewis at the Embassy Repertory Theatre, London, recently. As in all adaptations of this kind, only part of the novel could be used to make the play, which had, therefore, to be judged on its own merits. “It opens with the burial of old Sarn,” states Mr. C. B. Purdom, London Theatre critic, “and after the ceremony Gideon makes his sister Prue bind herself over her father’s grave to serve him. Then we see Gideon rising to prosperity with his farm, and afterwards brought near to ruin by the firing of his ricks. This disaster breaks his spirit and we are led to imagine him following the path to the weir that his sweetheart, Jancis, has already taken with her child. The characters of Gideon, Prue, Kester Woodseares and the old scoundrel, Beguildy, are strongly drawn, but Janeis is a shadow. The play is rustic melodrama, with good dialogue and some telling situations. At the Embassy Theatre it was brilliantly acted and produced. Miss Edith Sharpe gave a delightful performance 'as Prue, and a young actor, Robert Donat, made a magnificent Gideon playing with power and assurance that never faltered. The one serious defect was on account of the costumes, all of which were new and spotless, and gave the whole thing* a pretty-pretty appearance which did not harmonise with the grim and crude story.” The recently-formed Embassy Playgoers’ Association, which runs this theatre, has already 5700 members. Performances are given on Sunday evenings as well as during the week. A VILLAGE FOR DRAMA. EUGENE O’NEILL’S WORK. The production of Eugene O'Neill's “Strange Interlude” and “Desire Under the Elms” in London recently, lends interest to' an article by Griffin Barry, who describes in “Everyman” how the

American dramatist came to write the greater portion of his plays. O’Neill, son of an actor-manager, spent his early years at sea, and later settled at Provincetown, a fishing village at Cape Cod, near Boston. He did not believe in work and lived with his wife in a ehack, an allowance from his father being hie sole source of income. There Sinclair Lewis and Susan Glaspell, later to achieve fame in the realms of novel and drama, often came to visit them. A little theatre was set up and the company moved in 1913 to New York. O’Neill set to work on his plays, which followed one another with speed and brilliance, many of them incorporating a savage criticism of society. Nearly all his plays are imagined from the soul and adventures of the Cape Cod farmer-sailor—a persistent type on that coast singe the beginning of the 18th century. His early plays dealt with proletarian mystics who follow the sea; plays of the middle period, such as “Desire Under the Elms,’’ suggest what happened on New England farms when elderly husbands left them for the Californian goldfields; and in “Strange Interlude” are portrayed New Englanders who have grown wealthy and sophisticated through town life. Social strata in Provincetown suggested all these types and passions to O’Neill. It is many years since he and Sinclair Lewis left the village, but the anti-Philistine literary legend of Provincetown, despite its I fall from glory, still exists.

“THE LOVE RACE” IN SYDNEY. NEW MUSICAL COMEDY. The Sydney Sun says of the first performance of "the new musical comedy, “The Love Race,” in Sydney; At Her Majesty’s Theatre was presented “The Love Race,’’ a new musical comedy, by about six talented authors, whose names all appear on the programme. This may exemplify the old saying “There’s safety in numbers, or, perhaps, “too many cooks spoil the broth.” It is a broth of foxtrot music, dancing, humour, elderly and otherwise. One leaves with several powerful impressions—Elsie Prince in very tight blue pyjamas, a hard-worked ballet,. Alfred Frith’s tie hanging over his waistcoat, syncopation, Leo Franklyn s grotesque dance steps, Eileen Ogden’s red dress, more syncopation, Josie Melville in a white dress, a very large cast of characters, and more syncopation; One gathers that the gallant gentleman who invented the libretto, the genius who syncopated the music, the inspired lyricist who composed the lyrics, and the various folk who were responsible for the additional numbers, together with Alfred Frith, Leo Franklyn, Gus Bluett, Douglas Calderwood, and others, who appeared to “gag ’ freely, were less concerned with coherence and what Euripides would have: regarded as the dramatic unities, than with a bright show. “The Love Race is bright enough, though Euripides would hardly have approved of it. The ballet was good, the music well syncopated, the humour carried out by an efficient battery of comedians, and the piece slid from absurd situation to more absurd situation on wings of negroid melody and rhythm. It would be unfair to pick out any particular performer; each had a capital reception, and each kept the pace moving with face, voice and legs.

AMATEURS IN SYDNEY.

A SEPTEMBER FESTIVAL.

The present year is a busy one for amateur players in Sydney. The Community Theatre has been extensively renovated and plans are under way for a drama festival in September. A feature of this will be a competition for three-act plays. The season’s programme includes Ibsen’s “Pillars of Society,” to be followed by two Shavian plays, “Candida” and First Play,” with W. Bell-Allan and Mrs. Forsyth as the producers in each case. The Community Theatre is also preparing a new type of competition. Four author* are to be selected from the theatre’s members and given a plot up ' to a certain point. They will then have to complete the play, inventing their own climax and dialogue. The plays will be produced and the best effort judged. The Independent Theatre, under the direction of Doris Fitton, plays every Saturday night at the Savoy Theatre. Its productions since the beof the year have been- A. A» Milne’s “Michael and Mary,” Sidney Howard’s “The Silver Cord” and J. B. Fagan’s “And So to Bed,” a romantic comedy of Mr. and Mrs. Samuel Pcpys and Charles 11. The Playbox Theatre, under Duncan Macdougall, is preparing to produce a series of studies of Viennese life by Arthur Schnitzler, the Austrian dramatist. The Playbox production bears the title, “Viennese Nights, and consist© of “The Festival of Bacchus,” “Literature,” “Questioning hate and “Anatol’s Wedding Morn.” The production of “Green Pastuies, Mate Connelly’s negro Biblical fantasy, is still indefinite, owing to its demand for a large and brilliant cast. RAN ONLY FIVE NIGHTS. EDGAR WALLACE MISSES. “Charles the Third,” the play Mr. Edgar Wallace adapted from the German of Curt Gotz, was withdrawn fiom Wyndham’s Theatre, London, after a run of five nights. It will be recalled that Mr. Wallace’s “The Mouthpiece” was withdrawn from Wyndham’s last November after a run of nine nights. Mr. Wallace said: “I have a new play, a drama in the true Wallace style, which has been ready for a year, and which I have been keeping in reserve for just such an occasion as this. It will probably be produced within the next six or seven weeks.”