ACROSS THE FOOTLIGHTS

Taranaki Daily News, 20 February 1932, Page 8 (Supplement)

ACROSS THE FOOTLIGHTS

COMING EVENTS. EVERYBODY'S. To-night, Monday and. Tuesday: “Murder. by the Clock" (William Boyd— Lester Vail—Lilyan Tashman —Regie Toomey), British production. yebruary ?4 to 26: “These Charming People” (Cyril Maude), Paramount •reduction. February 27 to March 1: “The Speckled Band” (Athole Stewart), British production. March 2 to 4: “The Man in Possession (Robert Montgomery —Irene Pureel!), Metro-Gold wyn-May er production. THE REGENT. •“-night/ Monday and Tuesday: “The ~ Man Prom Chicago” (Bernard Ned•ll—Joyce Kennedy—Dodo Watte), ‘ and “The Black Hand Gang”. (Geor- ■ gie Wood—(Dolly Harmer), British International two-star programme. February 24 to 26: “Men of the Sky” (Jack Whiting—lrene Delroy), and "Fifty Million Frenchmen” (Olsen and Johnson), Warner Bros. First National two-star bill. , . February 27 to March 1: “Annabelle’s Affairs” (Victor McLaglen —Jean- ' ’ 'ette McDonald—Boland Y r oung), .) (Fox Movietone production. OPERA HOUSE. ’ - To-day at 2 p.m., To-night at 8: "Let Us Be Gay” (Norma Shearer — Marie Dressier), Metro-Goldwyn-Mayer production. February 22 to 25: ’“Mother’s Millions” (May Robson —James Hall —Frances Dade —Lawrence Gray), Universal super production. February 27: “Min and Bill” (Marie Dressier—Wallace Beery), Metro-Goldwyn-Mayer production. March 1 to'3: J. C. Williamson’s Ltd. (Gilbert and Sullivan company),. • * * * "LET US BE , GAY.”

*Let Us Be Gay,” the famous Metro-Goldwyn-Mayer production, will play 4 return season at the Opera House today at 2 and 8 p.m. Norma Shearer and Marie Dressier are the .stars, and they ’ are' ably supported by Hod La ftooque, Sally Eilers, Gilbert Emery and many other celebrities. “MURDER. BY THE CLOCK.”

Creeps and shivers are in store for those who attend “Murder by the Clock,” Paramount’s mystery-thriller commencing at Everybody’s to-day at 2 and 8 p.m. This story, based on the mystery hovel of the same name by Rufus King, tells of the unhappy marriage of a young man who is murdered twice in a single evening. Several hours after he is found dead in his home he is alive again, due to the.reviving effects of adrenalin treatments given by the family doctor. Some minutes after he has regained life, and just as he is about to tell ;who killed him, he is slain for the 1 second" and final time. The web of events woven around this spine-tingling double demise forms an hour’s entertainment tha,t .holds audiences frozen with intense interest. Lilyan -Tashman, Lester Vail and William Boyd head the all-star cast. ' # ’* , * * ' “MOTHER’S MILLIONS.”

A refreshingly new note in talkie fare is struck in “Mother’s Millions,” a Universal picture which opens at the Opera House on Monday, and which gives a different slant on life by presenting a story of the romantic and social struggles of folks- with too much irioney. The picture marks the debut on the talking screen of one of America’s best loved stage stars —May Robson, supported by a group of screen favourites that includes James Hall, Frances Dade, Lawrence Gray, Edmund Breese, Elinor Flynn and Lillian Harmer. “Mother’s Millions” was adapted from the stage play of the same name by Howard McKent > Barnes, and was directed by James Flood. “THE BLACK HAND GANG.”

The London boy has arrived in the talkies, and it all happened-just as a boy likes things to happen. For a score of youngsters who lived round about Edgware Road, London, it was a tremendous adventure, lasting for one glorious week. To start at the beginning, British International. Pictures have made a talkie of Wee Georgie Wood’s music-hall Sketch, “The Black Hand Gang.” The sketch has been elaborated considerably, and the talkie version introduces the famous gang itself. Efforts to get the right kind of boys at labour exchanges failed because they were all too old. So a casting expert was sent out in a motor car to rove London streets. Touching the

metropolis from Elstree at Edgware Road, he found all he wanted at once. ' Then the wonderful thing happened. Tommy, Dick and Harry, _ playing, all ■unconscious of .the working of fate, were approached by the man in the car, who quite casually put the tremendous question: “Would you like to act for the talkies?” Would they! Interviews with mothers and fathers followed immediately and Tommy, Dick and Harry found themselves fully accredited film actors, with a salary of 30s per day, all expenses paid, including those of the mothers, who were allowed to accompany the boys to the studio each day. “The Black Hand Gang” will commence a season at the Regent to-day at 2 and 8 p.m., in conjunction with “The Man from Chicago.” "THE -MAN FROM CHICAGO.” “The Man from Chicago,” commencing at the Regent to-day at 2 and 8 p.m., is a happy, instance of Britain poaching '-, on Hollywood’s preserves. It has all the movement and snap of American “crook” films. There is plenty of. story, too, in this film, which was directed by Walter Summers. It tells of a carbandit and his friend from America, who have started a profitable practice in London, depositing their ill-gotten gains in a country garage, the owner of which is in their pay. He has a son who is more or less engaged to a girl for whom the crook takes a fancy. Having shot a policeman in a get-away, the bandit hides in a night club, whither he is pursued by a suspicious detective. After a series of tense moments the crook makes a dash for the garage and liberty, almost succeeds in gettfn* away, but finally meets a reasonably well-deserved fate, when it seems most likely that he will win freedom. Bernard'Nedell, who interprets the male role, makes a perfect crook of the suave and deadly type. He is one of the few Americans who, having gone to England, have stayed and done consistently good work. Others in the cast of this thnllinir drama include Joyce Kennedy—a now British vamp—Dodo Watts, Austin Trevor and Albert Whelan. *p.TFTY MILLION FRENCHMEN.

A hilarious comedy of Americans abroad, “Fifty Million Frenchmen, Bros, and Vitaphone version of

■the Broadway stage hit of the same name, comes to the Regent next Wednesday. Ole Olson and Chic Johnson, nuttiest nuts of the screen who rose to film fame as the co-stars of “Oh Sailor Behave!” head the cast of this comedy special, which is filmed entirely in natural colours. William Gaxton, Helen Broderick and Lester Crawford of the original New York footlight cast enact their same roles in the picture. Claudia Dell, John Halliday, Charles Judels, Nat Carr, Vera Gordon, Carmelita Gerarrhty and others enact important parts. #(* , * . “MEN OF THE SKY.”

“Men of the Sky,”.the First National mystery romance of the war-time systems, which comes to the Regent next Wednesday,' tells the thrilling drama of a boy and girl, who, caught as spies, are required to give the last full measuie of devotion. Irene Delroy and Jack Whiting are featured s the ill-fated lovers. Marvellous musical accompaniment adds to the power of the drania. Airmen in conflict, spies and. soldiers portray a phase of war activities nevei so cleverly caught as in this Kern-Har-•bach creation. It was directed by Alfred Green. "THESE CHARMING PEOPLE.”

In “These Charming People,” a Paramount British production which commences a three-night season at Everybody’s on Wednesday next, Cyril Maude follows up his success in “Grumpy” with another delightful characterisation. He plays the role of an impecunious old colonel, gifted with humoui and finesse, who lives by his wits, having everything that money or credit can obtain. One of the colonel’s chief sources of luxury and comfort is his sOn-in-law, a millionaire shipbuilder, played by the famous English star, Godfrey Tearle. When the colonel’s help is required in bringing the millionaire’s runaway wife ’ (Nora Swin'burne) to her senses, the subject of money is broached and. the colonel reminded of his enormous debt to his son-in-law. This is positively unpleasant,” says the colonel. “I’ve had 50 years experience of borrowing money. If I’d known you were goin" to be as business-like as this over°a little loan I'd have borrowed it from someone else.” ’ And when the colonel finds that his daughter Pam (played, by Ann Todd) takes after Jum in this matter, he has a characteristic rebuke: “You mustn’t. borrow from people until you can do it with dignity and conviction.”

OPERA HOUSE, HAWERA. February 25, 36, .27: “The' -Smiling Lieutenant.” ; \ GRAND. THEATRE, HAWERA, February 24: “Tabu” and “The Girl Habit.” / February 27 and 29: "Murder by the Clock.” * * * * LAUGHTER SPOILS SEQUENCE. Some residents of Long Island think Charlie Ruggle's so funny they cannot contain themselves. When they see him on the screen they explode with laughter, and when they' view him in person they burst all reserves and go into paroxysms. When, the Ruggles unit was filming exteriors for “The Giri Habit” at New Hyde Park, L. 1., the natives gathered just outside the circle of technicians and actors and watched the comedian go through a baby-kidnapping sequence with Donald Meek. The incident proved so funny that laughter arose spontaneously .from the crowd. Microphones being as sensitive aa they are, the sequence was three times spoiled by this 'occurrence. “The Girl Habit” will be shown in. Hawcra during Jubilee Week.

# * * * ALWAYS IN LEADING ROLES

The film return of Sally O’Neil in ‘tMurder by the Clock,” which shows in Hawera next week, brings to light a curious fact about the vivacious Sally and her equally sparkling sister, Molly O’Day. Neither of them was ever an extra, a bit player, or even a minor part player. Sally started her film career in the silent days with the leading title role in “Mike”; not the nickname for microphone, by the way. Molly’s first camera work was as Richard Barthelmess’ lead in "The Patent Leather Kid.”

• # •. • AMONG PRIMITIVE PEOPLE

Although “Tabu,” the South Sea Islands romance, deals with a race of primitive people, living in their aboriginal state, there is in the film only one animal to be seen, and that a tame pig, the pet of a little native boy. The island of Bora Bora, where the film was made, abounds in bird life and strange trees, and the seas around are filled with fishes —but of animals there are none. The pig was imported from- Tahiti. “Tabu” is to-be shown in Hawera next week.

#** * - . ROYAL PALACE AS MODEL.

Nothing less than the Imperial Hofburg in Vienna, the royal palace of Austrian emperors for more than seven centuries, served as inspiration for the settings of the new Maurice Chevalier romantic farce, “The Smiling Lieutenant.” While Chevalier, his two leading ladies, Caludette Colbert and Miriam Hopkins, and the humorous Charlie Ruggles were closeted with the director, studying the action, the imperial palace and the palace parks were taking form on the sound stages of the studio. The Hofburg, as it stands in Vienna to-day, comprises nine courts, connected by parks, arched gateways and drawbridges. Four courts of this extensive pile were duplicated in detail on the studio stages. “The Smiling Lieutenant” is coming to Hawera soon. BRITISH FILM PUSH. STUDIO BUILDING RECORD. A new record in studio building has been established by the British and Dominions Films Corporations, Ltd., which 'has completed the construction and equipment of a new film studio in 47 days, says a London paper. Hitherto, the minimum time required for such an undertaking has been three months. The British and Dominions Film Corporation has carried out this addition to the Imperial Studios, Boreham Wood, near Elstree, Hertfordshire, in record time so that pictures for Paramount and Metro-Goldwyn-Mayer may be finished within the present quota year ending next March. Beginning with “Splinters” and “Bookery Nook,” these studios have established a reputation for talking, pictures of fine quality. “Good Night Vienna,” with Jack Buchanan as the star, is now in production, and six further pictures are being prepared. The Imperial Studios, constituting perhaps the finest talking picture plant in Europe, are now capable of turning out 36 films a. year, and, when a projected canteen and garage ar© added, will represent an investment of more than £3,000,000

ACTIVITY IN BRITAIN.

, STUDIOS VERY BUSY. At Twickenham “The Missing Rembrandt” was finished a few days ago (says the Era’s correspondent), and the next picture to be started will foe a melodrama about two brothers in love with the same girl, to be called “In a Monastery Garden.” The story, written by : Michael Barringer (author of “Inquest”) and H. Fowler Mear, will introduce the familiar tune, and the film will be directed by Maurice Elvey. The scene will be set half in London and half in Italy. In the cast will be Joan Maude (playing lead), Hugh Williams, at present in “Grand Hotel,” Dino Galvani, Humberstone Wrigh and Alan Napier. Twickenham will make a film of “The Chinese Puzzle” concurrently and at night-time. Guy Newall will direct Leon M. Lion in this effort. A car 1 accident shook up Alexander Korda and had much more serious results for the sound man, Lawrence, who was with Korda at the time, and was a second misfortune coming hot- upon a riding spill which happened to Colin Clive. Clive was brought oyer from America to play the lead in Lonsdale’s “'Spring Cleaning” at a large salary. Korda, after spending a few days, in bed, is now about, and the picture should go forward within a few days. I hear it said that George. Barraud may take Clive’s place in the nlm. Others in the cast are Benita Hume, Joan Barry, Mary Newcomb and Barry Jones. A large “honeycomb” set has been built. Next week also Paramount should make a start on Lonsdale’s “Aren’t. We All,” which Harry Lachman, fresh from Paris, will direct.- Hugh Wakefield is the only person . cast at the moment. The light “having failed, “The Light That Failed”' will be made later. Other pictures in the making are “Tailwaggers,” a dog comedy; “Twice Round the Clock,” mystery drama; “Sookey,” slum story; “Two White Arms,” “The Milky Way,” a gangster burlesque, and several more as. yet unnamed.

MAINTAINING CONTINUITY. A NEW TECHNIQUE. Hailed as a startling innovation in camera technique the “space shot” has taken its place with the well-known “fade in” and “fade out” as a novel means of unfolding a screen story. It is the invention of Paramount techni-. cians, and was employed for the first time in the production of “Twenty-four Hours,” a mystery picture. Because the entire action of the story takes place during two rounds .of the clock, and it is necessary to give the audience the feeling of moving naturally, not jumping, from one scene to another, the new technique was perfected. “Twenty-four Hours,” starring. Clive Brook, Kay Francis and Miriam Hopkins, is hailed as unique in that the only fade-in is when the story opens. The-only fade-out is at the end. Use.of the “space shot” from start to finish aims to give the effect of continuous action. According to the director, the now method simply means turning the camera away from the players at the end of each scene, and then showing a panorama, or travelling with the characters from one spot to another, before picking up the next location. “Obviously the ‘space shot’ is particularly adaptable to a story such as ‘Twenty-four . Hours,’ in which the action is continuous,” says the director. “Fade-ins'and fade-outs give the feeling of time lapses. ' With the ‘spate; shot’ we can achieve a flow of action, and movement necessary in a stbry where the happenings' dovetail into one another and take place within a short period.” COVENT GARDEN. - • IN ITS LAST- SEASON. The 1032 / season of grand opera at Covent Garden in London may be the last (according to an announcement in the London Morning Post of November 24). The chief reason is financial difficulties. The. day before, the Manchester Guardian had carried the news that the Three Choirs Festival might fall a victim before the same obstacle.

The economic pressure of the times continues apparently to do grave damage to the organised musical life of many communities. In New York the Society of the Friends of Music recently decided to disband, although in this case the depression was merely a con’tri’buting cause, the chief reason 'being the sudden death of Mrs. Harriet Bishop Lanier, founder and president of the society, and its predominant support. Concerning the. Covent Garden season, the Post wrote: “The maintenance of opera at the very ‘hoiHe of opera’ has ceased to be an economic proposition, and speculation is rife as to what is to be the future of the famous theatre.

“The building is held by the Covent Garden Opera Syndicate —on lease from the Covent Garden Properties Company, Ltd. (1930)—who staged the last season on the premises. The lease, however, expires at the beginning of 1933, leaving only one more season to complete. ■ ; “Grand opera this year was an artistic triumph, but from the financial point of view it was most disappointing. “December, 1932, will mark the bicentenary of the opera house, which was originally opened as a theatre. “It is felt that it would be unfortunate if this were not appropriately commemorated, but it is obvious that some extraordinary measure will have to be taken if opera in London is to survive.” DEATH OF FAMOUS PRODUCER. ' “FLORODORA’S” SPONSOR.

News comes from London of the death of the theatrical manager responsible for the first production of the famous musical comedy “Florodora.” -This was Tom B. Davis, who went into management at the Lyric Theatre in ISOS. It was in the following year that he asked Leslie Stuart to write a new work for this theatre, and Mr. Stuart composed "Florodora,” which was put on on November 11, ran for 455 performances, and made a fortune. He produced two years later another piece by the same composer, “The Silver Slipper.” While this achieved 197 performances at the Lyric, it never remotely rivalled “Florodora ’s” success. Mr. Davis was originally a solicitor, but found the stage more attractive than the law. It is said that .he was the first London manager to ban women’s hats at theatre ■matinees, when he decided, in the days when hats were hats, to print on all tickets a notice asking that these should be removed during a performance. The only modification of this rule which he permitted was in the case of women more than 50 years of age, who were allowed to wear tight-fitting bonnets. The narrator of the story ■ does not state whether any tight-fitting bonnets appeared in the audience.

FURTHER BRITISH SUCCESS. A SUBMARINE E'PIC. The evening performance of “Men Like These—!” at the Regal, Marble Arch, on November 9, was set aside to accommodate the numerous officials of the Board of Admiralty and other naval authorities who were keenly anxious- t-o have an early view of this latest Walter Summers’ picture, produced in admiration of the heroic sacrifices made by the men of His Majesty’s submarine service, and the house that evening suggested a gala performance night. Over 100 selected men from the chief submarine station at Gosport marched to the Regal, and seven of the original crew of the ill-fated Poseidon were present. His Majesty’s Board of Admiralty was represented by high officials. Miss Megan Lloyd George was also present. . Distinguished persons from the Royal Household included Admiral Brookes, Comptroller to H.R.H. the Duke of York, Sir Godfrey Thomas, H.R.H. the Prince of Wales’ Secretary, and the Right Hon. Major Alexander Hardinge, Equerry to the King. The Admirals present included Admiral Sir Frederick Field, K.C.8., K.C.M.G., First Sea Lord and Chief of Naval Staff; Admiral Sir. Cyril Moulden Fuller, K.C.8., C.M.G., DjS.O., Second Sea Lord and Chief of Naval Personnel; Vice-Admiral Roger Roland Charles Backhouse, C. 8., C.M.G., Third Sea Lord and Controller; Vice-Admiral Lionel George Preston, C. 8., Fourth Sea Lord and Chief of Supplies and Transport; Vice-Admiral Frederic Charles Dreyer, C. 8., C.8.E., Deputy Chief of Naval Staff; , and Sir Oswyn Alexander Ruthven-Murray, G.C.8., Permanent ’ Secretary! All were highly impressed with the picture and spoke in admiration of the fidelity to tradition with which the story had been portrayed.

THEATRE ALLIANCE. WEST. END PLAYHOUSE CHAIN. A theatrical association of particular interest has been brought into being by the arrangement for Mr. Charles B. Cochran’s production of “Helen!” to be presented at the Adelphi Theatre, says a London paper. The Adelphi- is one of the chain of eight West End playhouses controlled by Associated Theatre Properties, Ltd. (of which Sir Harold Wernher is chairman), the others being His Majesty’s, the Apollo, the Lyric, the 'Shaftesbury, the Cambridge, the 'St. James’, and the Gaiety. Some months ago Mr. George McLellan, managing director of the company, inaugurated a new policy by establishing an alliance with Mr. Gilbert Miller, the Anglo-American producer, who now controls the St. James’ and the Lyric Theatres, jointly with the firm.

Now a similar association has been agreed upon between Associated Theatre Properties, Ltd., and Mr. Cochran, whereby the latter will produce all his future shows at theatres on the firm's circuit. Mr. McLellan said: “I regard this cooperation as an excellent thing for the British stage as a whole—introducing, as it does, a policy of a close working arrangement- between theatre owners and producing managers, instead of the old system of theatres being let haphazard. 7 “This co-operation, for instance, will make it possible for Mr. Miller’s production of ‘Grand Hotel’ to’ be transferred to another house on. our circuit, the St. James’, thus making room for ‘Helen!’” DAME SYBIL THORNDIKE. DISTINGUISHED ACTRESS. The visit of the distinguished British actress Dame Sybil Thorndike will be one of the important events of the dramatic stage in New Zealand this year. She is to arrive in Australia about May next, and as she is to appear under the J. C. Williamson management in ,several of the plays which’ have so firmly established her reputation in London, her repertoire may include Shaw’s “Saint Joan,” some of her Shakespeareian roles, -which include Lady Macbeth, Portia, Rosalind, Imogen, Beatrice, and Queen Katharine, and a selection from the Greek tragedies. Intending at first" to become a pianist, Dame Sybil studied at the Guildhall School of Music, gave her first public recital at the age of I<s, started teaching, and then decided to give up music as a profession, because of persistent pains in her wrist, probably neuritis. So she,turned agaiu to the theatre, which had attracted her early attention when she and her brother, Russell Thorndike (her biographer), appeared in school productions of Shakespeare, and gossips observed, “If the Thorndikes aren’t careful, that girl Sybil will get ideas into her head about the real stage!” Fortunately she did get these ideas into her head, and- to-day she is rightly regarded as the leading actress of the British stage. Although her father, the late Canon Arthur Thorndike, had hoped to see her a pianist, he cordially agreed with her decision in favour of the theatre; and, accordingly, she embarked upon a course of study at Ben Greet’s Academy, and after her debut at Oxford, in 1904, toured the United States for four years in ■Shakespeareian plays as a member of a Ben Greet company. She further developed her talents in Miss Horniman’s famous repertory company in Manchester, and with her London debut at the Scala Theatre in 190'8, in a piece called “The Marquis,” she began that metropolitan career in which she has attained such distinction. She was for some years a leading figure in the Shakespeareian productions directed, by Miss Lilian Baylis at the “Old Vic”; she has achieved such notable success in roles like Hecuba and Medea; she has won distinction in modern comedy and drama, and her performance in the title-role of Shaw’s “Saint Joan” is ’described as one of the finest of her career. Mr. Shaw, it is said, had her in view for this part when he wrote the play. The actress was created Dame Commander of the British Empire last year, and has received the degree of L.L.D. from Manchester and Edinburgh Universities.

CONSERVATORIUM GRADUATES.

DEBUT IN GILBERT AND SULLIVAN.

A feature of the present Gilbert' and Sullivan opera season is the success of two Melbourne girls—former Conservatorium pupils, They are Mary Hotham and Ramsay, both of are taking their professional debut in ‘ The Gondoliers.” Miss Ramsay is a winner of the Sun-News-Pictorial prize for a grand opera aria at the Bendigo competitions. Her first part is Casilda in The Gondoliers.” She . plays amongst other roles, Elsie Maynard in “The 'Yeomen of the Guard” and Mabel in “The Pirates of Penzance.” Miss Hotham has graduated to Gilbert and Sullivan from Conservatorium and broadcasting work. She is playing Tessa, one of the two contadine who marry th© gondolier*?,

FROM MUSICAL COMEDY. . MR. ALBAN WHITEHEAD. Alban Whitehead, protege of Dame Nellie Melba, w.ent to London in 1928 to study singing under, Dingh Gilly. His first step towards a stage/career was to join the chorus at Drury Lane Theatre, where he understudied the part of Captain Duval in “The New Moon,’’ and had the good fortune to play it for? several nights. After receiving a thorough training for more than 12 months, Mr. Whitehead returned to Melbourne.: His first engagement' under the J. C. Williamson management was to sing in the Leon Gordon production of “The Poppy God” at the Comedy Theatre, after which he appeared as Lieutenant Rugini with Gladys Moncrieff in “The Maid of the Mountains.” In “The Merry Widow” he understudied Michael Cole as Danilo; and on tour with Josie Melville, who returned from England, he played lead in “Sally.” In “Lilac Time” he was Andraes Braum, the saddler, and he was also very successful in “A Country Girl.” He is now with the. Gilbert and Sullivan Company. ACTOR AND PLAYWRIGHT. AN ORIGINAL YOUNG MAN. Emlyn Williams is among the most interesting and original of Britain’s younger actors, since none of his performances is machine-made. He has accomplished the feat of appearing as a homicidal maniac in a play by Edgar Wallace—“ The Case of the Frightened Lady”—without permitting the Wallace formula to subjugate his imagination. And -when he himself writes a. play he creates genuine eagerness and curiosity, not because hitherto he has ever succeeded in completely controlling his stage but because the imperfections of his work are not dull imperfections. When his technical discipline matches his invention he will writ© a, piece to be remembered. “A Murder Has Been Arranged” proved some time ago that he begins where many experimenters in the. macabre leave off. There were awkward patches in it which the' accomplishment of Somerset Maugham, for instance, would have, smoothed out, but her© evidently was a man • with a. Celtic shudder In his blood.

IRISH CHARACTER ACTOR. , j SYDNEY MORGAN'S CAREER. i Sydney Morgan, the actor, who was ! for 20 years a member of the .well-known . Irish Players, died in St. James’ Hos- ■ pital, Wandsworth, in December after ! an illness of about’a month.. Mr. Mor- ; gan, who was born in Dublin in 1885, ' began his adult career as an engineer, •i but went on the stage at the age of 23, ■ when he appeared as Pat Denehey in , “The Piper” at the Abbey Theatre, , Dublin. ’With the Irish Players he . played over 150 parts, probably the most i famous of which was “Joxer” Daly in * Sean O’Casey’s “Juno and the Paycock.” It. is said that Morgan sought far and ’ wide for a prototype of Joxer, and ev.eni tually found him playing darts in a * public house in Donnybrook. The actor , always said that he reproduced every detail of the man’s make-up, from under- , sized bowler hat to down-at-heels boots ■ tied with string. The real-life Joxer and Mr. Morgan became friends, and when the man from Donnybrook went ’ to the Abbey Theatre, Dublin, to see Mr. Morgan reproduce him on the. stage he is said to have remarked, “Be jabers, I’m immoralised.” Mr. Morgan was undoubtedly one of the best character * actors that Ireland produced in recent years. He was taken ill during performances at South Coast towns, and collapsed on: reaching home. ; A VARIED CAREER. i Evelyn Gardiner, the English actress . who is making her first appearance in ■ New Zealand with th© Gilbert and Sul- , livan company, has not confined her ■ career 'to opera, although she spent* > three and a-half years with the D’Oyly : Cante. Gilbert and. Sullivan company, i and was understudy to the late Bertha- ■ Lewis. .' . i Recently she has been appearing in i plays, and was in “The Silent Witness” . when she received th© invitation to go i. to Australia. Miss Gardiner has also . appeared in British film productions. ■ .Her favourite roles are Katisha in , "Th© Mikado” and Ruth in “The Pirates > of Penzance.” In drama she has taken parts originally filled by Irene and Violet Vanbrugh and Mari© Lohr.

REVIVAL OF PANTOMIME. ENGLISH POPULARITY. Pantomime is taking a new lease of life in England, where 120 shows, it is estimated, were staged last Christmas throughout the country. Nearly all ran for definite seasons in theatres where pantomime, is a, tradition, but there were, as always, a number of touring pantomimes making a round of the smaller places. Scores of the famous 'stars of the music-halls and musical comedy were playing in the provincial productions. Miss Fay Compton, who had her first adventure in pantomime last season, was this year at the Theatre Royal, Glasgow, in “Dick Whittington,” one of Mr. Julian Wylie’s productions. Mr. Wylie also presented “Queen of Hearts” at the Grand Theatre, Leeds, with Miss Dorothy Ward, Shaun Glenville and Jack Edge; and “Jack and the Beanstalk” at the Palace, Manchester, with Miss Lilian Davies (who made such a “hit” in the Drury Lane pantomime two years ago), G. S. Melvin, James Craig and Billy Danvers. The busiest producer of all was Mr. Francis Laidler, who staged no fewer than six pantomimes in the Midlands and the North. All kinds of people are engaged in the queer trade of wyiting panto- 1 mime “books,” one of the most successful being a man who lives most of th© year in a cottage in a remote part of Devonshire. Some of the managers who have produced his work have never seen Him. There are always fashions in pantomime songs, and it seems that now sentimental, sob stuff ballad is to be th© rage. PLAY’S SHORT RUN. MARIE TEMPEST’S GLOOM. ■ , Marie Tempest mad© a gloomy little speech after the curtain fell for the last time on “Little Catherine” at the Phoe- ' nix Theatre, London, and deplored th© fact that so many good people would be out of work during the Christmas season owing to th© unexpectedly brief run of th© play (3% weeks). But why (asks a London writer) put on a play that consists of dramatic samples and allows th© anti-Prussian-ism of French writers such extravagant

license ? Therfe is a good play concealed somewhere in “Little Catherine.” The producer could still make a job of it if he removed the silly scenes between Catherine and the sentry, put in ! a bedroom scene between Paul and his ; bride, and added a scene which gave : frank and free expression to the feel- > ings of th© disgruntled soldiery. ' The place for drama* is on the stage, not the ; wings. ' s Harold Huth’s dynamic force is wast--1 ed on a part which the translators have I left in the air. “SINBAD THE SAILOR.” A NEW PANTOMIME. A new pantomime, “Sinbad.’the Sail- ■ or,” at the Theatre Royal, Melbourne, has put up a record for the number of • different scenes that comprise the two acts. There are no fewer than 22, for 1 which, those notable scenic artists, W. 1 R. Coleman and George Upward, have • been responsible. The stage settings in- ! elude several scenic masterpieces. amongst th© most notable being the • Mermaids’ Home, the port of Balsora, ‘ underneath the sea, the diamond valley, the Persian garden, the garden of roses, the coconut forest, the land of flowers, and the slave market. i ■ NEW YORK RECITALS. FLORENCE AUSTRAL AGAIN. The December list of musical recitals in New York, according to advices, began with the ’ appearance of Florence Austral, the noted Australian soprano, on December 4 in the Carnegie Hall, with John Amadio, her husband, as assisting flautist. The programme included the first American performance of a song cycle by the Irish composer, Michael Head. Efrem Zimbalist, the violinist, who will be remembered, for his visit to Auckland over two years ago, gave his only' New York recital this season 'in the same hall three nights later, with; a Bach-Paganini programme.- Among the : other international’ artists- who performed before New York audiences last , month were: Genia Fonariova (mezzo- : soprano), Jerome Rappoport (pianist). Rosette Audray (contralto), and Guy -Maier (pianist).