On and Off the Stage

Timaru Herald, Volume CXLII, Issue 20587, 28 November 1936, Page 14 (Supplement)

On and Off the Stage

News About Plays and Players <

Madame Scotia, who, in private life, is Miss Russell-Ferguson, appeared before an invited audience at Hopewood House in Sydney recently, as a player of the clarsach. or Celtic harp. A Scotswoman by birth, she studied the piano, and made her debut with a London orchestra under the baton of Dr Malcolm Sargent. She became interested in the Hebridean songs. Then one day, while she was visiting America, she saw a clarsach displayed for sale in a window. “It hadn’t any strings,” she said, “and I wouldn’t have had any idea how to play it if it had; but I felt I must buy

it. Now it has become an indispensable accompaniment to my Hebridean songs.” Madame Scotia and her clarsach have appeared all over Europe. “No matter what country I may be in,” she says, “I memorise explanatory remarks in the local tongue, and utter them at my concerts. They seem to be much appreciated.” In Brittany not long ago, Madame Scotia appeared at a meeting of Welsh and Breton musicians, and received the title of “Bardess of the Gorsedd.” She has just reached Sydney from New Zealand, where she gave recitals.

The observation of centenaries, those reminders of national events and great men. provide opportunity for the demonstration of appreciation and gratitude, and an occasion upon which the younger generations can be infected by the admiration of those who pay a heartfelt tribute in recognition and remembrance. And surely no tutors ever had a lighter task than those who would inculcate a love for Gilbert and Sullivan (writes Evelyn Gatliff in “The Sydney Morning Herald.” The novice simply is taken to a performance of one of the Savoy operas and. as it were, turned loose. An enduring memory is registered. W. S. Gilbert was born on Noember 18. 1836, was knighted in 1907, and died

on May 29. 1911. Within easy distance of the heart of London he resided at Harrow Weald with his wife and adopted daughter, Nancy Mclntosh, in the old ivy-clad, many-gabled residence called Grim’s Dyke. It was here he wrote most of his famous librettos, and operas. For instance, there is to be seen the ghastly chopp-ing-block from the Old Tower, which now graces a particular comer, and probably supports nothing more dreadful than a bowl of roses. Amongst other relics another grim reminder is the menacing weapon carried, if not wielded, by the Lord High Executioner. The grounds are charmingly laid out in lawns, sheltered arbours, trees, and garden beds, and include the miniature lake which was the scene of the rescue by Sir William, at the expense of his own life, of one of his young guests who was floundering in trouble. One of the paths leads through the rose-covered arch and down to the lake. Miss Mclntosh tells me that in season it is bordered with delphiniumss

The Russian Ballet seems to be creating a sensation in Melbourne. His Majesty’s Theatre is crow’ded at every performance, and the applause is tremendous. The Press has been particularly enthusiastic about “Les Presages,” an example of Massines choreography in the post-war spirit. The success of the ballet in Sydney would seem to be a foregone conclusion. At any rate, there is already wide-spread excitement.

A most enthusiastic reception was accorded the Monte Carlo Ballet Company when it opened in Melbourne recently, according to advice from Mr J. Tait. The receipts for the first night’s performance were £lOOO. which was the best return since the 1928 opera season. According to Mr Tait, a season in New Zealand lasting six to eight weeks would be warranted. The company would probably come to New Zealand at the close of the Sydney engagement in February.

One of the most successful theatre managers in London just now, according to Air Mail information, is Mr Firth Shepherd, who is described as a lively, alert man. with an absorbing passion for the theatre as a field of

artistic adventure. It is his expressed view that “the theatre is undergoing a definite revival, competition is keener and audiences are more discriminating. It is only the plays that are lacking. Good plays are heartbreakingly difficult to find. The old professional playwrights do not seem to be writing so regularly; perhaps Hollywood has swallowed them up. And of the amateur plays sent in only one in

a hundred is worth considering.” Mr Shepherd is referred to by the London “Evening Standard” as the “power behind the new Henson show, 'Swing Along.’ at the Gaiety, which is swinging along to the invaluable rhythm of jingling coins, and 'The Frog’ at the Princes, w r hich is safe until December, and a fairly good speculation for some time after that. He will shortly give London lan Hay’s new comedy, ‘The Housemaster.’ which he describes as a cheerful comedy of youth.

I The centenary of the birth of Sir William Schwenk Gilbert, the English | playwright and humorist, who alw’ays will be remembered for the Savoy Operas. occurred on Wednesday. November 18. A descendant of Sir Humphrey Gilbert, the famous 16th century navigator. Gilbert was bom in London, the son of Mr William Gilbert. I a novelist. It was in the autumn of 1871 that he commenced his memor1 able collaboration with Sir Arthur Sullivan. and the two worked together for over 20 years. As a master of metre Gilbert showed himself consummate, as j a dealer in quips and paradoxes and j ludicrous dilemma, unrivalled. Even for the music of the operas he deserves some credit, for the rhythms were frequently his own and the metres were in many cases invented by himself. One or two of his librettos, such as that of “Patience,” are virtually flawless. Enthusiasts are divided only as to the comparative merit of the operas. “Princess Ida” and “Patience” are in some respects the daintiest. There is a , genuine vein of poetry in "The Yeo- ' man of the Guard.” Some of the droli lest songs are in "Pinafore” and “Ruddigore.” “The Gondoliers” shows the most charming lightness of touch, while with the general public “The Mikado” proved the favourite. The enduring popularity of the Gilbert and Sullivan operas was abundantly proved by later revivals. Among the birthday honours in June, 1907, Gilbert was given a knighthood. He was crowned at Herrow Weald, Middlesex, on May 29, 1911.