On and Off the Stage

Timaru Herald, Volume CXLIII, Issue 20860, 16 October 1937, Page 16

On and Off the Stage

News About Plays and Players <

The British stage and film actress, Jessie Matthews, intends to retire in five years’ time, when she will found a school to give free stage training to poor boys and girls, states a report in the London Sunday Chronicle. The school will be unique. Children of the slums, from poor districts in big cities, will be admitted. Their own talent will be the only fee. “That I finish work in five years is definite,” said Miss Matthews in an interview. “After that my life will be in my home, my family and my school. When I start the

school It will not cost the pupils a penny; every applicant will have an audition. If there are signs of talent the child will be enrolled, and for four or five years pupils will eat, sleep, play and work at the school. There will be workroom, playrooms, dormitories and a matron to care for them. I shall direct it all. At the end of four or five years my pupils will be able to earn a living as trained artists.” A iarge barn in Miss Matthews’ garden at Hampton, Middlesex, has been converted to form the nucleus of the building.

An objection on moral grounds to .wo of the plays chosen for the Old Vic’s festival programme at the Buxton Opera House in England has been

expressed by Canon C. E. Scott- Moncrieff, vicar of Buxton. One of the plays was Ibsen’s “Ghosts” and the other Shakespeare’s “Measure for Measure.” The leading part in each was taken by Miss Marie Ney, whose performances received universal praise. After seeing Ibsen's work Mr ScottMoncrieff said to the Buxton theatrical representative of the Morning Post: “I still maintain that it is an unhealthy play with all its power. In the first place, I was immensely struck with the power of the acting and the skill shown in unfolding the drama. Apparently, however, free love is considered to be preferable to honourable marriage. I was particularly impressed with the utter despair of the play, which is contrary not only to Christian, but to all theistic religions. The work is, in fact, abstract from life and not a reflection of it as a whole. “ ‘Measure for Measure’ is in a different category from ‘Ghosts,’” continued Mr Scott-Moncrieff. There are some very great scenes but I do not alter my opinion that the play is misfigured, not merely by occasional coarseness, but by the whole theme. I think that for a theatre festival in which people crowd to see such distinguished actors, neither of these plays were suitable <yies to choose.”

The Hull Repertory Theatre annual report placed before shareholders last month, showed a net profit of £2,713 for the year.

Wendy Barrie, the Hongkong-born film actress, is to become an American. Bhe announced last month that she wished to make her home in Hollywood permanently and that her lawyer was to apply for naturalisation papers.

Sir Benjamin Fuller has invited Katharine Cornell to inaugurate the new theatre he plans to build in Sydney, Australia, if she makes her world tour. At present Sydney has only one theatre devoted to legitimate attractions. This is controlled by the rival theatrical syndicate. J. C. Williamson, Ltd., which also is considering erecting a new play-house in Sydney and has expresed the wish that if this playhouse is built Miss Cornell will consent to open it next year.

If Charles Waldron accompanies Katharine Cornell on her proposed world tour to play the roles he acted in her repertory in America, he will find himself well-remembered in Australia and New Zealand, though it is a number of years since he last appeared there. Before he could secure an engagement in New York City, Waldron toured the Antipodes in “The Virginian” and “The Squaw Man." After his New York success, he again played there in “Daddy Long-Legs.”

Ben Hecht must be surprised to find himself officially rated as the highest paid writer in the film industry. When Hecht began to dabble with films he had a supreme contempt for Hollywood. Later, his famous independent picture, “Crime Without Passion,” and the Noel Coward vehicle, “The Scoundrel,” were both in the nature of gestures of defiance at the film magnates. Now Hecht has signed a contract which is said to be bringing him £52.000 a year.

Bubbling good spirits and driving vitality are the main features that have lifted George Doonan from the ruck of knock-about and “dress-suit” comedians and brought him to the forefront in the world of musical comedy and revue. His wit suggests improvisation. When he took the lead in “This Year of Carnival” in London, the amazing ease of his work was one of the factors that carried the show to its 18 months’ successful run. Fullers Theatres consider themselves fortunate in having persuaded Mr Doonan to come to Australia and New Zealand. He is principal comedian with the Montague Revue Company.

An interesting description of a London picture theatre outside the West End was given recently by an Australian visitor to England. In Tottenham Court Road, just on the fringe of Oxford Street, there is an immense theatre, he writes. It seats about 3000 people and has attached a restaurant

and dance floor. In addition to the screen programme, which comprised two full-length pictures, a splendid stage band, together with an eccentric and an acrobatic dancer, gave an hour’s performance. Colour seemed to

be a predominant feature and §ome excellent effects were obtained with the lighting. The theatre appeared to be poorly staffed, and although there were several girl ushers they were selling sweets in addition to carrying out their ordinary duties.

A seat of popular drama in Switzerland, the Theatre du Jorat is located in the little Vaudois hamlet of Mezieres, eight miles from Lausanne, just off the road to Berne. There, in a hall of unpolished logs, looking more like u large bam than a theatre, the people of French Switzerland have been able for many years to give expression to their feeling for their drama. The haU seats about 1200 people. There is no comfort—but for these hardy Vaudois the “play’s the thing.” They flock from miles to see it. Scenery, costumes, music, and the play itself are of local origin, the only “intruders ’ being a few professionals among the speaking class. The play this season, which is by Rene Morax, who has for years been the life and soul of the Theatre du Jorat, is founded on an old Valaisan legend. The simplicity of the story was enhanced by the severe simplicity of the dialogue, and the music consisted mainly of the adaption of old Valaisian and Vaudois ain.