THE STAGE.

Star (Christchurch), Issue 16679, 10 March 1922, Page 6

THE STAGE.

NEWS AND NOTES. (By the “LIMELIGHT MAN.”) “ The Maid of the Mountain” is scheduled to open in Wellington at Easter, and at the same time “ Merrie England ” will be produced in Auckland. The English comedienne, Miss Ada Reeve, who recently arrived in Australia under engagement to the Fullers, will tour New Zealand in due course. Effie Fellows, who is advertised as “ Australia’s Perfect Boy,” has just returned to her native land alter a world’s tour, during which she appeared as a male impersonator. She is booked for Fuller’s New Zealand circuit on conclusion of her Australian engagements. *•* The revival of “ The Private Secretary! ” at Sydney brought back a Hood oi memories to those who witnessed its production a quarter of a century ago or more. It is remarkable tnat a farce which was popular so long ago is stiil able not only to attract big houses, but to hold them convulsed with laughter throughout. As Uncle Cattermole, says the “ (Sydney Mail.” Mr G.eore Blunt plays to perfection the part of the irascible old gentleman irom India, whoso one aim in life seems to be *o see his nephew sowing his wild oats hi it way that will remind him of liis own youthful escapades. Mr William Green, as the nephew, is very convincing, and in the opening scene ho is splendidly supported by Maggie l.ioore as the landlady. Mr Charles Walenn, whose comedy work has so frequently been a feature of the Gilbert and Sullivan opera season, fills the part of the timid Rev Spalding with a subdued humour that is very infectious. It is possible that “The Private Secretary” will be succeeded by “ Charley’s Aunt ” and other old favourites. A crowded house greeted Mr John D. O’Hara at the King s Theatre, Melbourne, on February 24, when he made liis farewell appearance ir “ llie Laughter of Fools.” After the final “ curtain ” continued cheering and handclapping brought tho whole company to the footlights. Each player received numerous floral and other tributes from admirers. Mr O’Hara, addressing the audience as “my dear friends,” said that before the performance many thoughts had surged through his mind, and he indulged iu a retrospect of the happy times spent in Australia. The two and a half years had been the happiest of his life, and if it were not that he was a good American lie should like fo be an Australian. (Applause.) When he faced his first Australian audience, on August 16. 1919, he did not know a soul, but now he felt that he knew everybody, and everybody knew him. (Applause.) His feelings were mingled in saying farewell, but there was consolation »n knowing that he would not be gone for ever. He would return under a new engagement within eighteen months, and he hoped the new plays he would bring would be as enjoyable as the old ones. The audience remained standing while the orchestra played “ The Star Spangled Banner ” and “ God Save the King.” During his stay in Australia Mr O’Hara did not miss a performance. It is estimated that the complete “ Hamlet ” of Shakespeare bakes five hours to act at the usual stage speed ; and modern audiences do not care to remain in a theatre for much more than half that time. The usual versions of “ Hamlet ” are adapted for acting in three hours or less. By reducing intervals and providing for rapid changes of scenery, Mr Alan Wilkie gives more of the play than most producers. Players of the Lyric Theatre stock company at Asbury Park, New Jersey, U.S.A., in what is believed to be the first strike of its kind on record, refused to act in Avery Hopwood’s farce, ‘‘ Our Little Wife,” on the ground that it is indecently suggestive. Miss Edna Beckham, the company’s leading lady, who headed the strikers, particularly objected to lines which she was called on to speak in an attempt to invade a bachelor’s bedroom. Tlie manager of the company, accepted the inevitable, recalled all his posters, and “ cut ” his financial losses. Which was the first pantomime? The point is fiercely debated (says a London paper), but Dr Doran is to be relied on when he gives the credit to Rich, who, in liis season of 1716-17, at Lincolns Inn, played Harlequin rn “Cheats; or, the Tavern Bilkers.” which was described as a ballet pantomime. “ Harlequin Executed: A New Italian Mimic scene between a Scaramouch, a Harlequin, a Country Farmer, his Wife, and Others ” soon followed, but Rich surpassed himself in “The Necromancer; or, the History of Dr Faustus.” Tt is recorded in “Their Majesties’ vServant.s ” that: “ The splendour of tho scenes, the vastness of the machinery, and the grace and ability of Rich himself raised harlequinade above Shakespeare. During tlie nights of its attraction the prices of admission were raised by one fourth, and the weekly receipts advanced to a thousand pounds. The advanced price displeased the public, with whom ultimately a compromise was made, and a portion returned to those who chose to leave the house before the pantomime commenced.” Tlie future of tlie “Midnight Follies” at the London Hotel Metropolo was decided the other day when the London County Council, sitting as a licensing authority, adopted, by 39 votes to 12, the recommendation of its Theatres and Music Hall Committee, providing that when the great banqueting hall of the hotel is used under the license for music and dancing the following conditions shall apply :—That the number of performers (excluding members of the orchestra) shall not exceed six, and that no stage costumes or scenery shall be used. The decision draws attention to the fact that with the extension of the closing hour for licensed houses, midnight amusements are once more appearing in London. At ten every evening tlie Whitehall rooms are opened for dancing. Admittance is by ticket, and supper tables and supper boxes aro arranged round three sides of the room. An hour later a company of actors and actresses, with a chorus of thirty girls, appears. The company is as informal as the entertainment. There is no insistence upon evening dress. If a youth wishes to dance in a lounge suit he may.