THE STAGE

Star (Christchurch), Issue 16923, 23 December 1922, Page 16

THE STAGE

(BY

New Zealand is shortly to be visited by ai.cthe. cr -Mr Ldx\\ rd 1L ansamnsp's musical organisation.'. "The Westminster Glee Singei\s.” which should arouse the interact and expectation of those music. ! enthusiasts who remember the remarkable sofies of concerts Riven here sorrie years ago. The. company c onsists cf six boy sopranos, two basses two tenors and one male alto, selected from England * most celebrated cathedral choitg. such as Westminster Abbey and St Paul's. Their programme will mmode glees, madrigals, part-songs, anthems, aifd carols, in addition to a va-ried-array of solos, nearly the whole < i the concerted music being rendered itbout accompaniment. The boy so-j-auos will constitute a remarkable and . Why delightful feature of the pronmines, interesting alike to the culitred musician and the enthusiastic* matrur. they having been selected ,ith the particular view of securing K- proper blending, intonation and .apathetic expression so essential to • rcessfr.l part-singing. The W estmin- -»• Glee Singers are due in line Do.mion at the commencement of the ear. •• New Zealand artists are already .oil to the fore in the forthcoming seam's music ” writes the London corresondent of the Auckland “Star.. Miss Stella Murray, the Christchurch contralto, and Miss Vera Moore, of Dunedin, pianist, are giving a joint (t ncert at the Wigmore Hall on Novemier 24, while Miss Kathleen Garven, tlie dramatic contralto, is giving one cm the 10th of that month in the same i,U ” Miss. Garven was recently referred to as follows by “ Toy Pay ” (Mr I P. O’Connor), in the “ Sunday limes”: " A few years ago 1 knew vjigs Kathleen Garven as a nurse in the Middlesex Hospital, to which l was wry much attached, partly because its resident medical officer, Dr Pardon, was ~ne of the best men that ever lived, an , Id Quaker w ith magnificent abilities, who abandoned all the prospects of a great practice and a great fortune that i. t might devote himself to his hospital. Mi-s Garven went through the long and si-ieVe training of the hospital nurse, Uen emigrated to New Zealand, and I did not hear of her again till she sent me some cuttings from New Zealand journals describing her appearance as a great concert linger with a magnificent contralto voice. She -tins now revisited London, and Mill give a concert c< Wigmore Hall on November 10. It she lives up to half the encomiums in the New Zealand Press she will challenge almost any contralto on the platform to-day.” Miss Madge Elliott, who, on account of ill-health, had to retire from the cast of “ Mary,” will rejoin the com pany for their New Zealand tour, op which the productions will be ‘‘A Night Out ” and “Oh! Lady, Lady.” Owing to the shipping trouble the Kate Howarde Dramatic Company was held up in Australia and was unable to fill its New Zealand bookings. It will come across early in the new year. A passenger on board the Makura. bound for America last week was Miss Winifred Carter, an Auckland girl, of the State Conservatorium of Music, Sydney, and harpist of the New South Wales State Orchestra. Miss Carter (says the “ Herald ") w ill make a lengthy star in the United States, first going to Los Angeles. It is her intention to give recitals in America, purchase the best instrument procurable, and later tour New Zealand and Australia. Miss Carter had her first experience of concert work with the Auckland Orchestral Society, and since then she has gone far. being recognised ns in the forefront of her profession in fvvdney. Prior to her departure she •vas tendered a farewell concert at the Sydney Conservatorium Kail, the building being crowded and the proceedings very enthusiastic. deferring to her work on this occasion a Sydney critic said her performance stamped her n«; one of the finest harpists in the Southern Hemisphere. Carrie Moore recently returned to Sydney after a visit to England. * Miss Vera Pearce, now in England, will be principal -boy in the Glasgow pantomime, tfn’d afterwards visits South Africa for a musical comedy season Mr Tack Cannot and Mr Joe Brennan will fill the lending comedy roles in J. and N. Tail’s pantomime. “The Forty Thieves.” which is to he staged at the King’s Theatre, Melbourne. Understudying Oscar Asche in “Cairo " is "John Cosgrove, an Australian actor who has played many parts in his time. Cosgrove is one of the few histrions with anything like Asche’s tremendous physique. On the completion of the Sydney and New Zealand seasons Miss Maude Fane, who was making her farewells in •Mary’’ at Her Majesty's Theatre. Melbourne, when the mail left, will return to England and retire from the stage. # . “Spangles” and Miss Ada Reeve had an enthusiastic opening at Fuller's Theatre, Sydney, on Saturday night. The stage was covered in flowers at the finish, and Miss Reeve made a short speech in acknowledgment of the warmth of the greeting. To those outside the scene the mystery of the profitable production of such a play as “ Cairo is endless (says a Melbourne paper). No fewer than B7Q people take part in it, and in the Bacchanalian scene, about which propriety has ou occasions shaken its head, there are 270 people on the stage at once. There is only one word for it, the “ Prodeegious 1” of Baillie Nichol Jarvie.

Something new in Australian records is being established by “ The Sentimental Bloke’’ at Melbourne King’s Theatre (says an Australian paper). It i* very infrequently that any production with set dialogue and situations can get past a month’s run nowadays in Australia, but C. J. Dennis’s dramatis ution of his own verses has already reached its eighth week, and there is no slackening in the rush to the box office. Oaly the intervention of the Christmas panto., listed in Melbourne by the Taits, prevents “ the Bloke ” from making love indefinitely to his Doreen Old songs have an abiding charm, hence the Monks of St Bernard, an octet of male singers whose voioes blend perfectly, are likely to become favourites at the Tivoli (says the Melbourne “Leader”). Attired" after t “ e ® ianne c of the famofus monks of the Swiss Alps, they render a number of the songs, with appropriate settings. Not the least interesting mem-

“THE LIMELIGHT MAN.")

her of the company is a handsome St Bernard dog. which took a prominent part in a realistic presentation of th« incident related in Excelsior, of the discovery by the monks of the youth who bore the “banner with the strange device ” half buried in the snow. For some considerable time at one period Harry Rickards kept a couple of serios for the express purpose of playing the people out (writes a Sydney Bulletin ” correspondent). He had tried an all-excellent programme, and finding the audience lingering and demanding encores when it should have been well off home, he changed his tactics again, and finished up with a young couple, of whom lie said: “ They may be abused by the critics, and the public may scoff at them, but they're well worth their money. Why, they empty the house like a fire.” A little later he went to the bright pair, and he said: “ See here, you two, you’ve been getting some applause lately, and it is only fair to warn you that if you go on improving .you’ll d n well have to go As it is. 1 cquld get a worse couple for two-thirds of what I'm payBenno Moisei witsch owns what is probably the most remarkable piano in existence. It is the usual Steinway grand, and on a special plate of ivory are inscribed the autographs' of the master musicians who have played on it. ** My first act will be to lay a wreath on the grave of my very dear friend, the late Lord Northcliffe. whose death i deeply deplore.” Thus spoke Dame Nellie Melba when she arrived in London recently from Australia. The famous singer renewed her acquaintance with the London public* at. the Al bert Hall on Sunday. November 12. Although she earned big salaries, the late Marie Lloyd gave so generouslv that her estate is believed to be comparatively small. During her musichall career she earned mere than £250.000. but her purse was ever open, and much of this sum went to needy friends. On her death-bed she made a last donation of 10s. She has left t:> her brother, Mr .John Wood, who wft» her business manager. £3OO. and to her maid, who had been with her for several years. £IOO The residuary legatee is her only child. Miss Mario Courtney, daughter of her first husband.

Lawrence Grossmith, hrought to Australia by .7. C Williamson. Ltd., married Coralie Blyth. a noted London Gaiety actress and singer (says the Sydney “Theatre Magazine”). Mrs Grossmith is in Australia with him. Her brother, killed in the war. was Vernon Castle, the husband of Irene Castle, famous for their dancing in partnership in America. England and ini the Continent. Mr Groiiunitil’s father (George Grossmith) created the principal comedian’s characters in nearly all the Gilbert and Sullivan operas. “ Despite his own success,” remarks the son. “ he regarded entertaining as a precarious profession.”

A»i interesting meeting took place in Condon recently, when Rachmaninoff, the world-famous composer and pianist, who is booked to visit Australia earlv next year under the J. and X. Tail management, met Beimo Moiseiwitseh the “ poet of the piano.” who will also tour Australia next year. Moisei witsch having been there before. Rachmaninoff was keenly interested in hearing from bis compatriot bis opinions and imprcs sions of that country and its people particularly as regards their musical enthusiasm. The London “ Daily Polegraph ” says that “ Rachmaninoff expressed astonishment that Australia with its handful of population, was so far forward in musical culture, but the great Russian summed it up correctly when he exclaimed “But there —it i* not surprising after al! for have they not produced a Melba?”

Rachmaninoff. the great. Russian pianist, who is to -v isit Australia earlv next year under the J. and X. Tnit direction, was recently asked what was the reason that actuated his accepting an engagement to visit Australia while in England, America and Europe he had to refuse many offers. Ho replied that he had always been very curious to visit. “ the far-away continent of Australia.” of which ho had heard so much from fellow-musicians. “ 1 have been to most other countries.” he ex. plained. “ but a journey to Australia would have new experiences, new delights. for they have told me it is a land of beautiful women, brave men and a high standard of musical culture. L look forward to add to my experiences and impressions iri the home of Nellie Melba and others who have made Australia known as the land of song and singers.”

Ellen Terry is still bright and active in spite of the passing of the years. A well known London critic recently wrotp of her:—“ f came across dear Ellen Terry at lunch in the Samovar restaurant, where she usually takes her meals, next to her flat in St Martin's Fane. Her memory is sadly failing, but. then, it was never one of her greatest possessions. But the dear old thing, seventy four she is. was as girlish m her humours, almost skittish, in fact, that she kept me in a constant scream of laughter. T have received several compliments in my life, but her avowal that she would like to act with me—‘You look so interesting,’ she said was perhaps the greatest one T have ever received. T could do the lovemaking all right. I know. Blit then everyone worships Ellen Terry. She finds it so embarrassing that she never goes to a first night. The cheers would stop the play. She has been followed about bv love, all. her days, and when I asked her whether there was anything she really wanted of life she said. ‘ Well. 1 would like that stupid gas fire of mine to light more easily and I wish there wasn’t so much dust about the flat. Oh. yes, and I would like the advancement of my children, both of them are so clever. Of course. Gordon is a genius.’ ”

Pullers English Revue Company, which includes Doddy Harl, Harry Evans and David McGill, the last named a Christchurch singer of note, will make its first appearance in Christchurch at the Opera House on Monday. The company has just completed a highly successful season in Dunedin.

Jack Cannot has a fine tenor voice, which he knows how to use to advantage (says a Melbourne paper). He has a grievance, however. Whenever he seizes the opportunity to use it in a 3trictly regular vocal way the audience refuse to accept his singing seriously and roar with laughter. As a matter of fact, Mr Cannot was educated for a concert career, and oven now after the wear and tear of comedy work in many stage roles, his singing <a a delight to

listen to. and worthy of the concert platform. FARRAR SOUVENIRS. SALE OF DIVA’S COSTUMES. Geraldine Farrar, America's most famous diva, who recently bade fareveil to the operatic stage in order to aipear on the concert platform, announced a sale of the gorgeous costumes ir which she had appeared. The day 1 (fore the sale there was a public view at a New York hotel. •• The exhibition/’ says a despatch j t a San Francisco paper, “drew: throngs of Farrar devotees—from first > nigh tors who were present a decade and ! a half ago. when she made her Metro- \ politan debut, down to the youngest I Gerry Flappers who have watched with j breathless awe. Gerry’s career as a ; puma donna and a screen star. And \ v.hat they saw ostnidi-died forever Farrar’s reputation for lavishness. lher> were 876 items in oil and every single j one fraught with memories of stage or shattered romance. About twenty of j tlie diva's most famous costumes were di aped on headless dummies in one of ti.e exhibition chambers. Among these are the red spangled frou-frou creation that dazzled first nigbters at * Zaza’ : 1 be cloth of silver gown with American fags draped from the shoulder. in which Farrar sang during the Liberty ] ,oan oampaip.n*. and the court dress of silver cloth, with queen’s cape of Hue velvet and ermine (reputed to cost ] 1.000 dollars) which she wore but three times in the ill-fated ‘La R.eine Flainetto.” Scores of other famous costumes hang about tlie walls in serried ir-anks. lik- ordinary garments in a clothes closet Her ‘ Carmen ’ wnrdjobe alone would be sufficient to equip half a dozen Carmen road .ompainos.” The sale lasted four days and realised about 41.000 dollars, about one-fifth of the estimated cost price. The final days of the sale saw the disposal of manv of Miss Farrar's finest costumes. Her*ll.ooo dollar court robes for “ La Reine Flamette ” brought only 1060 dollars. The principal gown for “ Mine. Sens Gene ” went for 120 dollars, and tilt “ Thais ” costume of crepe with panels of silver cloth sold for 130 dollars. Her collection of “butterfly” kimonos brought the best prices, ranging from 55 dollars to 160 dollars. A small door plate which had bung over the singer’s dressing loom was bought for 22.50 dollars, and a rabbit’s foot with which she put the finishing touches ou her make-up sold for the same price.

UNSEASONABLE LAUGHTER Writing in the London “Observer” on untimely giggling, Mr St John Erviue, a well-known dramatic critic, observes : Sometimes unseasonable laughter ” is tlie fault of tlie dramatist, and, so far from being a sign of inflexible imagination in an audience, is actually a sign of unusual acuteness. An ill-writ-ten or insincerely-written scene in which the dramatist is trying to win sympathy will nearly always excite laughter. One of the perils of the naturalistie dialogue is that a “line” which is strictly “in the character" and is intended to win sympathy for him mav excite only derision because tho appeal of drama to the emotions is swifter than its appeal to tho mind. The emotions, in other words, have expressed themselves before the mind haß had time to operate. If the same people were to read the play, such a “ lino ” would get the effect intended by the dramatist because the emotional appeal in reading a play is not so swift as the intellectual appeal, and therefore the mind has time to make its suggestion before the emotions can rush in. Superb acting can sometimes overcome the rush of the emotions, but on the whole I think the dramatist will do well to respect that laughter and rewrite his "line.” A great play can nearly always, as Mr Vnlbrook asserts, silence the giggler, but even with the great play there remains the exceptionally neurotic or obtuse person who cannot bo silenced. Tt is useless to express contempt for such people. 1 hey are as God made them. AU one can do is to hope and pray that they will seek their pleasures only in the sort m entertainments which are suitable to their natures. Once, many years ago. in the galJery of the Adeiphi Theatre. T had the misfortune to sit next to an unusually obtuse man during a performance Oi Hamlet. The play profoundly bored him. Ho began by ya rning audibly, and went on to make derogatory comments on the play and the performance, f am. I regret to say, a person with a liastv temper, and there came a point at. which 1 could endure this fellow’s company no longer. I invited him either to shut up or get out; of the theatre before I lost my gentleness and burled him over the parapet to the stalls below. He asked me ’no the 'ell I thought f was. but before T could tell him with the precision that seemed proper an attendant came along and put me out of the theatre, on the ground that T was the aggressor! A few minutes afterwards, standing on the pavement of lhe Strand, I swore

an oath in heaven that, if ever I was unfortunate enough to sit beside such a- clown again. T would not argue with him ; I would simply and suddenly break h ; jaw for him. If I am to bo put e nf a theatre E shall at least go out ■> . some satisfaction to myself. There seems to be no remedy for “ unseasonable laughter,” other than tho slow one of improving taste. A theatre contains a more mixed assembly than is likely to be found in any other building and we must suffer the consequences of that diversity as best we can. The incorrigible giggler ought, of course, to be expelled from the theatre. since he, or. more likely, she, is a nuisance to others : but we must not be persuaded into regarding all giggling as a sign of insensitiveness or stupidity or sheer coarseness of charACTORS’ SALARIES. PAST AND PRESENT. M hen an actor wants more than £'oo a week he. ought to go into management. ' George Edward is reported to have said (writes Edwin H. bhear in “ If he Stage "). John Hollingshed, I believe, fixer! the limit at £ICO per week, which figure marked the parting of the ways with J. L Toole and Edward Terry. Of course, present-day conditions were very different, but certainly Mr Edwards did not act up to his idea,, for, when Fred Leslie was receiving £IOO during the run of “ Cinder P Too Late,” and was contemplating going into management at the termination of his engagement, the manager was extremely anxious to retain his services, and ultimately induced Leslie to sign on for a fresh’ term at £l2O per week—an engagement however, which the actor did net unfortunately live to fulfil. Leslie's first engagement, in 1878, was with Miss' Kate Santley, at the Royalty, at £.! nor week, which was increased to £2 los for a year’s engagement. But. before the year expire 1 lie received an offer of £7 a week from Miss Selina Dolaro, who was producing "The Dragoons" at the Folly, for which Miss Santley kindly released hint. A few months later he was engaged for Hip Alhambra, w here he fnlniied several contracts commencing at eight guineas and ending at £l2 a week. During n subsequent visit to America be received £25, and this was the sum be was paid when “Rip Van VVinkle ’ was produced at the Comedy, in .1882. This was increased to £3O during the run. but at the end of his engagement the management declined to give him a further increase, and he again went to America, at £4O. the

sum he considered he wag worth. Lionel Brough, who was associated with Leslie in “ Rip,” thought- the youngster was making a mistake in sticking out for his price, and discussing the matter in his dressing room, on the last night of his rigagement, Leslie defended the course he was taking by sayiug: “ I have been five years in the profession, am twenty-seven years old. a.nd am up level with you who have been twenty-two years before the public.” A year later the Comedy people were glad to have him back on bis own terms. At the end of 1885 he joined the Gaiety at a progressive salary for three years of £55. £6O and £65. And when the company went to Australii he received £IOO per week, which was the sum he was receiving at his death. David Jones told me that- at the Vaudeville. during the early days of liis management, the top salary was £2O, which was paid to Henry Neville, with William Farren. John Clayton. Amv Fawsitt and Patty Oliver gradu a t ing l>elow that figure, although F'arren and Miss Fawsitt did eventually rise above it. For years at the Gaiety Nellie Farren and ber husband. Robert Soutar, who besides acting, filled the post of stage manager, received only £3O between them ; but when burlesque became the principal feature on the programme, the finest burlesque actress of her day received £3O for her individual services. It is interesting to recall that Henry Irving joined the Lyceum Company under Bateman at £ls per week. At the end of two years, during which time lie appeared in “ The Bells.” Charles 1.. ’ and “Richelieu,” he had only reached £35. and it was not until he appeared in “ Hamlet ” that he reached the £SO mark.