THE STAGE

Star (Christchurch), Issue 16928, 30 December 1922, Page 15

THE STAGE

(BY

THE LIMELIGHT MAN.

The coming rear will see some noteworthy theatrical attractions brought to New Zealand under the J. C. Williamson and J. aiul N. Tait management. One of the first to come after the New Year will be headed by Lawrence Grossmith, who will be seen in * John Applejohn’s Adventure” and “The Silver Fox.” The Roval .Comic Opera Companv with Miss Josephine Melville in the lead, nil! prodnc< ■ ‘Naughty Princess” and “ Sally.*’ Miss Alaxine Elliot is to come over fo»* b season of comedy. ‘‘The Peep Show.” a great review with twenty peenes and Dion Rnucicnnlt and Trepe Vanhiirgh in comedy, arc also destined for the Dominion. Tn July Oscar Asehc should arrive with his groat spectacular production “Cairo.” an! in August wc will have “ The Forty Thieves *’ pantomime. Mr John Farrell, of the J. C. Williamson managerial staff, has returned to New Zealand after a visit to Sydney. With him arrived Mr Harry Burcher, a well-known producer, who is to stage “A Night Out,” ‘‘Oil, Lady, Lady, ’ and “Mary,” three of the higgesl successes oi recent years, Before leaving Sydney. .Mr Farrell met Sir George Tallis, “Sir George lias brought back the rights for all the latest and greatest English, Continental, and American successes,” declared Mr Farrell. “ Included among these is “Frasquita. by Franz Leliar. the composer of the * Merry Widow,’ and other notable successes in the past. He also arranged foi- a visit by Moisei witch, the famous pianist, and Rachmaninoff, the pianistcomposer, Other productions arranged by Sir George Tallis to follow are:— The t'a ha ret Girl,’ and ‘Whirled into Happiness.’ Tho world’s rights of ‘Orange Blossoms.’ ‘Good Morning, Dearie,’ and * A Tuttle Sinner.’ were also secured, the last-mentioned being 1 .char’s latest opera. Tn due time ali these attractions would come to Ne Zealand. Among leading artists to visit Australia and New Zealand with these productions are Lady ForbesRobertson. Miss Trene Vanbrugh, and Air Dion Boucicault.” • * Stage life may have its glamour contrary to the general belief of' tlie youthful first night enthusiast it is a hard one -particularly for the star (write® “ Musico-Dramaticus ” in the ** New Zealand Herald ”). Most artists who visit us appear in one, or at most two, exacting roles, but Miss Nellie Brantley, mnee the beginning of Jul.v has been seen in eight, all of which have put her artistry to the supreme test. That she has won through with eight outstanding portrayals to her credit stamps her as one of the finest emotional actresses Australia and New Zealand have ever seen. Ghat she hails from the Southern Hemisphere is an additional cause for Fatisfaction. The eight plays referred to are: “ Within the Law,” “The Third Degree,” “Sunday,” “Bought pnd Paid For,” “ Lucky Durham,” ‘‘ The Lion and the Mouse.” “ J/enh Kleshna,” and “The T/and of Promise.” Few besides Miss Bramley could have accomplished such a task pud yet I heard some young people in the theatre the other night discussing in tones of enpy the easy life (they thought) she had! Tn the New YearFlm goe« to the Theatre Royal. Adelaide. and later to Melbourne, Sydney find Brisbane.

Mr Hugh Ward has selected twenty Sydney girls and thirty Melbourne girls for his musical comedy choruses. It is the intention of the Ward-Fuller firm to engage all choruses in Australia.

News lias come to hand of James Hay. who sang-tenor roles with the last Gilbert and Sullivan Company to play in New Zealand. According to

*• Smith’s Weekly,” Hay was recently mavried to Airs Erlanger L widow of the Mr Erlanger who helped him in his profession several years before. It is F;iid that the bride’s income is £40,000.

When Allan Wilkie was doing “ King John " at Sydney Palace, his amiability made him an easy target for scores of amateur authors, who mercilessly fired thejr masterpieces at him (writes a

“ Bulletin ” correspondent). One per-pr-tojit youth dogged Wilkie to the T. and G. flats, where he was staying, ami managed to invade his bedroom. Wilkie good-naturedly consented to lot the dramatist read him a scene from “ Back from the Scaffold.” The young man got going, and read impressively, “ As the robbers crawl in at; the window the clerk strikes one.” “ Ah !” said Wilkie. “Excellent! Which oner” Ellen Terry recently unveiled at B'lth a mural tablet to the memory n r her groat predecessor, Sarah Siddons. Albert Chevalier’s new play, “ A Fal. lon Star.” i*» based cn his once-fnmous monologue of that title. It is a plav about plays and players, and is full of humour.and pathos, much as was “Alv Old Dutch.” the plav which another famous song of yesterday inspired. There were no £IOOO a week salaries when Chevalier first hurst upon London with his unique tester impersonations. At tho height of his music-hall fame, when lie was the big “ turn ” of the evening, ho drew a salary vary in-; from £lo to £2O a week To-dnv an artist of equal drawing power would want twenty times as much. * * Ro«a Lynd. who (lied in London recently. spent a lot of money, supplied by a millionaire backer, on trying to become a West End star. A charming woman, she had veij-y little stage talent although in “ London Pride ” she played one part well. But her comedy season. two years ago. cost about £30,000. and frequently the theatre was empty except for “ paper,” this although* nearly £7OO would f>o spent in one week on advertising. Miss Lynd’s great ambition lias to act at th'* Old Vic. when® last year, sin* even offered to “ walk «>n.” so great Mas her passion for act fli’nnn Mni*®iu it.-ch, the celehratel pianist, wh i Mill commence hi. second in Australian early in the Ne » A car. under the J and N. Tait dir*- ■ ton. opening in Melbourne, was re •*i tL visiting an old friend in h certain port of Europe, ano after dinner on the fi**st night of his arrival i • mos regaled with what purported to b=? seme of his renderings on the gram > phone. His hosts, who thought to pur prise him, said: “ NmV. what do yon think of those?” Afoisoivitsch answered, “Very nice, }>nt who is th ? * player?” “ Why. you. of course,” re torted the other. looking up n playing/’ said the great artist. An examination revealed fluff tlie records were the work of Iknno Af. Oiseiwitscli

a hit of trade deception that had probably resulted in extensive sales I

T/dndon has often been accused of having too few theatres in proportion to the great size of the city (says a London paper). In defence of the capital against thin Mr Laurence Co wen appears as the freeholder of a nvw theatre in Covent Garden. Tlie site is opposite Drury Lane Theatre. «»nd it is to he completed by contract by November, ■#.923. The theatre Mill be what is known as an “ intimate theatre.” where the company Mill lie in the closest companionship M'ith the audience. There will be no footlights, the whole lighting being supplied from the proscenium arch. “One of ou* objects.” said Air Cowon. “ is to give patrons advantages which I think they should lifeve had years ago. The price of the ticket- at. ordinary theatre prices—will include everything. Cloakroom, programme, and so forth will be all free *'

Eddie M'Lcan, who with his sister, Decinia. has returned to Australia under engagement to the Atusgrore Tivoli Circuit, tells how the Americans seize hold of the slightest cause for publicity. 'While the pair n*cre appearing at the Orpheum Theatre, New York, the manager noticed that Miss AT’Loan's rich auburn hair always fell down during their dances. He ordered her to have it cut. Aliss Al’Lean appealed to her business manager, Mho definitely refused to allow her to comply M*ith this order. Thereupon the management threatened to cut the act out. of the bill. Legal proceedings being threatened. “ Docima’s Hair” wns duly head-lined in the pre=s. That

settled matters. .Not only M*as the act reinstated, but the management made

a M’onderful feature of Deeima’s wonderful hair. Decinia and Eddie Al’Lean were given a gre-nt welcome back to Australia at the Tivoli last Saturday.

“First, last, and best of all is June Roberts, the dancer Mho is such a fit?.'’ that the show should have been calle 1 4 Listen Lester and June Roberts.’ That is hoM* a New York critic, reviewing • Liston I/ester,’ described June Roberts, tho brilliant dancer engaged by Hugh J. Ward for his company ».f comedians, opening at the Princess Theatre, Alolbourne, on Boxing Day. “She is young and beautiful and n wonderful dancer,” the critic continued. She does toe-dancing, ballroom steps, classical stuff, ballet dancing. a little jazz, and a lot of daincy acrobatic stunts. It is unusual hi find ji dancer of such ability in musical comedy, but she plays, glides, and romps through her musical comedy lines M'ith the abandon of a child. It is seldom that such an original artist is seen upon the stage. Air Hugh J. Ward considers himself extremely for tunate in engaging this beautiful young star, for she is in great demand in America, and bad to be released from the Zicgfield Follies to make the trip to Australia.

The average American chorus girls turn up their nose at hard work, and tell you they can get from oUdol to 75(lol Meekly for just showing their figure in a Broadway musical production

said Citisy Hayden, of the Shubert unit show, “ Hello New York,” in which (at Baltimore, in October) Aliss Hayden had her English dancing girl act, Hayden’s “ Dancing Dolls.” Aliss Hayden commented upon the letter published in “ Variety ” from an American chorister asking m li.v English girls Mere given preference. ** Tf American girls M ould work as hard as the English girls do,” continued Aliss Hayden, “they Mould not have to complain about being out of an engagement. But that is not ti*ue of all American chorus girls,” she added. “ Some of them will work hard and Millinglv. I have seven such girls in my company, but they are outnumbered by those who Mill not.” Aliss Hayden claims (pursues the writer) that English and other foreign dancing girls coming to the United States attend strictly to their stajfe work, nhile the Americans are inclined toward listless ness through acquaintances. While the English girls are Milling and anxious to secure all possihe engagements, the American girls arc indifferent, according to Miss Hayden, and she attributes that indifference at times to their acquaintances. Sir Harry Lauder opened his American tour at the Lexington. New York, in October, and .the occasion is thus described in Ncm York “ Variety ” ; Lauder made Jus first entrance at 0.12. following' five vaudeville acts. and remained until 11.13. m lien the curtain descended with Lauder lending the house in singing “ The Star-spangled Banner.” It was an effective finale to nil emotional evening. Lauder shed tears in presenting his lifelong friend. Colonel Walter Scott, with a gold fountain pen that had once belonged to the Duke of York. Lander had auctioned it off for n British war charity at a London benefit. ft was purchased by. a Scotch lord, who presented it to Lauder. Sir Thomas Lipton. in a stage box. whs heavily applauded upon arriving. and bowed bis ncknonlcdgments. In the middle of the Lander specialty a procession of ushers presented eight ora! pieces. The Scotchman sang seven numbers. breaking each one up with a monologue. They were: ‘Sunshine o’ a Bonnie Lassie’s Smile.’ ‘ Doughie the Baker.’ ‘ There i*. Somebody Waiting for Ale.’ ‘ Bella, the Bello o’ Dunoon.’ * Singing Is tho Thing to Make You Cheery.’ and without music or orchestral accompaniment. 1 Hymn o' .Mine’ and ‘ Bonnie, Bonnie Wcc.’ Ho received an ovation from a. house that Mas three-quarters Scotch. II •<« present tour will internationalise his reputation ns one of the greatest single entertainers of all time, for he plans to visit countries m hero he lias never appeared. His American tour will end on February 12 at San GILBERT AND SULLIVAN. BEBMANENC E OF SAVOY OT’F.RA. Men do not recognise the magical gifts M'hen the? se° them, soys the Hon Maurice Baring. Muting i' l ‘he Fortnightly ”of Gilbert and Sullß an. In the rase of the Savoy operas they bought af once, but ir was only when the sellers were dead tliur the' recog uised tbatM hat they had been buying and selling so easily was magical mer chandise from fairyland ; that there Mas nothing to match it. and nobody else to provide anything of the kind any more. Even now it is doubtful whether Sullivan's music has received the serious recognition it deserves. Anything in art that is ponderous, serious, '•om plicated, and unintelligible is at at once respected ; hut if :i tune is gay and easy, a poem rhythmical and iw| rhyme.l, a picture pleasantly coloured, viitli a subject that is ,pei iVrtly plain, o that a field does not look like the forty-second proposition of Euclid, the serious are inclined to look at it askance.

. Some people will never forgive Sul- ' livan for being popular, continues Mr Baring. But the whole point of really ; great art is that while it satisfies the i critical it pleases the crowd ; that- while j children can enjoy it, it fills the accom piished craftsman with despair at. being unable to emulate it. “The Pilgrim’s Progress,” “Alice in Wonderland/’ (Lay’s Elegy,” and the “Midsummer Night’s Dream ” are instances in point. But ther is no reason to be - despondent. Gilbert and Sullivan’s opefias, always popular, are now receiving the best J kind of recognition, although there ere ! still some dissentient voices, and still some implacable “ highbron*s.”

j Mr Baring thinks it possible that in ! ages to come people M ill talk of the age jol Gilbert and teullivau as 'they now i talk of tho age of Pericles. Peril an i j their children will believe that trials by jury Mere really conducted to musi • ! that pirates and policemen hobnoube 1 at Penzance ; that Streplion. the A/'-m----ian shepherd, brought about the reform of \tbe House of Lords; that the Bolshevik revolution took place at Barafcaria; and that the suffragist movement happened at Castle Adamant. There should be, contends Air Baring, a permanent Opera House, uhere Gilbert and Sullivan, “The Beggar’s Opera,” and other English and foreign music Mould be given all tho year round. It is an opportunity for a model millionaire such as Gilbert Mould have invented. MUSIC HALL SALARIES. Alarie Lloyd earned upwards of £250,00') during the thirty-five or forty years of her working lite (writes the London, correspondent of the .Melbourne “Argus"). She Mas making £3OO a week at tlie end, yet she died possessed of no more than her last Meek s salary The secret of her financial trouble was a wild generosity. On one occasion she bought the entire contents of an East : End shop, and gave away bacon, sugar, tea, and tho rest. Sitting behind the counter, in her big bat, she handed oyer her Mares, refusing all payment. W hen the goods Mere exhausted Alarie distributed silver to latecomers. On another occasion she distributed ._> pairs of boots to the children of Hoxton. She had a score of friends on her pension list, to m hom she doled out silver or notes every Saturday night. But for this thoughtless generosity she won id have died a wealthy woman.

Alarie Lloyd’s ever-rising salary is an index of the vast changes brought about in the music-hall profession during her generation, in her early teens Alarie Lloyd earned £8 a week for a nightly turn, though she Mas able to increase her earnings l>y “ appearing at more than one Hall a night. Later sjje got £2O a hall, and sometimes £SO. Then came the rebuilding of the music-halls so that they hold vast audiences and only a comparatively few stars could be relied upon to “ put it over tlie footlights,” as the phrase is. This placed -a premium upon the work of such players as Harry Lauder, “Dan” Leno. George Robey, Lottie Collins, and Marie Lloyd. At the old Tivoli. Mn the Strand, Marie Lloyd earned £IOO a week. Since 1914 sho lias often earned £l5O and £2OO, and sometimes (Mice as much, if upon “sharing terms/* To-day several music-hall stars earn much more. “Billy” Merton recently refused an American contract for three years at- £I.OOO a week. It M as not worth his while to cancel his English contracts for £I,OOO a week. But these big salaries go to the ten or a dozen men and women who “top the bills.” In general the music-hall profession has been destroyed by tlie popularity of revue, M'ith its continuous music, its brightly dressed chorus, and its topical appeal. SHAVE THAT LED TO FORTUNE. ROMANCE OF “ BUNTY PULLS THE STRINGS.” / Graham Moffat, Mho, until he wrote “ Bunty Pulls the Strings,” Mas an obscure actor earning only a meagre salary, received £16,000 in one year for the American rights of his play. Lee Shubert tells an interesting story of liow he happened to get hold of this highly successful Scottish play, which ran for nearly two years in New York to over a million dollars gross receipts. Air Shubert happened to be in England a few weeks previous to tlie London, production of the play. No one expected anything very big of it. The day the American manager Mas leaving for the Continent, Graham Afoffa". the author, called on him at the hotel. He looked somewhat seedy, like the average actor whose engagements are neither numerous nor M-ell paid. “ Alt* Shubert,” lie said, “ I haven t yet sold tho American rights c r ‘Buntv.’ I’d like to read the plav to you.” All* Shubert explained than lie was just off to Paris, but wonl I be glad to take the A!S. and rend it on the train. The c&uny Scotsman shook his bead. “ No. Air Shubert, the only wny is to let me read it to vnu.” Then the manager had an idea. Amiably, be said: “I’m just going to get shaved. If you like, you (’an read it to me M'liilo I’m in the chair.” Idio author agreed to this, and whiU* Air Shubert w;is reviving tlie attention of the barber. Mr AToffat ‘read to Him the first act. Mr Shubert docs not take long to decide. He thought lie saw in the quaint. humorous characters* of the piece some, thing novel that would go in York. Qnietlv lie said: “Til takyour play.” The author’s face lit up. Anxiously lie inquired: “On M'liat terms?” Tho usual five and seven, and I’ll advance £100.” The author hesitated p moment and surveyed his shabby clothes. Timidly lie asked: “Could von let me have the advance now, Air Shubert?” He didn’t even have to cash a cheque. for. producing a wad of bank notes the American manager uaid him in cash then and there. A fen* months Inter Mr AToffat receive i from Alt fcSbubert cheques amounting to over % 16.000 for (lie American rights ; done. And-it earned many thousands more for both author and manager.-Pall Afall Gazette.”