MUSIC AND THE STAGE

Star (Christchurch), Issue 17188, 3 November 1923, Page 12 (Supplement)

MUSIC AND THE STAGE

BY THE LIMELIGHT MAN

The Humphrey Bishop Comedy und Operatic Company, who are being introduced to New Zealand this Christmas by Edward Elliott, have hail many strange adventures during their six years’ tour of the world, from being captured by a German warship, having their theatre burnt to the ground in India, touring under difficulties through Mesopotamia, to hardships in British East Africa. The company at present are still playing in Australia, where for the past three years they have performed in nearly every town from Perth to Cairns, playing long seasons for .1. C. Williamson, Ltd-, in all the hig centres. The company opens in Auckland on December *2O. The majority of the members of the Grand Opera ~ Company which opens this month in Melbourne in “ Faust,.’ come from Italy. They cannot speak English, and they will bo accompanied by interpreters, as well as their own

stage managers and musical directors from La ScaLa, Milan- The complete male chorus is also coming from Italy. Mercutio. in “ Romeo and Juliet,” (writes “ First Nigh ter ” iu the Melbourne “ Age ”), gives Allan Wilkie an opportunity for one of the most strut ing things he has done—a death scene between jest and earnest, for Mercutio dies jesting. It is cheering to see Shakespeare going so well at the Playhouse, whether in tragedy or comedy “ The divine Williams,” as the tradi tional Frenchman called him. score' another triumph when I was there -• few nights ago. I am thinking no only of the effect on the audience gene rally, but of the fact that the tens tragedy silenced even a youth in the

front stalls who had been showing »»• inclination to crack peanuts in the pianissimo passages. To those of us wh<» are truly earnest, this passion foi feeding iu p.ayhouses is one of the serious problems of life. W. S. Percy, the popular Australian comedian, who has been delighting audiences in Australasia for the past two years—after a lengthy sojourn in Eng land—is again leaving (says an Austra lian paper,. He received a cable from Sir Oswald Stoll, one of the foremost of English managers, offering a lucrative engagement in London. Percy iin mediately cabled his acceptance. He will begin rehearsals with the full coin pany on December 10. having been cast for the part of Washec in the Christ mas pantomime of “ Alladin.” T played in a piece that put up a record (writes a “Bulletin” correspon-

dent). It was a three-act comedy called “Uncle’s Ghost.” There was no “ghost,” but a lot of “uncle.'’ We opened—and closed —at Cowgoat Flat to many relatives of the \\ ooci family and about fifty Cowgoaters. The audience was very, restive during the first two acts, and the third started amidst cat-calls and-derisive applause. About a quarter-way through the house rose to its hobnailed boots and began tc tramp out. The noise it made on the wooden flooring, to say nothing of its loud, ironic clamoring for police assistance, quite drowned otir attempts to act. So the rag came down, and nobody oii earth has seen the last act of “Uncle's Ghost” performed. Nor ever will.

Mr Philip Wirth, wlio went to America some months ago. has obtained some novel and interesting turns for the Wirth Bros.’ circus in the Olympia (says “The Australasian”). Spanish bull-fighters from Cuba, a troupe ot “ football playing dogs.” a company of men and women playing basket-ball on bicycles, and a Calliope (hot-air piano 1 ) are items which, it is said, have never been seen iu Australia before. Another new turn is Prince Giuseppi Big noli, a midget rider, whose funny antics on horseback were a star attrac tion in America. Many clowns have been engaged. The menagerie has also been greatly added to, and now contains twelve elephants. The beauty and ability of the Australian chorus and ballet girls is a never-failing source of wonder to visit ng theatricals (says an Australian aper), whether they come from Lon 'on or New York. Mr Louis Benmson xpressed the opinion shortly after hiarrival in Sydney that a chorus and

ballet such as is common to musical productions here would be a “riot” on Broadway. Ada Reeve regarded her girls as ahead ot anything seen on the London stage. This week members of “ The O’Brien Girl ” company joined in the pecan of praise. “ They are won derful,” said Miss Ena Dale, referring to Mr Hugh J. Ward’s chorus and ballet, which add so much grace and beauty to “The O’Brien Girl ” “ The New York stage girl.” she went om “ regards work ns the last thing she ought to do. She is more concerned about her limousine and supper parties than anything else.”

In the course of a chat with a Svd ne.v Pressman. Miss May Beatty attri buted the early death of her husband Mr Edward Lauri, to his patriotic devo tion to duty during the great war. Hi at once joined the Theatrical Corps F Division of Special Constables, and ros»

rapidly step by step to rank of commander. The late Mr Lauri worked side by side with Seymour Hicks in raising great sums at Drury Lane Theatre for war purposes,. and died in 1919 largely as the result of injuries sustained during a riot in the East End. “ Our little daughter. Hinemoa is now at school in Melbourne.” con tinued Mrs Lauri, “ and I shall rejoin her at Christmas. Her father’s extra ordinary talent as a dancer appears to have descended to her. 1 am enjoying my return to Australia very much, and may settle down here, but I wish first to appear in America.” An interesting educational expert-

ment was carried out at Sydney school recently in the form of a play-day. This is the third year in which this experiment has been tried, and the result must be gratifying to the masters* under whose control the movement works (says the “Telegraph”). A stage was erected in the grounds of the school, and in the open air short extracts from dramas, plays und novels were acted by the pupils, as many as 216 boys taking part in the eighteen sketches produced. All the classes contributed at least one performance to the general total. The repertoire was wide anil varied. Marlowe, Dickens, Shakespeare, Mark Twain, Yeats. Moliere, R. L. Stevenson and others jostled (metaphorically speaking; one another for the applause of the audience. It is claimed by the head teacher that this open-air play-day is unique. Many schools throughout the Empire have their amateur theatrical companies. but no other school produces such a cycle of plays as this Sydney school does. It is hoped that this experiment will prove a great educative instrument. “ Fortunes ” were made by Sir Charles Hawtrey, comedian and manager. from “The Private Secretary,” which lie adapted from the German, and from other plays. But. as far as a probate application shows,* lie left only £llBO. Horse-racing is supposed to have helped him to dispose of the fortunes. When Somerset Maughan’s play, “ Our Betters,” was staged in New York the dramatist found it desirable to deny that any of his types were character portraits of leading public Mr George Clutsam. the l-known composer, who is an Australian, and a self-taught musician, )s to have a new production brought out soon in London, “The Little Duchess,” Mr Robert Courtneidge having done the book for this new- musical comedy. Miss Rhys Parker, who will be leading lady has hitherto only appeared in grand opera.

The post of British censor has its disadvantages. There are two censors —both literary men —and they have to read the plays sent in to them, willynilly. It gems a fearful destiny, but it might be worse, as only plavs sent in hv the theatrical managers are passed on by them ; which lightens the work but decreases their gain, as a fee goes with every play. But they can plume themselves on belonging to the King’ » service, and they have most agreeable* quarters in which to do the work of passing or killing plays.

On one occasion the late Letty Lind, the famous musical comedy actress and dancer, who died at her home, Brookside, Slough, a few weeks ago, went to sing at a provincial bazaar, and was made much of by bishops and local notabilities. But the grand dame who was acting as hostess was condescending, and remarked that it was her first introduction to a person from the stage. Letty took it all very quietly, but when she was leaving she surprised everybody—and particularly the hostess —by saying loudly: "Good-bye Carrie. What a lot has happened since you and I were in the Gaiety chorus together.” It was the first intimation that the county had had that the hostess had been on the stage.

Died ip America a month or two back, Gus Kerker, a composer ot light opera. His one claim to fame was that he wrote the music for “ The Belle of New York,” and that had had only a moderate Broadway success when George Musgrovc bought the British rights. The Australian entrepreneur liked Jverker's tunes, and the British public luckily agreed with him. Kerker was a German, and although he lived in America many years never became naturalised, which made things awkward for him during the war.

The London “Daily Mail” states that in England the scramble for work | on the stage, accentuated recently bv i the failure of many plays and the falling off in the number of touring companies. has resulted in remarkable decreases in the salaries of many actors and actresses. One of the greatest drops, it is s*id, has been from £145 a week to £25 a week in the case of a favourite musical comedy actress. A manager concerned in both London and provincial companies remarked : - “ Some of the biggest stars who have long contracts are still drawing £3OO and £4OO a but others have to pl*v for less if they want emplovment. The peonle most affected bv the £ slump ’ in salaries are those who have been earning between £3O and £BO a week.”

“ THE CABARET GIRL.”

COMING TO THE THEATRE j ROYAL. “ The Cabaret Girl.” which ooens on : November 15 at the Theatre Royal, is in the direct line of descent to those wonderful girls who maintained for so ! many years the prestige of the popular Strand House, in London, and among her predecessors whose success she recalls. mav be mentioned " The Shop Girl ” and “ The Circus Girl.” It was in the formed that Mr Grossmith made his first appearance at the Gaiety Theatre. The opening scene in “ The Cabaret Girl ” is the showroom of Messrs Gripps and Gravvins. music publishers. Bond Street, and a touch of realism is introduced when the shop assistants sing the slogan of a wellknown firm: “ You Want the Best Seats: We Have 'em! For all the Shows in Town.” Then to the shop comes a variety agent, with a great scheme for a cabaret entertainment, and he is followed by the piano tuner, who takes advantage of the occasion ; bv singing a song of his own composi- j tion: “ At the Ball.” which, by a transposition of the rythm becomes “ Dane- I ing Time,” a melody that runs conspicuously throughout the piece. Then come young ladies seeking en gagements and among them Marilynr Morgan, who appears to be rather down on her luck. This is realised more particularly when she encounters James Paradene. the nephew of the Marchioness of Harrowgate. who has | been left a large fortune by his father contingent on his marrying a lady who will secure the approval of the Mar chioness and her son. After many anc varied experiences, the Marchioness openly expresses her admiration of th< girl, and the Marquis, her son. is sub jected to the charms of the tall anc graceful Lily de Jigger. An exceptionally fine cast is promised and includes Messrs A-lfred Fritl Cyril Fitchard, Field Fisher, Fre Mackay, Stuart Fraser, Harry Wootor Lact Hooker, Cecil Kellaway an Misses Madge Elliott, Nellie Payn Millie Engler, Marie Eaton. To maltirst appearances are the Miss Mabt. Muuro and Mr Harold Pearce.