MUSIC AND THE STAGE

Star (Christchurch), Issue 17829, 24 April 1926, Page 22

MUSIC AND THE STAGE

Pavlova will begin her New Zealand tour at Auckland at the end of May’. Mr Charles Berkeley, the well-known advance manager Of Messrs' J. C. Williamson, Ltd., has decided to retire (says the Wellington “Post”). Few men in the theatrical business in Australia and New Zealand are better known than Mr Berkeley. In his time he has been actor, stage manager, manager, and advance agent. As long ago as fifty' years he was partner in the entertainments firm of Foley' and Berkeley', who performed in Wellington at the old Athenaeum, on Lambton Quay’. He played Shakespeare with Hoskins, and also with Sheridan. Later he was a member of the George Darrell Company'. He was the leading comedian in the first Williamson Musical Comedy Company' to play’ “ The Gaiety Girl ” in New Zealand. Mr Berkeley' was a personal friend of the late Mr James Williamson, with whom he played on occasions. He retires after forty-one years’ unbroken service with The Firm. si si New Zealanders?should be interested in a concert given last month at the Spring Gardens Galleries, London, by the Dominions Artists Club. A programme to hand reveals several New Zealand names, notably' that of Miss Etta Felder (known previously in Auckland as Etta Field). Miss Felder has been singing extensively in London recently and is said to have considerably’ developed the range and quality of her voice. Other New Zealand names in the programme are Claude and Edwin Tanner, Ernest M’Kinlay and Rita Alexander. This year will be one of the most notable in the history of the J. and N. Tait firm. A series of most important attractions will be presented in Australia and New Zealand. This will commence with the brilliant coloratura soprano, Toti Dal Monte. Then will 1 come the world-famous composer-pian-ist, the Australian, Percy Grainger. Later will fbllow Chaliapin, the world’s - greatest baritone, whose every song is a revelation in singing and acting. Others to come under the firm’s management will be Jascha Heifetz and Mischa Levitzki. Toti Dal Monte will commence her Australian season at the Auditorium, Melbourne, on May 8. The tenth of the international vaudeville stars from J. C.Williamson’s theatres, Sydney and Melbourne (under the direction of Mr Bob Shephard) opened its New Zealand season at Auckland on Wednesday'. The combination is headed by the American aquatic star, Niobe, who gives a sensational performance in a huge glass tank of water in full view of the audience. Niobe performs some incredible feats while under water. Rupert Hazel!, a clever London comedian and songwriter, and his dainty' partner, Elsie May', present “ a budget of nonsense and harmony'.” The world-famous cockatoo act, as presented by Madame Harniston, is unique feature. Walter Nilsson, described as one of the foremost comedians in the world to-day, appears in a wonderful unicycle act; Dainty’ Dorothy’ Browne is a musical jazz queen; the Flemings appear in a classical Graeco-Roman act; Mdlle. Odette Delagc is a vivacious French apache violiniste who electrified Australia; and there are The Welsh Rarebit and his dainty partner. Jones and Raine, fresh from English and African triumphs, and Francois, the globe-trot-ter, complete a versatile and clever company'. K « « The death, at Melbourne, of Robert R. Lynch is announced. He was the second of five brothers, whom the last generation knew as the Lynch Family' Bellringers. Henry, their father, found- ! ed the original company' at Geelong in 1867. Robert later formed his own company-—two sons and a daughter—and they’ rang their bells in Europe, Asia, Africa, America and most parts , of Australia' and New Zealand. a si It is curious that just now, while so many’ London artists are in Australia, numerous Australian players are taking leading roles in the West End of London. London newspapers are giving much space to articles on the invasion of artists from Australia. One in the “Evening News” is headed “London Getting Stars from Australia.” It looks as though Australia is going to be very well represented in the West End theatres during the next few months, says this newspaper. Her actors will be starring at several theatres. Si si Si Gautier s trained dogs, called “The Bricklayers,” are the stars of the Tivoli just liow. (writes the Sydney’ correspondent of the Auckland “Star.”) Twelve of them build a house, get drunk, die, mourn the departed, and do other un-canine things most convincingly. Mr Gautier and his son who trained them are American-Swedes, and they have several amusing acts running in the States. One, “The Toyshop, ” shows a shop full of rockinghorses, baby elephants and seemingly stuffed, animals, which all, eventually, ocme to life. Mr Gautier, senior, was a trick equestrian before taking up the training of dogs, etc. His family' have run circuses for the past hundred X Si « “The old, old story’, in a brand new way,” is the way' that the dramatic favourite, Nellie Bramley, sums up the musical comedy production of “Uncle Tom’s Cabin,” which opened at the Grand Opera House yesterday (says the Sy'dney “Sunday' News” of April 3). Six weeks ago Miss Bramley was shown the script of the big musical show, which has captivated New York and London afresh, and was so enthusiastic about it that she decided to play the leading role in it immediately', with' the result that William Russell got busy- and engaged over a hundred for the company', which is necessaryto put over this gigantic production of plantation days. Included in the cast are John Galway, George Cross, Carleton Stuart, Robert Furdy, Dan Nibla and Millie Doris. « si Strella Wilson, the brilliant soprano who is appearing with the J. C. Williamson Gilbert and Sullivan Opera Company', which opened at His MaTheatre, Melbourne, on April 17, was bom in Broken Hill. Her mother is an Australian of Scottish descent; her father, an American. Her baptismal name is Austral. She was educated at Merton College. Miss Wilson is so keen on her work that she makes a point of studying all the great soprano roles, even though she has no idea that she will ever have the opportunity' of playing them. On one occasion, when travelling with the J. C. Williamson Opera Company in 1919, she was called on to take the part of Santuzza in “Cavallcria Rusticana” with only a few hours notice. Though there was no chance of a rehearsal, she undertook the task, and carried it through with much auccess, K II H Hava you ever been to the Piay'box Theatre? No? Neither had 1 until last Wednesday, (says a writer in the Sydney “Referee” of April 7.) It is in Rowe Street, just beside the Hotel Australia, and there Mr Duncan MacdougT

all holds his court, and produces masterpieces of dramatic art on the smallest stage in all the world. Just now the attraction is “The Insect Play,” by the brothers Capek, of Prague, the capital of Czecho-Slovakia, formerly Bohemia. Capek satirises the world we live in by means of butterflies, ants, moths, beetles, and a drunken wayfarer, who personifies our pathetically battered humanity. The Playbox is a room at the top of three flights of stairs—enough to deter any but enthusiasts of the drama from making the adventure thither. Eighty people can be crammed into the theatre, seated on forms, chairs, settees, and other nondescript furniture. My reserved seat was on a pre historic couch, which sagged precipitately towards the middle, and my chief pre-occupations during the evening, were an heroic struggle not to fall into the lap of the lady next door, and a fight with active and energetic insects, not mentioned on the programme. Mr Macdougall is doing good work at his miniature theatre, and it is a thousand pities that his company cannot secure the necessary finan-. cial assistance to enable great plays to be adequately produced in a theatre worthy of the enterprise.

During 1925 there were more play books published than in any previous 3 r ear (says a London paper). This applies to both one-act and. full-length plays separately. The problem is no longer where to find a play in book form, but out of the moss of plays now available to pick those most suitable to any one particular group.

A London Cable message, dated April 20, announces the death of Sir Squire Bancroft, the doyen of the British stage, at the age of eighty-five. He made his first appearance on the stage at the Theatre Royal, Birmingham, in 1861, and four y*ears later appeared in London at the Prince of Wales Theatre, under the management of his future wife, Marie Wilton, and 11. J. By’ron. He was knighted in 1897. s a Sir Harry Lauder had a great reception at the Victoria Palace on the occasion of his first appearance in London after an absence of nearly two years. The critics agree that he still has his old charm of manner. Two new songs introduce dinto the programme were “ When I Meet M’Kay,” and “ Susie Maclean.” The former was immediately a favourite with the audience, while his reflections on love-making during his patter with the second were greatly relished. Even after he had held the stage for the best part of an hour the people wanted more. The “ Daily Mail ” says his voice is still splendid, his walk is wonderful, his sense of Scots fun is still unmatched, and he still has the rare gift of taking his audience to where he wants them to be.

Writing of music in America to the Wellington “ Post,” Mr Alfred Hill gives the following interesting particulars respecting the Minneapolis Orchestra. How is the Minneapolis Orchestra financed? The chief patron of this famous combination is Mr E. L. Carpenter, who is the president of the Minneapolis concerts, and Mr G. F. Lindsay, of the St Paul concerts. The orchestra plays in the twin cities under different managements. Both these gentlemen and many others who give liberally themselves raise money from their friends and fellow-citizens (who are not considered good citizens unless they subscribe for all public, and especially educational, movements). Besides a president and vice-president, gentlemen and ladies’ committees, board of directors, etc., they have a large subscribers’ list and public support. They don’t expect an orchestra to pay but they look upon it as a public necessity.

Miss Stella Murray arrived on Saturday afternoon, and was met by Mrs Bernard Myers (whose guest she at present is) and Miss Myers, writes “The Post’s ” London correspondent under date March 4. She is 'looking very fit, and speaks with great enthusiasm of her visit to New Zealand and the hospitality and appreciation there accorded her. Refreshed by the voyage, she hopes soon to resume her work in London. Miss Murray was much pleased during the voyage to receive a telegram from Messrs Ibbs and Tillett offering her an engagement for the Good Friday concert at the Crystal Palace. On Sunday afternoon, the. day after her arrival, Mr Shayle Gardner held a reception in honour of the New Zealand contralto. Among those who gave selections were Mr Georgs Belcher, Mrs Matheson Lang, and Miss Lily Bray ton. Mr Gardner was ably assisted bv Mrs H. L. Friend, who acted as hostess.

In view of the revival in Melbourne on April 17 of Gilbert and Sullivan’s operas, it is interesting to recall the cause of the estrangement of the two famous authors. The cause was absurdly trivial, especially coming after so many years of happy co-operation. At the time of this estrangement, the Savoy Theatre was jointly run by Gilbert, Sullivan and D'Oyly Carte—Gilbert providing the librettos, Sullivan the music and D’Oyly Carte the theatre ; and the net profits were divided equally amongst them. Gilbert went abroad for a holiday, and during his absence Sullivan and D’O.vly Carte purchased a new carpet for the theatre foyer. When Gilbert came back he refused to pay his share, for some unexplained reason, of the cost of the carpet. And this was the origin of the severance of one of the most fruitful artistic partnerships the world has ever known. Neither of these brilliant men did any good apart, as Sullivan could never find another Gilbert, nor Gilbert another Sullivan.

One of the most remarkable ballads which has stamped Chaliapine, the great Russian basso, as probably the finest vocalist of the day, is “The \ olga Boat Song. ” To hear this giant of a man troll this epic to toil is to bring before the mind the grinding, hopeless, colourless outlook on life after generations of serfdom, such as the people of the west have never known. It is well enough known that the peasantry of Germany, Denmark, Holland, Belgium and France have known ceaseless work in the fields, but such industry, if well directed, has had its reward in the creation of better conditions and more comfortable home, for there has always been reward for such well directed labour, but with the Russian, the pre-war Russian, serfdom was part and parcel of the national system, and there was no reward for individual effort. It was a tyrannical form of slaver}’ repaid only with just sufficient food to keep body and soul together, and clothes enough to cover the body, and fny revolt against such work -was the knout; so that as the singer wails out the rythmic drone, one may picture a handful of men harnessed to ropes that are attached to the heavilj’ laden barges that float up and down the olga, servirtg in a primitive way the function of railways and waggons in other countries. It is one of those graphic vocal etchings which depict a phase of life in which the human is little removed

from the common beast of burden—the utter degradation of the species, which may in a measure account for the dreadful extremes that were associated with the great red revolution of ten 3’ears ago, in which the vast element of a people found dreadful expression after centuries of shameful oppression.

One of the interesting debates recently started is “Does the Sfnger Count More than the Song?” Various London writers, annoy’ed by* the arrogance of some songbirds, take them to task, and insist that it was the song—not their voice—which gained them fame. A writer in the “Westminster Gazette” of London, complaining about the temperamental and conceited attitude of singers, says: “All this is probably the result of the ‘booming’ and adulation which many musicians, like cricketers and cinema stars, nowadays receive, but it has done a great deal to change the atmosphere of the concert hall. The artist appears saying, as it were: ‘You are all here to hear ME sing (for instance), with my wonderful voice. I am the whole show.’ The names of ten great masters of music, each ten times the genius that he is, may’ figure on his programme with works that he could not have produced in a. hundred y’ears, but that doesn’t matter.” The New York “Theatre,” writing of Nance O’Neill said she “ promised at one time to attain the greatest heights on the American boards. But it seems to be increasingly difficult to fit her with a part that suits her personality. Tall above the average, she has a commanding presence, a fine voice, all the technique of the trained tragedienne. Nance O’Neill toured New Zealand in 1900-1, opening in Christchurch on February 4, 1901, in “ Magda,” and was associated with Mr M’Kee Rankin. Other play’s in which she appeared were, “ School for Scandal,” “ Fedora.” “ La Tosca,” “ Queen Elizabeth,” “ Camille,” “ Hedda Gabler,” and “ Peg Woffington.” 5{ Sir Harry* Lauder has become a member of the coterie of actors who have made their last totir (says a London cable message). “I have come to that time of life when home is good enough for me, and I will not tour again,” Sir Harry says. He plans to retire to his home in Scotland and appear only occasionally’ before British audiences. THE ADVANTAGES OF BEING SMALL. INTERESTING STORY OF THE MIDGETS. You don’t quite realise how small are the twenty little- people known as Irving’s Imperial Midgets until you get among them, and feel like a giant (says the Melbourne “Herald”). Even the tallest, Emil Kruger, was only twentynine inches high until he was twentyfour years of age. Then Emil contracted a serious illness, and afterwards was afraid he -would never stop growing. But, he naively say’s, he stopped short at 3ft llin. Emil Kruger looks like a .bright, smiling boy r . He is thirty-two, and is the father of a fourteen months’ old child, which weighed 51b 14oz at birth. Mrs Kruger, twenty-seven- years old, is three feet high. Emil Kruger was exactly the • size of Toni Soucek, another Austrian, when he first -worked with that little acrobat. Toni is in his thirty’-eighth year. Until you know him he reminds you of a serious child who silently watches you all the time, and makes you feel you are not very interesting. But when you have gained Toni’s friendship he will talk freely’ about his fifteen years’ experience in a circus and other shows, also about his big sisters and brothers, one of whom is nearly six feet high. But he prefers to hear his friend Emil talk.

“When I was a boy at school in Vienna, I had to have a chair specially’ made for me, because I was so small,” Emil recails. "But the bo>-s did not tease me, because I was always near the top of the class. They’ also knew that I could bite and scratch. 1 was handy’ with the needle, and my’-father hoped to make a tailor of me. I was an apprentice for four years, but had to give up the work, because it did not agree with me. Then I went to an acrobatic

school, and afterwards joined a travelling show as a clown. I was one of seven midgets who gave a whole show lasting three hours. I am a good horseman. In one turn I was taken to America for Irving’s Imocrial Midgets, I met my wife, who had been engaged in Berlin.” The oldest Member of the troupe is Bella Gorrel, who is forty-three years. She took up dancing after she left school, and when she grew up she reached thirty’ inches. But neither her y’ears nor her inches .worry* her. She is always smiling and making jokes. Bella, who has travelled a lot, has two brothers in the troupe. And at home in Poland she has brothers and sisters of normal size. She calls them her little brothers and sisters —they are younger. The youngest member of the company is Bill Kestner, a modest y’outh of nineteen, who has spent the last six years of his life as an acrobat and pantomime comedian. The midgets were collected in many parts of the world. An attractive little Scots lassie is Jean Phillips, who was born in Edinburgh, and once worked in an office there. Oscar Moser hails from North Carolina. Willy Rolle, the musical director, is from Berlin. He studied there and in London. At one time he was in an orchestra in Germany’, but modesty’ forces him to tell you he was not much use to it. He had to use a specially made violin that was not even quarter size!