CHRISTCHURCH WILL HEAR PADEREWSKI.

Star (Christchurch), Issue 18085, 19 February 1927, Page 2

CHRISTCHURCH WILL HEAR PADEREWSKI.

REAL GRAND OPERA IS ALSO COMING. INTERESTING CHAT WITH J. C. WILLIAMSON DIRECTOR Christchurch theatregoers and music lovers will revel in the fact that about the middle of the present year they are to be given the opportunity of hearing Paderewski, the world-famed pianist, while a season of grand opera in the true sense of the term is another of the wonderful attractions which the J. C. Williamson firm are promising. This information was given to a reporter by Mr John Tait, a director o t the firm'of J. C. Williamson, Ltd., who arrived from Melbourne this morning in order to attend the initial performance in Australia and New Zealand of “Frasquita” at the Theatre Royal tonight. It is seven years since Mr Tait visited Christchurch, and although one of the main objects oi' his visit is to witness to-night’s performance he has a number of other matters to attend to. Amongst these is the consideiation of alterations and additions to the Theatre Royal. These have been contemplated for some time past, but the clifti culty in carrying out the plans is the shutting up of the theatre for a number of months. This would be very awkward and inconvenient and would mean the diversion of all companies from Christchurch for a lengthy period, unless of course the contractor could carry out his work by allowing the use of the stalls and certain other parts of the theatre. The awkward part about it is that Christchurch has only one. suitable theatre. However, it is hoped to be able to carry out a scheme which will give increased accommoda tion, better entrances, and more comfort for patrons. “Those are principally the main objects of my visit,” said Mr Tait, “though , in addition we are interested very largely in pictures. We have recently erected two new theatres in Auckland and Wellington, and I consider these two theatres equal in every respect to the best of their kind in Australia. The Regent in Auckland is a particularly beautiful structure. “While on the subject of pictures there seems to have been a lot of talk about British films. There has been a general feeling, mostly amongst politicians I think, that that British film is regarded with favour by the exhibitors in Australia and New Zealand The fact of the matter is that unfortunately the British producer only now and then brings out a good box office attraction, and consequently the exhibitors are compelled to get the goods the public require and buy from the only other available sources. There has been some talk about British pictures being included in every programme, but I don’t think that is going to help the matter to any great extent. The crux of the position is that the British producers must turn out pictures which the public will pay r to see, and then no doubt the world's exhibitors will be only too delighted to rent those films because the wider the field of selection the more pleased the exhibitor will be.”

“In the making of a picture it is not only a question of getting good clear photography, but it is essential that the story should be one that will appeal to the public, ~ said Mr Tait. “This must be the first consideration of the film producer. Take for instance ‘Beau Geste'”, continued Mr Tait. ‘Here was an excellent novel written by an Englishman and if the British film producers had been sufficiently alive thej’ could no doubt have secured the rights, and possibly have made as successful a picture as the American production of the same subject. If British producers were to show more enterprise and realise that the story is the fundamental point to be considered then they will be able to get good results, but not otherSpeaking in connection with the firm’s theatrical and musical interests, Mr Tait said there were a lot of attractions coming over this year. The first would be "Abie’s Irish Rose,” which would be followed immediately afterwards with “No, No, Nanette.” Both these productions were being run by the firm in conjunction with the Fuller firm. FollONving these two pieces, Rene Kelly, the English actress who has been appearing with very big success in Australia for the past eighteen months, will be seen in some plays from her repertoire by Frederick Lonsdale. notably "The Last of Mrs Cheney,” "Polly with a Past,” “Brown Sugar" and others. Miss Kelly should be here about May. On the musical side a return of the Gilbert and Sullivan Opera Company has been fixed. This company are going to produce in Melbourne' “Ruddigorc,” which has never been done beforq in Australia or New Zealand. Their repertoire will also include “Patience,” which was not performed on their last tour, and “The Chocolate Soldier.” This company will be here in July or August. After that “Rose Marie” will be here, but owing to the enormous success this piece has attained in Australia it will be September or October before it reaches New Zealand. On Monday night “Rose Marie” finishes its Sydney run, which in every way constitutes a record of nine continuous months and 390 performances. It is regarded as the greatest musical play ever produced in Australia. Paderewski, the world famous pianist. passes through Auckland by the Tahiti next Monday week, on his way to Australia. He is going to give concerts in each of the New Zealand centres in the first or second week in June. Two months later Heifitz, the great violinist, will pay a return visit, and about October Joseph Hislop, who is regarded as the greatest tenor in England today, will be heard in a series of concerts.

“In connection with grand opera, my two brothers are in Italy at the present time arranging details for the grand opera tour which is to open in Australia in September,” said Mr Tait. “They are so arranging the contracts with the artists as to enable New Zealand to be included in the tour, and we can therefore promise lovers of grand opera in New Zealand something on a really grand opera scale. The repertoire of the company will be very extensive, and I feel sure, judging by the way that the public responded to Pavlova and Galli Curci, and other big attractions, that they will appreciate in no uncertain manner the decision on our part to bring grand opera to New Zealand. It will be the first time that the real scale of grand opera will be attempted ir» New Zealand, as the last company which visited Australia were unable to come over on account 6f their contracts having been made and found all too short. The enormous expense makes one shudder at bringing them over, but J feel sure it will turn out all right. The expenses of the last company in Australia averaged £6500 per week, so the public will realise what that means to the firm.”