MUSIC AND DRAMA

Star (Christchurch), Issue 18467, 19 May 1928, Page 25 (Supplement)

MUSIC AND DRAMA

Maurice Muscovitch, who opens his Christchurch season on May 60, is probably the most travelled actor living, lie has appeared in almost every country of note in the world. The world is his stage, and in it he has played many parts. Moscovitch includes in his accomplishments the master of five languages, In his spare time he is an omnivorous reader, not only of the English classics, but those of other countries. He loves music, and is the possessor of several valuable violins, at is said that this is likely to be the farewell visit of Mr Maurice Moscovitch to New Zealand, for it is probable that after the production of “ The Silen •: House,” another gripping drama nowin rehearsal, the famous actor will go on a world tour, which will include England, the United States, France and some of the European countries. Mr Moscovitch has a deep affection for the people of the countries under the Southern Cross, and makes no secret of the fact that when the time comes for his departure to -fulfil world-wide engagements he will leave these shores with genuine regret. The New Zealand tour of the FuilerGonsalez Grand Opear Company is now being arranged. Invercargill will probably be the first town visited, as the. company will lose less time in travelling. by coming direct from Melbourne to the Bluff than by coming all the way round from Sydney to Wellington. June IS is the probable date for the opening in Invercargill.

Great interest is being manifested throughout New Zealand, not only in musical circles but by the general public in the apptearance in specially selected programmes of the worldfamous pianist, Benno Moiseiwitsch. The Dominion season will be inaugurated at Wellington Town Hall on Thursday, May 24, and recitals will also be given on Saturday, May 26, and Tuesday, May 29. The programmes now- being arranged for the New Zealand tour are decidedly interesting in that they contain not only the classical and romantic gems of the noted composers of the world, whohave long passed away, but: also a number of striking modern compositions which have proved most acceptable in America, England, and on the. Continent. Some of these may bei described as musical poem pictures,; and give Moiseiwitsch ample oppor-i

tunity of displaying his •Wonderful technique, his charming interpretation, and the glorious vividness. of these twentieth century musical phantasies. The Christchurch dates are June 27 and 30, and July 2. The famous Continental star. Beppie de Vies, will make her first appearance in New Zealand at His Majesty’s Theatre. Auckland, on May 23. in comic opera, “ The Student Prince. ’ i Miss Beatrice Elliott, a New Zealand soprano, who has been studying abroad for several years, made a most .successful debut in t \ew York recently, ..She gave a recital containing many interesting items, and her singing, especially in the English group, drew high praise from the critic of the New York, “Times.” Miss Elliott received a bouquet. among a host of others, from 1 New Zealanders in New York- In the near future she hopes to revisit New Zealand and Australia on her first concert tour.

The first attempt at seat-selling by auction in Auckland was made some years ago in connection with a concert compam* starring a youthful Australian soprano’ writes a Sydney “Bulletin” correspondent. The citizens quickly retired for the bidding and left the horde of obvious speculators to snap up the tickets at inflated prices. When the speculators began to look round for purchasers, nobody ..scemerl anxious to buv, and a conspiracy of norvpurchase was hatched by Press and public. As the concert, date approached, the holders of the unwanted tickets became alarmed, and announced drastic reduction* in prices, but the public j looked stolidly on an d made no attempt to buv. In the end the get-rich-quick brigade sold their stock at about the Asual price. It put an end to ticket speculation in Auckland for some years. The editor of the Australian “ Musical News ” says in that paper's April issue Embarrassing, to say the least, was the question put to me by an utter stranger during the interval

of the ‘very first symphony concert I went to hear this season. “How far does your municipality aid this orchestra?” said he. “Not by one halfpenny!” he was told. “Suffering Caesar's ghost!” he commented, “surely they must know a good orchestra is the most progressive sign you can have in arty. city?” “ Well, no, they don’t. But you've got ahead of us in America with those notions,” I suggested. He looked surprised. “ I’ve never seen America,” said he. “ I’m South African. My town's Pietermaritzburg. It’s less than a tenth the size of this place, but it has an orchestra of ninety, and the municipality keeps it up. Every South African municipality worth a button does the same thing.” Christchurch could quite easily follow in the lead of South Africa.

From the Mexican desert across the adobe walls of the palm floats a familiar voice, rich and sweet as ever (says the Sydney “Suit”). “It'S Glad,” shrieked the gallery girls. Applause began to rumble through the St James Theatre like a growing storm. Out. from the cactus clumps trips a dashing figure in a prune coloured riding frock. Big hoop earrings Hash and two familiar eyes dance beneath a scarlet bandeau. The storm broke in all its fury. Tumult crashed through the packed house. A tempest of hand c. 'M'-ug, cheering, and whistling swallowed up Hamilton Webber and his orchestra. The tempest rose in a steady crescendo. It was “Glad.”. She held out her hands in mute appeal. The house would not be quiet. There was no lull in the storm. For six minutes by the watch they cheered their favourite. It was an immense welcome. As Rio Rita, Miss Gladys Moncrieff has the part that suits her, an intense Mexican girl of the Texan border, loving and hating and singing with equal enthusiasm. You reflect on a most vivid Southern maid as she sings ” Rio Rita,” the song-hit of the piece. You realise, too, the greater finish and the more subtle touches Miss Moncrieff gives to her acting. She was cheered at every entrance in the two acts. She was recalled in ever}' song. Her triumph as the Maid of the Mountains was repeated.

This “ Expressionistic Drama,” by George Kaiser, translated from the German by Ashley Dukes, is being presented for the first time in Australia

at The Play Box Theatre, Sydney, bV Mr Duncan Macdougall and his troupe of players. It is considered by critics to be "one..of the “most provocative dramas of our time.” It certainly is “ provocative.” The action is in a stnall city in Europe at the present time, and there are seven scenes. These are jjroduced with great ingenuity on the diminutive stage. There are no fewer than thirty-seven characters in the cast, who are baldly designated “ The Cashier,” “ The Stout Gentleman,” the “ Muffled Gentleman,” “ The Lady,” “ The Lady’s Son,” and -so on. Most of the roles are duplicated by . the amateur actors, some of whom show, histrionic talent. Mr Duncan Macdougall carries the brunt

of the theme on his shoulders as a defaulting cashier, who, although (or perhaps because) he has a perfectly good wife, r.jother, and two daughters, and a permanent. “ job,” falls from grace and common honesty and “ goes gay ” in a regrettable but highly spectacular manner. The torrents of talk in which foreign dramatists delight deluge the play, and its hectic situations and ideas are handled more or less successfully by the players, of . whose efforts the audience expressed warm admiration. A feature of the opera season in New York has been continued and conspicuous success of Francis Alda, to whom Australia was indifferent during her recent concert tour. Iler “ Marguerite ” in particular won the very highest praise. Sir Harry Lauder is now playing his “fifth final farewell season’ in America with all the success that marked his previous visits. To a New York audience he declared that he was on his wav to Australia. “ There," he added, •they have accustomed to my farewells, and would be lost without them.” Somewhere in this « ountry there is a young cirl working in an office, a factor'- or on a farm, who is to be transported from the commonplace of her environment to the portals of theatrical fame b famous trio of New York producers, New Wayburn, Lew Fields and Lyle D. Andrews (says a New York paper). It is their plan to discover, by ,a contest, an unknown and deserving girl, who. when given the proper direction and training may rival the stage beauties with whom she will soon find herself. Mr Wayburn will put the lucky girl through an intensive course in his Broadway dancing studios. Upon the completion of this work, she will immediately become a member of the Messrs Fields and An drews ipusical comedy. The most iiiferesting theatrical’ fare recently is the presentation at the old Vic. of '.The Two Noble Kinsmen.” e. romantic -tragedy attributed to Shakespeare and Fletcher (writes a London correspondent).' Jt is, founded on ChauOfcr's tale of “ Palamon and Arcite,” an alluring story of two princes, friends, who fall in love with the same woman and decide to settle their dispute by mortal combat, from which meeting they emerge still friends. In an Ophelia-like scene as the mad daughter of the gaoler. Jean Forbes Robertson gave a remarkably fine impersonation which enthralled the critics. Her emotional restraint, elf like gestures and weird intensity of

utterance raised her part to undreamt of significance, and she received an immense ovation from an audience which included her distinguished parents. Jeritza, the Viennese prima donna, to-day dominates the world of vocal music in a quite unprecedented way (writes a correspondent in the Sydney “ Bulletin.”) Jenny Lind had Grisi. Mario and other stars to dispute her supremacy. Patti was ruffled by the clauns of Tietjens, Nillsson. Trebclli and Sims Reeves. When Melba was at her zenith there were the De Reszkes, Nordica, Calve, Sembrich, Raines, Caruso, M’Cormack, and Bonci all claiming eminence. But there is no one reckless enough to challenge the unique standing of Jeritza. Ilcr tall, slender figure, fine features and masses of natural golden hair arc endowments that cannot be bought; and, an actress of unusual gifts, she delights lovers of the drama even when she borders on extravagance. A great singer with a great voice which she can use to perfection in six languages, and the wife of a wealthy and titled banker, there is no e^" for fame lacking. She began life in very modest circumstances.

The world of the theatre had occasion, recently, to mourn the passing of another of its illustrious figures, in the person of Eddie Fov, the veteran comedian, who died “ in harness,” as he

had always -wished (says a New York paper). The end came on February 16, in Kansas City, Mo., where Mr Foy was appearing at the Orpheum Theatre in his vaudeville playlet, “ The Fallen Star.” He was the victim of a heart attack, suffered in his hotel room in the morning, passing uwa} r within a little more than an hour. Eddie Foy was seventy-three, years old and had spent more than half a century on the stage. Perhaps the greatest fame that ever came to Eddie Foy when, after handing one of his children to a fireman to be carried to safety, he stood on the stage of the Iroquois Theatre in Chicago in 1903, as the theatre burned. Mr Foy did much in an effort to prevent panic on the orchestra floor, exhorting the. patrons to be calm .and orderly. He stayed on the stage until he could do no more, and when finally the asbestos curtain rung down and he left, the red wig he wore was on fire. At the time Mr Foy was playing the comic role of Sister Anne in “ Mr Bluebeard.’’