MUSIC AND DRAMA

Star (Christchurch), Issue 18544, 18 August 1928, Page 25 (Supplement)

MUSIC AND DRAMA

“Madame Pompadour,” staged at the Theatre Royal on Thursday, served tj show Mr Arthur Stigant as one of the most accomplished and versatile of comedians. ilis C'alicot is one of his best characterisations, and the unstinted praise accorded him in Australian and New Zealand centres testifies to the fact that he has made a special study of the part. Mr Stigant is such an experienced artist that he has no need to stress his points—they appeal immediately to the audience.

Frank Webster, who plays Rene in “Madame Pompadour,” is a son of a Devonshire engineer and was trained to follow his father's footsteps, and during the war he was with the Royal Kngineers. Immediately afterwards 1.0 sang for a season with the Gilbert and Sullivan Repertory and then joined Sir Thomas lieecham's Opera Company and later the British National, lie went to America with a “Merry Widow” company, alternating the roles of Prince Danilo and Jolidon, and was with the Carl Rosa Opera Company for a while.

An interesting member of “The Student Prince” Company is Conraa Charlton, who plays important roles ir the captivating comic operas now be ing presented by J. C. Williamson, Ltd. The possessor of a fine voice, Mr Chari ton. who comes from Timaru, was always popular in amateur musical circles, and his future looked bright indeed when the Great War occurred. At Trentham he showed such proficiency that he was rewarded with a commission, and left for the front with the Eleventh Reinforcements. After a brief stay at Tel-el-Kebir, where intensive training was undergone beneath the scorching sun of Egypt, he left for Marseilles, and went straight into the trenches, where he served with distinction. In the big Somme battle h° was seriously’ wounded, and when cor valescent was pronounced unfit for further active service, and was attach ed to another important department. When demobilised he proved that he had not lost his capacity as an entertainer, and after concerf and vaudeville engagements joined the firm where his progress has been such tha* lie is now being entrusted with important roles. Members of the Royal Comic Opera Company*, now appearing with such success at the Theatre Royal, may be seen in New Zealand again. This is very probable, for there is reason to l«elieve that many of them will find places in.the beautiful and spectacula, comic opera “The Vagabond King,” in

.vhioh it is reported Mr James Liddy »vili be entrusted with the leading role As to Miss Beppie de Vries, this charm ng lady would be at home in the lead ing soprano part, but there is some :l«>ubt as to whether she can accept an extension of her contract owing to having to fulfil important engagements in London and the Continent. Leon Gordon and his talented company. now appearing in New Zealand under the J. C. Williamson regime in the sensational drama, “The Trial of Mary* Dugan,” will open in Christ church on August 25. The Auckland season followed highly* successful Wellington productions, and the highest praise is being accorded the noted actor-manager-producer and his very capable colleagues for the all-round excellence of the acting and the general production. “The Trial of Mary Dugan” is something entirely* new in the melodramatic line and is strangely fascinating. Mr Percy Hutchison, the eminent London actor-manager, will make his first appearance in New Zealand next month with the hilarious comedy, “The Laughing Optimist,” which has been an outstanding success in England. South Africa, Australia and the United States. This splendid comedy was originally produced by Mr Hutchison at the Garrick Theatre, London. When produced in Australia, it was described as “the comedy success of recent years.” While the books of Ben Travers have a world-wide appeal, the farce-comedies for which his works form the basis have been equally* successful as laugh-pro-ducers. Iti “Rookery Nook,” “The uckoo in the Nest” and “Thark,” New Zealanders are being regaled with three highly diverting comedies. In “Rookery Nook” the acting of the clever London comedian, Hastings Lynn, as the kind-hearted benedict who rescues pretty* Rhoda Marley (excellently* played by the firm's latest “discovery,” the sixteen-year-old Donalda Warne), is something out of the ordinary. Excellent support is given by* noted artists, Jane Comfort, Basil Radford. Leslie Victor. Helene Simon, Minnie Warner, Beth Mackay, Cvril Vernon and Nellie Mortyne. In “Rookery Nook.” Miss Donalda Warne gets her big chance; in “Cuckoo in the Nest,” Miss Helene Simon plays the big feminine role; while in “Thark” Miss Beth Mackay takes the principal part—thus showing the versatility and strength of this highly- j qualified combination. It was not gladly that the audience j at the St James Theatre on Thursday evening bade farewell to Miss Elsie Prince, Mr Jimmy Godden, Mr < hadron Morton and the other members of a brilliant musical comedy whose Auckland season of over a month has passed all too quickly (says the Auckland ** Herald " of August 11). Miss Prince *nd Mr Godden have not left doubting their popularity with Auckland audi-„ ences. If any proof were needed of the hold they have on the public; it was provided on Thursday evening, and Auckland will always be ready* to welcome back these two artists who form the finest musical comedy combination at present playing in either Australia or New Zealand. g x Something quite new in vaudeville was presented at the Tivoli Theatre on Saturday in the shape of fashion creations “ while you wait,” by M. Alphonse <savs t he Melbourne “ Leader __

of August 4). Taking an ordinary dress length, M. Berg swiftly draped it around the figure of a mannequin, then a few pins here and a few pins there, and behold! one of the latest Parisian dress creations. A black piano cover was converted in this way into a charming evening dress in a minute or so. A street dress was created out of one length of material without any pins at all, and to show that it would “stay put ” and was quite serviceable, the mannequin walked around the stage. Even a handsome wedding dress was swiftly fashioned out of a long length of white material. It is a clever and original act, and should appeal particularly* to women-folk. a

Mr Benno Scherek, who for a great many y*ears was w r ell known and highly popular in musical circles in New Zealand and Australia, died suddenly in tragic circumstances recently while conducting the orchestra at the Comedy Theatre, Melbourne, where Mr Boucicault and Miss Vanbrugh were producing “The High Road.” Mr Scherek collapsed a few minutes before the finale. He was immediately removed from the theatre and a doctor summoned, but, before the arrival of the doctor, life was extinct. Mr Scherek was seventy years of age.

Is Melbourne the theatrical Manchester of Australia? Jn England, it is a tradition of the stage that what pleases London may not please Manchester. Sir Benjamin Fuller said the other dav that audiences in Melbourne were more difficult to please than those of other Australian cities. It has often been remarked that a play which succeeded in Sydney has not attracted large audiences in Melbourne, but the reverse has often been the case. He would be a bold critic who would at tempt to give reasons for dissimilarity in taste for theatrical fare', it is safe to say*, however, that when first-class players are seen in -first class play's, long seasons arc the order in Melbourne.—The “ Australasian.”

Vienna’s official Schubert festival will last from November 17 to November 25. Innumerable concerts of every type are planned. M « *•*

Musicians; ill St Louis (U.S.A.) are making a drive against the competition of mechanically produced music in the theatres. A 10.000.000d0l fund is planned to carry on a campaign throughout tlie country. j? :*:

Ezra Racklin. described as a boy wonder pianist from California, is reported in “ Musical Courier ” to have had extraordinary success in a Berlin recital. He is eleven old. The “ Musical Courier ” correspondent says of him: “As a child prodigy he must be compared with Heifetz. Nature has given him everything required for a great reproductive artist. lie plays very* difficult compositions with astounding ease and correctness.” 35 k

There is almost panic in the theatre world owing to the succession of failures at West End houses (writes a London correspondent). Runs of from four to fourteen days have become distressingly frequent. There, are two concrete facts to be faced —the theatre is no longer the main evening recreation of London, and the rents and general costs of production are so high that managers cannot keep shows on long enough to truly test the possibilities of public support. Dancing, the cinema, dog-racing and the various outdoor amusements made possible by the “summer-time” regulations are leaving the stage with only one leg to stand on, and lately* that leg has been mainly supported by a series of very poor plays. “The Return of the Soldier,” John Van Druten’s fine dramatisation of Rebecca West’s novel, is the one recent striking exception. Its production at the Playhouse on May* 12 was an emphatic success.’and the acting of Mary* Clare and Leon Quartermaine aroused enthusiasm in every* part of the house.

Extraordinary congratulations were heaped upon Richard Strauss, master composer, on his sixty-fourth birthday in Vienna, reports the “New York Herald Tribune.” Members cf the Vienna Philharmonic Orchestra gathered outside his home at an early hour to arouse Strauss from his sleep with his own music- Strauss, greatly touched, appeared at the window, and was cheered by musicians and spectators. He invited all within. Congratulations, flowers and wreaths were brought to him all day. The birthday fell on June 11, the very day of the premiere of his latest opera, “The Egyptian' Helen.” at the Vienna State Opera. Thirteen thousand applications were submitted for the 2300 seats available at the first performance. It is reported that the composer has sold the copyright of the opera for 50,000 dollars, and that by agreement with the Govt eminent the manuscript of the opera must become the property of the Austrian National Library. Some cf the “professional cards” In theatrical publications from overseas, especially those relating to vaudeville, show that there are still performers who are not without due appreciation of their own ability. Originality is a usual claim, and one man asserts that he is “the original chocolate-coloured coon,” while a pair of classical dancers announce that “our motto is originality.” A diminutive entertainer prides himself on being “litlle but good.” while another believes that he is “the- great, little star comedian/’ “British good?, a? good as most, and better than some." announces a comic lady defiant! v concerning herself; while another declares that she is “fully booked—no vacancies whatsoever." Others describe themselves as “the international success,” “an ideal novelty,” “everybody's favourite,” “always successful,” “always up to date,” “ideal of ideals,” “an outstanding success in vaudeville and pantomime,” and “a principal boy with a voice.”

One of the most persistent and erroneous of musical legends moves around the composer Donizetti, whose “Lucia

| Regiment” figure in the current William-Ison-Melba grand opera repertoire (writes a Sydney “Bulletin” correspondent). It is said that he was really a Scotchman named Donald Izett, who altered his name so that he might take advantage of the wave of popularity upon which Italian opera composers were sailing at the time. Probably* the fact that he chose Scott’s most tragic novel as the basis for his most successful opera has something to do with the fairy*-ta!e. Actually* he was born in Bergamo, Italy, and died there. His Christian name was Gaetano, and he studied under Italian teachers. His model was Rossini, whose style he very* successfully* copied. There isn’t a trace of the Scottish musical idiom in “Lucia” or any other of his works. Other Continental composers to find themes in English literature include Gounod and Bellini, who found “Romeo and Juliet” a good operatic vehicle, and Schubert wfote some of his finest lyrics to libretti by the Bard. The art of the model theatre will no doubt be advanced by an exhibition which the British Model Theatre Guild has arranged in London. Many of the visitors must be surprised to find the artistic skill and energy* devoted to securing, in miniature, representations of an Eastern bazaar, bathed in sunlight, so perfect in style and detail that it seems as if one were looking at “Chu Chin Chow” through the wrong end of an opera-glass; or a scene of a ruined temple in which the simplicity of the main feature, combined with the lighting effects, secures a beauty and dignity comparable - h that obtainable on any • full-sized stage. Perfection of mechanical detail is represented by a miniature stage belonging to the Actors’ Church Union, complete with footlights, stage boxes, proscenium and dressing rooms, which revolve so that all sides can be inspected. Among the stage settings is one for Keats’s “Ode to a Nightingale,” while a gaily coloured procession of figures strung across a long stage gives a picture of “Princess Emily goes a-walking,” full of life and interest. The guild is aiming at the establishment of a permanent model theatre in London. It suggests that, when a member lias gained confidence in his ability, an added joy can be given to village life by the presentation of plays and operas in miniature, with an unlimited cast and at very little expense.

«.♦ j.; • There were no “serious” plays to be seen in the Mexican capital, and such spoken drama as there was consisted of little revues or one-act drolleries, of which several are given during an evening, the house being cleared and new tickets bought between each (writes a “New York Tribune” correspondent, after a visit to Mexico City). Several years ago, it seems, a French revue visited Mexico City, with dire effects on the local product. Each of the several little theatres now has it runway leading out into the orchestra. The young ladies of the chorus wear as little as is practicable, and tire action consists almost entirely in a rather stiff dance of some sort on the stage, followed by a procession out the runway and back again. Except for different funes, slightly different belts around their bosoms and middles, and slightly different wavings of their arms, one of these processions, as one of these revues, is almost exactly like another, and when you have seen one you have seen all of them. The really Mexican thing -—and it is generally lively and charming when it cornes—is- the folk songs which are brought in, now and then, even in these rather degenerated days. The Mexicans have a real gift for that —s&d, little tsiganedike waltz-songs, long topical ballads which are really a rough equivalent of what our mediaeval ancestors’ ballads must have been; and the mananitas, the wistful little serenades, sung to guitars, in the small hours (“little morning”) before dawn.

•* Show Boat,” the novel by Miss Edna Ferber, one of the most delightful of recent years, has been transform ed into a musical play under the New York producer, Mr Ziegfield. “ Show

Boat,” according to Mr Percy Hammond, the critic of the “ New York Herald-Tribune,” is one of the most distinguished light operas of its generation. It does as much as the theatre can do to be tuneful, dramatic, funny, and picturesque. The libretto is by the second Oscar Ilammerstein and is said to be a comparatively reverent approximation of the novel. The songs by Jerome Kern are. pretty and atmospheric. The adapters of necessity had a difficult task before them if they* were to preserve the essence and atmosphere of the tale, a drifting story of life on a floating theatre on the Mississippi River. One wonders how they could improve on the word pictures painted by Miss Ferber. Here is a sample; “Those were mesmeric nights in ‘ The Cotton Blossom Floating Palace Theatre/ The whites of the negroes’ eyes gleamed brighter; the swarthy coal miners and their shawled and sallow wives, the small town mer chants, the shambling loafers, the backwoodsmen, and the farmers were magically transformed. Here were blood, love, lust, passion. Here were warmth, enchantment, laughter, music. It was Anodyne. It was Lethe. It was escape. It was the Theatre.”'Altogether, “ Show Boat ” contains the material for a fine play, and perhaps a musical setting, with the pathetic croonings of a downtrodden race as the background, should give it added beauty. One has only to read the novel to want to see it acted.”

“ A SOURCE OF DELIGHT.” CHRISTCHURCH AND THE AVON.

To the members of the J. C. Williamson Royal .Comic Opera Coy*, playing in “ The Student Prince ” and “ Madame Pompadour,” the river Avon has been a rare source of delight. Every day during their stay in Christchurch members of the company were to be seen strolling along its grassy banks, following its sinuous course as it traverses the confines of the Cathedral City.

“It has been a real delight,” said one member of the company to a Christchurch “ Star ” man. “It is one of the greatest assets to this beautiful city of yours. It reminds me of Oxford, in England, where the Iffley meanders along in just the same way, though of course there is a material difference in the matter of the city, for Christchurch is a business centre, while Oxford is the seat of learning, and its principal feature is the number of colleges—Magdalen, Christ’s, Balliol, Brasenose, etc. You have indeed preserved the English atmosphere in this charming city of yours. Don’t for goodness sake lose it. I’m not butting into any of the local controversies—the Lord forbid, for you do take these things most seriously, as all citizens should—but I do want to impress on your good people that one of the distinctive features of Christchurch, if not its principal feature is the fact that it is not as other cities are—it stands out as the one. splendid city in New Zealand where all that is good and appealing in the matter of general appearance have been preserved, and where the most beautiful of attractions of the most attractive cities of England can be found in true and appealing miniature. “We have all enjoyed our stay in your charming Cathedral City—it has been a. real pleasure to all of us. Apart from the wonderful reception we have received, and the cordiality of the welcome your people have extended to us, the beauties of the city and surrounding districts—particularly the seaside resorts—have given to us unalloyed joy. W ,T c will be sorry to say good-bye to Christchurch and its charming people, and we w*ill therefore hope that it will not be farewell, but merely au revoir.”