MUSIC AND DRAMA

Star (Christchurch), Issue 18615, 17 November 1928, Page 25 (Supplement)

MUSIC AND DRAMA

What remarkable versatility Miss Margaret Bannerman, the famous London actress now in New Zealand, displays in her respective characterisations “Other Men’s Wives,” “Our Betters,” “Sexes and Sevens,” and “Diplomacy (writes a correspondent. She plays each character with an easiness and a grace peculiarly her own. Miss Bannerman is one of the most “natural” actresses ever seen in the Dominion, and that is saying something, for the world’s best have visited these shores at various times. The company is one specially chosen for the various characters in the comedies and comedydramas on the repertoire. Such names as Lily Titheradge, Louis Goodrich, Ellis Irving, Cicely Jonas, Herbert Millard, Dorothy Dunckley, G. Kay Souper, Millie Wolf, Geoffrey Millar, Kerry Kelly, Pirie Bush, Arthur Cornell and Frederick Hughes give striking evidence of the cosmopdlitan nature of the company. An important factor towards the success of the various presentations is the master hand of the great London manager and director, Mr Anthony Prinsep, who has been responsible for some of the finest productions ever staged in London. x x

The latest musical comedy success sent to New Zealand by J. C. Williamson, Ltd., and coming to Christchurch on December 13, is “The Girl Friend, in which Annie Croft (the handsome and sprightN star), Reginald Sharland (who plays leading male roles), Leo Franklyn (the well known London comedian), Gus Bluett (another famous fun-maker), Billie Lockwood (the clever Australian girl “discovered” by Lee White), our own May Beatty and a host of other favourites have delighted audiences wherever this lively musical attraction has been played. During the short season of seven nights “Hit the Deck,” full of catchy melodies and bright dancing, will be staged. There are manv haunting melodies in ‘ The Girl Friend,” the sparkling musical comedy which has served to introduce Miss Annie Croft and the J. C. Williamson company to New Zealand audiences. With some of these we are already familiar per medium of the gramophone. “The Blue Room” (Annie Croft and Reginald Sharland), “The Girl Friend” (Billie Lockwood and Leo Franklvn), “I’m in Love” (Annie Croft)/ “Early in the Morning” (Gus Bluett and Annie Croft), “What’s the use of Crying” (Annie Croft and Bus Bluett), “I Don’t Want Him” (Annie Croft, Gus Bluett, and Marie Le Varre), “Mountain Greenery” (Annie Croft and Reginald Sharland), and “Step on the Blues” (Billie Lockwood and company) are some of the musical features of this spectacular production.

> The New Zealand tour of Argus the. Prophet has had to be temporarily suspended owing to the sudden and serious illness of Mr C. L. Copeland, father of Argus. After a series of performances in Taranaki, Mr Copeland collapsed and was removed to a private hospital at Wanganui. He is now progressing favourably and it is hoped to resume the tour in about a month.

The nautical musical comedy, Hit the Deck” (now being presented in New Zealand for the first time during the Season of the J. C. Williamson Musical Comedy Company, headed by the noted star, Annie Croft) is described as one of the liveliest and most engaging shows ever seen in the Dominion. There is fun a-plenty, the singing is excellent, while the dancing is of- a particularly high standard. Miss.. Croft and Mr Reginald Sharland, from London, make a splendid pair, their singing and dancing being quite a feature of the comedy. It X X Considerable diversity of opinion exists in New Zealand as to the role in the four plays staged by Miss Margaret Bannerman which can be classed as her best. In New Zealand her interpretations have been: The Maid, in W T alter liackett’s “Other Men’s Wives,” Lady George Grayson in Somerset Maugham’s “ Our Betters,” Mado in the English version of “ Sexes and Sevens,” and Dora, in “ Diplomacy.” In each Miss Bannerman has given faultless representations of the characters named, and the theatre-going public has been divided in opinion as to which could be designated her best role. While the name of the famous actress has been linked with that of the principal character (Lady George Grayson) in “ Our Betters,” there are many who ask for nothing better than to Miss Bannerman as the unusual Maid in the gripping comedy-drama, “ Other Men's Wives.” XXX Scenes and dances reminiscent of the Orient are in “ Hit the Deck,” one of the latest musical comedy successes sent to New Zealand by J. C. Williamson, Ltd. In the second act H.M.S. Inscrutable has journeyed from Plymouth to the East, and the scene of a seaport town in China is most picturesque, while the interior of the Mandarin’s house is one of Oriental magnificence. A stirring opening is followed by quaint evolutions by the ballet and a strikingly original Chinese quartette, for which the dancers were specially trained by Minnie Everett. It is in this act that May Beatty sings the now-famous 44 Hallelujah,” with a splendid chorus, and the ballet taking a prominent part. “ Looloo,” by the male chorus, is another enjoyable feature, and this is followed by. “ Harbour of my Heart,” by Annie Croft—one of the gems of the piece.

The North Island season of Mr Anthony Prinsep’s Company, at the head of which is the famous London actress, Miss Margaret Bannerman, has ended, and a tour of the South Island has commenced. Despite most unfavourable weather the audiences have been large, and their enthusiasm unbounded. That Miss Bannerman more than confirmed the good opinions formed when details of her successes in London were cabled out, has been proved by the eulogies of both Press and public. “ Wonderful acting ” was the general opinion; “ nothing like it has been seen in New Zealand for many years.”

Edgley and Dawe, the famous London comedians, who will bring their reorganised “ Midnight Frolics ” Company to New Zealand this year, providing a unique Christmas attraction, are certainly two of the most accomplished and versatile comedians who have ever visited the Dominion. In England they appeared in every town of note, and were classed as two of the most eccentric fun-makers in the Old Countrv. As dancers thev excel, and they served to introduce into New Zealand simultaneous dancing of the most difficult nature. As comedians and pantomimists they hold supreme position, and they have the happy knack of pleasing both young and old, with clean humour of the very highest standard. Supported by a specially chosen J. C. Williamson company they will introduce into the DominTon several novel features which should make their productions a sheer joy to those who love spectacular shows, lilting music, snaonv dialogue, unique specialty and dancing >'of the highest order. « "The Vagabond King,” the latest J. C. Williamson production, has been voted “by far the best musical play that has been done in Australia for many a long day.” James Liddy, who created such a splendid impression in “Th« Student Prince,” plays the role

of that curious compound of genius and rascality, Francois Villon; and Strella Wilson plays the leading soprano role. It is a happy combination and no better pair of stage lovers could be imagined. As in “The Student Prince” the male chorus is a feature of the production, and their “Drinking Song,” one of the most invigorating vocal efforts ever heard. The humour of the piece is supplied by that prince of comedians Arthur Stigant, while another outstanding performance is that of Arthur Greenaway, who plays the difficult role of the superstitious Louis XI. The cast is a very long one, and includes over a score of J. C. Williamson favourites. XXX It was the first night of a drama that was too-evidently unabler to stay the course (writes a Sydney “Bulletin” correspondent). The leading man had just proposed to the leading lady, who coyly compromised. “Don’t ask me to make up my mind now,” she said. “Give me till next week.” “Better take ’im now, Miss,” said someone from up aloft. “You ain’t likely to be ’ere next week.” X X X Miss Bertha Riccardo, who acts the part of the terrified girl so convincingly in ‘The Silent House’ at the Theatre Royal (says the Melbourne ‘Argus’), is a South African, who owes her stage success to the influence of Mr and Mrs Seymour Hicks (Miss Ellaline Terriss), At Johannesburg they were amused by a child, aged four and a half years, who performed a cake-walk for them. Mr Hicks suggested that the little girl should “do a number” with Miss Terriss. In an Empire frock and a picture hat, the child sang ‘Tiny Bit of String’ with great success. Another “hit” was “Put on Your Ta-Ta, Girlie,” which she sang clad in an Eton suit and a silk hat. x Edgar Wallace, England’s most prolific playwright, has found for Oscar Asche a new job as a “stop-watcher.” He is to attend Mr Wallace’s plays nightly, check the speed, and note any inequalities, from the stalls, for Mr Wallace considers that a play is like a gramophone rgcord, and only the correct pace gives good performance. Mr Asche is the first “watcher” to be appointed in England. x Alfred Hill’s Maori music scored a splendid success at the Hollywood Bowl, America, recently. Madame Eileen O’Moore (Bessie Doyle), the Sydney violinist. who was a fellow student at Leipzig with Mr Hill, stated that she heard Mr Hill’s music played by M. Henri Verbruggen's fine orchestra with great success. It was the only item that the audience encored. The announcer, in allowing the “no encore” rule to be broken on this occasion, said: “Alfred Hill should write more. His work has given great pleasure to this vast audience.” Madame O’Moore says that she was delighted no less at the enthusiasm than the beauty of the work. X X X St John Ervine, London dramatic critic, takes a sympathetic view of this 44 invasion ” of the English theatres by American playwrights, actors and actresses. “ The relations,” he says, “ between the English and American theatres are becoming closer. In the past English authority predominated in the American theatre for reasons that are sufficiently obvious. Considering the variety of the races that now abound in the States, the high quality of its theatrical organisation and the energy and vivacity of the American authors, we may feel some pride when we remember how extensively the English theatre still contributes to the American theatre. The United States are now very properly repaying some of the debt it owes the English theatre by sending contributions to our stage, but we could wish the plays sent us were equal in merit to the players, and that we were given fewer crook-crime pieces, but that is a fault which will no doubt in time be corrected.”

“Song of the Sea,” the new production at His Majesty’s, deals with the youthful days of Nelson, and is put together effectively by Arthur Wimperis and Lauri Wylie (writes the London correspondent of a Sydney paper). The music is by Edouard Kunneke, and it is not only altogether superior to the libretto, but also the best heard in any light form of entertainment since George Musgrove brought “The Belle of New York” to London. Kunneke is already well known on the Continent as a brilliant musician, but in London up till now he has been unfortunate, although it was the book of “Riki Tiki ’ and of “Love Adrift” more than anything else that led to failure when these previous ventures of his were presented in the West End. Many critics raved over the music of “Love Adrift, but it was out of its way, in any case, at the Gaiety. It was in “Riki Tiki” that Gladys Moncrieff made her London debut and made a giant’s bid for success - XXX

There is a newly organised “Pugnacious Playgoers Association” in Paris. This is a title invented fo / them, however, by Rene, the vivacious Paris correspondent of the London Bystander.” “They do not appear to have even concerned themselves with the minor matter of a name,” he reports; but they “have set out to solve the theatre ‘crisis' of Paris,” and: "There is to be nothing of the lemon-coloured kid gloves or scented billets-doux about them. I begin to pity the playwrights, producers, and managers. But it can not be denied that these prospective victims have been warned. Playgoers have appealed to them for months past, almost for years, to put on something that would be worth while from the spectators’ point of view, and not merely be the outcome of a combine with some fourth-rate actress who was able to manoeuvre a production in which she was presented as .a vedette, just because she had a wealthy admirer who was ready to provide the manager with ‘profits’ in advance, and would pay an author to write a play around her. The Pugnacious Playgoers will insist that such pieces shall be taken off—et plus vite que co. They will formulate the request verbally at first, but the president himself has announced that he does not expect any of the managers to heed any verbal solicitations. So the request being duly ignored, the Pugnacious Playgoers will go to the theatre in battle order —they are already 1000 strong—and, after paying for their seats like ordinary spectators, will organise a chahut that will speedily compel the erring manager to change to bill. I have a certain amount of sympathy with the RP.’s, because we really have had. a lot to put up with from some of the Paris managers, yet I see a disquieting weakness in the scheme. The P.P. s unquestionably, are about to do battle in the interests of the public, but, after all, they are self-appointed, or selfconstituted, and it is not exactly certain that thev can, in every instance, represent the taste of the whole public, even though they be 1000 strong.”