MUSIC AND DRAMA

Star (Christchurch), Issue 18644, 22 December 1928, Page 25 (Supplement)

MUSIC AND DRAMA

Gallery Complaints. “ The Patsy ” is still popular and the gallery are still complaining that they cannot hear Irene Homer (write* the Sydney correspondent of the Auckland “ Star. ’L. She issued a sort of friendly challenge to give free seats to all those who could not hear her. and co far she has been taken at her word by twelve people. It is part of her conception of the part to speak in an Yaitienone. but there is no doubt the gallery does like to hear what leading actresses are saying and the whispering sisterhood gets little quarter from them. So “Speak up! ” is a frequent gallery call at matinees. But Irene is obdurate. She won’t: and that’s that! fitiffy and Mo. The Stiffy and Mo partnership will er.d again after the present season at Sydney Fullers’, and the sundering :s to be for good (says a Sydney writer). The partnership has had a long run. and besides handing the Fullers a fortune and giving them a lead in exploiting similar roughrevue combinations, it must have handed the pair some big dividends. Stiffy (Xat Phillips) goes into panto; Mo (Roy Rene), who has been a sick man for the last few years, may take a holiday. Operatic Wedding. John Brownlee, the well-known Australian baritone operatic star, was married at Paris on November 28, to the Contessa Carlo di Faletto, of Turin. The groom was one of the big successes of the Williamson Grand Opera Company that recently toured Australia. « X « A Warm Welcome. Florence Austral had a warm welcome, heaps of lovely flowers and allround acknowledgment as the foremost soprano resident in England on her recent return to London. The voice, of immense range and power, seems greater than ever: it is under perfect control, and even in the most declamatory passages never loses its smoothness. She devoted herself mainly to German lieder, groups by Brahms and Strauss, a very exacting and as one of her encores sang “ Ho-Jo, To-Ho ” from “ The Valkyrie,” with which she lately roused American audiences to a great pitch of enthusiasm. % The only English songs she sang were ' the old folk song “ A Sprig of Thyme,” arranged by Percy Grainger, and “ Drink to Me Only with Thine Eyes,” which showed the lyric beauty of her voice to perfection. Her only assistant was flautist John Amadio, who entranced' the audience. :*: x :: An Australian Prodigy. Experts predict a great future for Nancy Weir, a 13-year-old pianist-com-poser, of Melbourne. Ignaz Friedman, the famous Polish pianist, and Shura Cherkassky, the Russian, himself an infant prodigy (says a writer in an Australian paper), listened to this Australian example play a Liszt rhapsody and a Chopin prelude, and declared that he knew of no other girl of the same age in the world who could do it so well. Nancy comes from a country town in N. S. Wales and learnt her counterpoint in the Presentation Convent, Windsor (Victoria.) She has had less than three years acquaintance with the pianoforte. x Big Pay-sheet. It is stated that the official statistics of the . recent J. C. Williamson grand opera season in Australia show that £51,000 was handed out to the principals, £31,000 to orchestra, £II,OOO to chorus, £I6OO to the ballet, and to the theatre staffs about £12,000, while £15,000 went to the tax-gatherer. The estimated expenditure of £BOOO per week, it is stated, was well exceeded. It is hard to see (remarks a Sydney writer), where the firm could have made much profit. Which tends to show that opera in the grand style is getting more and more financially precarious, and that if it is to be continued some of the stars will have to suffer a drastic cut in their fancy salaries. What of the Audienc-s? It may be, as the Melbourne coroner seemed to infer lately, that it is permissible for theatrical management to allow their employees to risk their own lives, but what about when they risk the lives of their audiences? (asks a Sydney “Bulletin” correspondent). A girl who missed connection with her offsider in a trapeze act not long ago hit a wall, but in turn after turn at local variety-houses a similar fugitive would hit a portion of the audience. In a recent act the devoted performer upended himself from the top of a pole supported on the feet of his comrade lying over the orchestra. The gent above was obviously in difficulties with the proscenium arch, and though some of the wobbling of the pole may have been histrionic, it might be carried too far any day. In another popular act a girl hangs head downwards from a trapeze which swings furiously over the auditorium. Suddenly the rope appears to fray, she shoots downwards and is brought up with a round turn a few feet above the stallites, some of them, no doubt, unconscious sufferers from heart disease. X X X Miss Irene Vanbrugh. The news that Miss Irene Vanbrugh is practically paying her farewell visit to New Zealand during her forthcoming tour, has caused renewed interest to be taken in this charming lady’s wonderfully successful stage career. Like her elder sister, Violet (whose daughter, Prudence, By the way, is with the company), it was necessary when Miss Vanbrugh was that she should decide upon a career. “Violet has succeeded on the stage,” quoth Miss Irene, ‘‘why, then, should I not succeed?” An uplifting of. the eyebrows of her reverend father, a suggestive shrug of the shoulders, and the Reverend Mr Vanbrugh left the probttm to his daughter to decide. This she did promptly, as was the family way. ‘‘l have thought,” she said, ‘‘and I have decided. It is the stage.” The ftage it was, fortunately for the public. It gave to Great Britain and to the rest of the world two of the greatest actresses, two of the finest ladies, the Stage has ever provided. From every part of the English-speaking world there will come sincere regret that we are now seeing the last performances of this very charming lady. X X X Received with Enthusiasm. The J. C. Williamson musical comedy successes. “The Girl Friend” and “Hit the Deck,” have been received with wonderful enthusiasm in every part of New Zealand where these lively productions have been staged. From North and South comes high praise for the various artists engaged in these faststepping musical comedies. Annie Croft, the charming artist from London, has justified in every way the enthusiastic references made to her musical and dancing ability; while Reginald Sharland, Leo Franklyn, Gus Bluett, Billie Lockwood, Rowena Ronald and the other members of this splendid company have proved themselves clever and versatile performers. The holiday season of this company at Wellington flfeould be an unqualified success.

Actor of Sterling Merit. Reginald Wykeham, who plays important roles in the series of plays to be presented in New Zealand by the Vanbrugh-Boucicault Company, is an actor of sterling merit and ripe experience. There are few branches of trie entertainment world to which Mr Wykeham is a stranger, from vaudeville, repertoire, musical farce, melodrama, drama and entertaining soldiers in the front lines, and incidentally doing his bit in t’wixt times. We remember him for many fine efforts as the jolliest of old buffers to the most cantankerous of military codgers. Young and Clever Actress. Coming with the Vanbrugh-Bouci-cault company to New Zealand under the J. C. Williamson management, is Miss Prudence Vanbrugh, niece of the noted actress, Miss Irene \ anbrugh. What a wonderful career this charming young lady already has had. Though young in years, she has played leading Shakespearean roles at Stratford-on-Avon and the King s Theatre at Hammersmith, and four years ago gained prominence by succeeding JVtiss Fay Compton as Princess Flavia in revival of “ The Prisoner of Zenda ’ at the Haymarket Theatre. Miss Prudence Vanbrugh is playing the role of Alex in “ The High Road,” the comedy by Frederick Lonsdale, which will be presented during the coming New Zealand tour. Jolly Frolickers. The re-constituted “ Midnight Frolics ” company, which has been sent to New Zealand by that enterprising firm, J. C. Williamson, is one of the liveliest combinations of entertainers we have ever had in this district (writes an Auckland correspondent). New Zealanders have always been delighted at the clever and entertaining absurdities of Clem Dawe and Eric Edgley, whom I class as two of the greatest comedians and pantomimists the Dominion has ever seen. With them comes a remarkably strong company—one of the most talented which has ever appeared on the New Zealand boards. There are dancers, fun-makers, vocalists, instrumentalists and a remarkable jazz band of twelve performers, which is admitted to be one of the features of the programme. With such a varied and talented company, and with remarkably low prices, small wonder is that His Majesty’s is crowded nightly with a most enthusiastic audience. X X X Mr Dion Boucicault. It is generally admitted that Mr Dion Boucicault, who comes at the head of the Vanbrugh-Boucicault company (due in New Zealand next month), is one of the hardest working and most conscientious producers and actors ever seen on the London stage. Mr Boucicault gives the closest attention to every detail associated with the presentation of a play. What to others might appear trifling incidentals are attended to with the same punctiliousness as though they were items of the greatest importance on which the success of the whole play hinged. Even when travelling Mr Boucicault never lets his attention be diverted from the important work in hand. The wireless is used daily, so that he may be kept in close touch with the producers in the districts in which he is travelling, and in this manner the opening night presentations are staged with the detail and the success that has made Mr Boucicault the envy of all others. Musical Comedy Successes. Again the firm of J. C. Williamson, Ltd., which has achieved the enviable reputation of presenting to the public only the best in drama, music, comedy and vaudeville, has scored a remarkable success with the musical comedies, “ The Girl Friend ” and “ Hit the Deck.” This brilliant company, which is headed by such noted artists as Annie Croft, Reginald Sharland, Leo Franklyn (from London), Gus Bluett, May Beatty and a whole host of J. C. Williamson favourites, dancers as well as singers, has attracted most enthusiastic audiences in both North and South Islands, and loud indeed has been the praise for these high-standard productions. All the elaborate scenery and settings with the magnificent dressing. ha\*e been sent across the Tasman, and the presentations of these lively dancing musical comedies have been a joy indeed. The company will conclude its Christchurch season next week, and will then journey to Wellington. where “ The Girl Friend ” and “ Hit the Deck ” will be the holiday attraction. XXX Splendid Holiday Fun. No better company than the famous “Midnight F'rolics” could have been sent to New Zealand by J. C. Williamson, Ltd., the noted entrepreneurs, to provide the holiday mirth-making for the theatre-goers of this Island. Clem Dawe and Eric Edgley are admittedly comedians and pantomimists of the highest class and they have brought with them one of the most clever and versatile combinations ever seen on the New Zealand stage. Two of the most ! popular performers are Miss Phyllis Amery, principal dancer of many J.C-.W. attractions, and Lilian Crisp, who played prominent parts in Gilbert and Sullivan operas. Their contributions are not in any way similar but both artists score heavily. The Dick and Dorothy Trio, who gi\ r e a wonderfully clever dance act, Les White, comedian, Dorothy White, most charming girl] Gregory I van off, William Perryman, a number of other specialists and one of the cleverest jazz bands ever heard in the Dominion. j.; *.* $5 Success of “ The Frolics.” A most enthusiastic reception was accorded the J. C. Williamson company, “ The Midnight Frolics,” which opened its New Zealand season at Auckland. This brilliant combination headed by two of the most versatile comedians and pantomimists, Clem Dawe and Eric Edgley, should have a wonderfully successful tour of the Dominion, for the members certainly present a most varied and attractive programme. The company is a particularly strong one; in fact, it contains 1 several performers who may be classed as stars in their own particular linei The principals have certainly prepared a most edible bill of fare; it is attractive enough in all its varied details to satisfy the most exacting. The Dominion tour will be one of the most extensi\*e ever undertaken by the J. C. Williamson compam’-. That it will be a successful one is a surety. x x Leo Franklyn, Comedian. Leo Franklyn. the accomplished comedian with the J. C. Williamson musical comedy company, presenting “The Girl Friend” and “Hit the Deck,” is an Englishman with not so many years, but much theatrical experience to his credit. He began early and modestly, and before he was twenty-five had risen from black-face to manager of his own show—and that a much more pretentious affair than he had dreamed of when he made his debut. Mr Franklyn has won a name in England, not only in musical productions, but in straight comedy.

Vanbrugh-Boucicault Company. It is evident that in the coming tour of New Zealand by the noted dramatic artists, Miss Irene Vanbrugh and Mr Dion Boucicault, the repertoire of plays to be presented contains the most successful comedy and dramatic productions with which these famous London stars have been associated. “ On Approval,” which is one of the plays to be presented, has been spoken of as one of the most remarkable dramatic productions of the age, while similar complimentary remarks have been passed on “All the King’s Horses,” “ Belinda." “ Miss Nell o’ New Orleans,” “ Caroline,” “ The High Road,” and “ The Letter.” XXX Talented Artists. Some highly talented artists are associated with the inimitable comedians, Clem Dawe and Eric Edgley, who head the latest J. C. Williamson presentation, “ The Midnight Frolics.” Les and Dorothy White, members of the noted family, are almost as popular as the leading comedians; their turns are always enjoyable. Phyllis Amery, the youthful, beautifully-formed and handsome dancer, has already established her reputation as a disciple Terpsichore. The Dick and Dorothy trio are classed as the cleverest dancers who have ever appeared in New Zealand. The vocalists are of high standard and their selections appeal to all tastes. The wonderful jazz band is one of the liveliest musical combinations ever seen on the New Zealand stage. Well-kaown. English Actress. I do hope that Miss Annie Saker, a well-known English actress, now appearing on this side of the Tasman, will go over to New Zealand (writes a correspondent) ; she has been playing with the Vanbrugh-Boucicault Company, and has already proved her worth. She made her first appearance on the stage as a child in “ Hypatia,” under the management of Beerbohm Tree. Subsequently she appeared under Charles Wyndham in ingenue roles. She played leading roles in “ Pink Dominos,” “ The Princp and the Beggar Maid,” “ The Midnight Wedding,” “ The Lifeguardsmen,” “ The Story of the Rosary,” “ The Silver Crucifix,” and other plays.

TRAGIC FIGURE OF FRANZ SCHUBERT.

FAMOUS WORKS HE NEVER HEARD.

Of all the great figures in music th*.t of Schubert is the most tragic (says “John o’ London’s Weekly”). As he lay on his death-bed, a hundred years ago last month, he may well have wondered why he had ever been born. He looked back on disappointment after disappointment, failure after failure. His average income from the age of nineteen to thirty-one, when he died, was under £SO a year. He was often hungry, and in a less hospitable city than Vienna might have starved to death. He would apologise for tli j brevity of his letters because he had not the means to buy paper. Three times, at least, lesser men were preferred for posts which would have kept him in comfort. He was snubbed by Goethe and Weber, and until it was too late was not recognised by the formidable Beethoven, though they spent many evenings in the same coffeehouse.

From first to last be was brutally fleeced by his publishers; some of his songs were sold for tenpence apiece, and when in the last years of his life he asked £4 for the E flat major tro he was beaten down to 17s 6d. He had endless difficulty in getting his bigger works performed, let alone published. The greatest of them were never even heard until long after his death—the Symphony in C in 1848, the “Unfinished” in 1865, and the “Rosamunde” music, in its revised form, several years later.

Yet in health or sickness, poverty or comparative comfort, the light of his genius was never dimmed. His output was amazing. He composed at all hours and tinder all sorts of conditions —in beerhouses, in chattering salons, on country walks, in the fireless and illfurnished room which he shared with his friends. “Hark! Hark! the Lark” was written on a piece of hastily-ruled paper while he was sitting for his portrait (it was the only way to make him keep still!). He would sometimes to«s off several songs in a day. The great Symphony in C and the cantata “Miriam” were finished within a month, and the opera “Fierrabras,” which covered a thousand pages of manuscript, i i four months. At his death he left 500 manuscripts, valued at 8s 6d. Last year £149 10s was paid for the origins! sheets of one of his songs—more than a quarter of the sum he earned in his whole life—and to-day the whole worl l is celebrating the centenary of his death.

But although he always lacked money Schubert never lacked friends, who fully appreciated his genius and tried to make it known. It was a brilliart circle; every member of it was either a gifted musician, poet, or painter, and most of them made their mark in the world. Schubert was its centre not because he was a man of strong character (for he was not), but because they all recognised the master in him. Ordinarily, however, he was good temper itself, honest, simple-hearted, and without a single enemy. Towards the end, when his illness had made serious inroads on his strength, he would grumble about the bad taste of the public and “this wretched Italian music,” but he bore no ill-will t to anyone. To the end he was full of plans for the future; even during his last illness he began a series of lessons in counterpoint and fugue. But his doctors seem to have blundered in their treatment. After two days of delirium he had a few moments of full consciousness. Suddenly his fingers clutched at the wall. “Here, here is my end,” he said slowly, and sank quietly into the sleep from which he was never to wake. His friend Grillparzer inscribed on his tombstone, “Music has here buried a rich treasure, but much fairer hopes.” The epitaph was severely criticised at the time on the ground that Schubert had already attained the highest mastery, and it was omitted from a new monument erected in 1872. But few critics would question to-day that Grillparzer was right. ’