MUNICIPAL CONCERT HALL SHOULD BE “CIVIC THEATRE.”

Star (Christchurch), Issue 18785, 14 June 1929, Page 11

MUNICIPAL CONCERT HALL SHOULD BE “CIVIC THEATRE.”

MR GLADSTONE HILL URGES CHANGE OF NAME.

The talking picture has brought into prominence the motion picture busi ness generally. This is not only true locally, but the world over. It is a new phase and many are the opinions held as to the ultimate success of the innovation, or otherwise. A new angle was obtained from Mr Gladstone Hill in an interview.

Mr Hill said that during his world tour in 1926 he made many friends, who had been for some time sending him information regarding the latest developments in the picture world. “The talkie,” said Mr Hill, “is not merely a matter between one theatre and another. It is a combination of sound and photography which has yet to be passed by that great body of censors—public opinion, and is of world-wide interest. We are passing through what older countries have emerged from and should, therefore, be in a position to profit by their experience.” Mr Hill said that during very many years he had been studying the public mind, and only those things lasted which made a direct appeal to the heart of the people, and at the same time gave them an opportunity of using their intelligence. This was merely a basis, continued Mr Hill, on which he was building the future policy of the Municipal Theatre. In the first place the designation Concert Hall did not appeal to him as a suitable name for such a worthy building, while the word “Municipal” covered such a wide range of municipal activities that it had no particular significance when used in connection with the theatre. He therefore had decided to alter the name—as far as he had the right to do—to the Civic Theatre. The word “Civic” would convey to the public mind a theatre belonging to the civic authorities, and through them to the people.

“AS a musician,” said Mr Gladstone Hill, “I object to that aspect of talking pictures which destroys the theatre orchestra. Here again it is not merelj” a local matter—it is a world-wide condition. But I think the whole principle is wrong and for that reason will not succeed. To destroy local incentive for the pursuit of musical knowledge and to cultivate in the minds of the people a satisfaction with “canned” music is too terrible to contemplate. And just because the human element is not satisfied with artificiality, is my reason for believing that the supplanting of the orchestra by “canned” music will not stand the test of time. To back up my theory I am increasing the size of my orchestra, and in the future will give orchestral stage presentations on the lines I saw in London, Sydney, and New York. I contemplate 'giving an opportunity to the best local talent, thus backing up the great work of the Competitions Society and enabling promising students to continue their studies with a definite objective in view. In addition to this the pictures, of course, will be the best that can be obtained. As an indication of what these pictures are. I would like to mention Dolores Del Rio in “Revenge” (this film is having its Australian premiere at the Capitol Theatre, S)'dney), D. W. Griffith’s latest production, “The Battle of , the Sexes,” and Buster Keaton in “Steamboat Bill, Jnr.” (considered to be his best), and Ronald Colman and Vilma Banky in "Two Lovers.” This film is based on the novel of Baroness Orczy, “Leatherface,” and is the last occasion these two actors play together. Mr Hill concluded by stating that he had received wonderful encouragement from the public of Christchurch and he felt he had a hard task to live up to what was expected of him.