PICTURES, PLAYS AND PLAYERS.

Waipawa Mail, Volume L, Issue 1, 17 September 1928, Page 4

PICTURES, PLAYS AND PLAYERS.

♦ ♦ * - QOMING ATTRACTIONS. * /

THE STAGE. "My earliest boyhood days were spent in New Zealand in a little place called Hope, near Nelson, and you can imagine how intensely interested I am in appearing on the stage in the country of which I have such pleasant recollections,” said Percy Hutchison, actor-manager, who arrived in Auckland from Sydney. Mr Hutchison is a nephew of Sir Charles Wyndham.

The “Daily Telegraph” (London) has an interesting account of a performance of “Faust” at Covent Garden, which was remarkable in that the title role was taken by a Scotsman, with a French artist as Marguerite, a Russian as Mephistopheles and—last but not least—an Englishman as conductor. The first was Joseph Hislop, the second Maryse Beaujou, the third the great Chaliapin, and the fourth Eugene Goossens. The “Telegraph” says: —There was a distinct air of expectancy in the crowded house. What kind of ensemble would these conflicting personalities make under the difficult temporary conditions ruling in our one national opera house? Could the representation, even of so simple an opera as this of Gounod, possibly be homogeneous? These questions were answered in the first act. Tt was obviously going to be a thing of patches, some of them purple Indeed. Probably not within living memory has such a Mephistopheles appeared at Covent Garden. Whether you agreed with it or not there could be no denying the sheer domination of it. It is in no sense derogatory to the work of the other artists to say that when this new Mephistopheles was on the stage he completely ruled and occupied it. No Faust or other desperate hero in the whole operatic gallery could have a dog’s chance for a mbment against such a malignant, forceful perosnalitv. Chaliapin, indeed, urged his individuality so far that all was not well with the ensemble at times. In the first act it seemed that there was going to be a struggle between the conductor and the conducted, and we were glad to see that the conductor intended to retain command. To sum up, one felt there was a live wire at the conductor’s desk, and a high explosive on the stage most of the time. But one is unlikely to forget the redoubtable Russian. Every entrance and every exit was a masterly movement, sinister and unexpressibly diabolic. His laugh at the end of Act 11., when Faust and Maragnerite were in each other’s arms, must have made the most blase opera-goer shiver for a second.

In addition to Virginia Perry and Maud Zimbla, who recently arrived from England, several new artists will make their Australian debut in “The Desert Song.” This important musical production will have its Australian premiere at His Majesty’s Theatre, Melbourne, after “Hit the. Deck” is withdrawn. Virginia Perry will play Margot Bonvalet, the leading feminine role. Herbert Mundin, a comedian from London, will be seen as Benjamin Kidd, society corespondent of the Paris “Daily Mail.” Maud Zimbla is cast for the picturesque role of Clementina, a Spanish lady, the role which she portrayed in England; Ronald Pomeroy as Lieut. La Vergne, and Maud Pomeroy as Neri, will be other new artists with the company. Lance Fairfax, the New Zealander, will have the principal male role, Pierre Birabeau (The Red Shadow), Stephanie Deste, hero with “Rose Marie,” will have a new dancing part. Lorna Helms will have a congenial role as Susan, the part played in the London production by Clarice Hardwicke, Reginald Dandy will appear as Captain Paul Fontaine, Herbert Browne will be Sid El Kar, the Red Shadow’s lieutenant.

The Inglewood Amateur Operatic .Society staged a successful production of “The Quaker Girl” last week.

In six months 33 plays produced at West End theatres have failed financially, writes a London correspondent. Some of them received good enough Press notices, and a few were good entertainments, but they failed to interest the public. Mr Basil Dean, perhaps the most intelligent of London producers, judged by literary and artistic standards, says: —“Nobody knows what the public want. I wish I did. I should lie a very wealthy man in six months!” Mr C. B. Cochran, who has a sharp eye for a popular entertainment, has returned from New York. During his visit he saw a score of the best American productions, and his report is that the United States is well ahead of Great Britain. He is bringing over “Porgy, ” a play of negro life, now being played by the Theatre Guild of New York, and the drama, “Coquette,” which is also achieving success in the United States. Messrs Clayton and Waller and Sir Alfred Butt, two other established London managements, announce the production of the American musical comedies, “Good News,” which will be given with an American cast, and “Funny Face,” in which the Astaires and Leslie Henson will appear. As Mr Basil Dean says, it is a ruinous business at the present time producing the more thoughtful type of drama at a West End theatre. The support of British playwrights is being left to dramatic societies, which are springing up in all parts of the country, to supply the intelligent playgoer with plays remotely resembling art or literature. Mr Edgar Wallace has three plays running at West End theatres, and he makes no pretence that he aims at more than the suffrages of the multitude. “The Squeaker,” a Scotland Yard drama, is being given at the Apollo; at the Palladium is the musical melo-drnma, “The Yellow Mask,” and the Lyceum has found in “The Flying Squad” another paying play. In this Mr Wallace opens with a scene in a

thieves’ kitchen, recalling “Oliver Twist,” with a modern Fagin, an Artful Dodger, and Nancy, engaged in dope-smuggling. He follows this with a remarkable Court scene, full of cockney humor, reminiscent of Dickens. The vogue of Mr Wallace suggests that London theatrical managers are playing for safety. Unable to gauge public needs, they rely upon crime or sex plays which can be trusted to excite, even if they fail to edify. Miss Muriel Starr, who has been playing in other States and New Zealand with her own company for some time, will shortly return to Melbourne, and will appear under the management of J. C. Williamson, Ltd., once again. She made her first appearance with this management in “Within the Law” in Melbourne. The first play will be a “ thriller, ’ ’ entitled “The Donovan Affair.” Signor Alexandre Rota, the prin-' cipal lyric tenor with the Gonsalez Italian Grand Opera Company, has been re-engaged for the Fuller-Gon-sa-lez season next year. Signor Rota studied at the home of grand opera, Milan, and made his first appearance at Mantua only three and a-half years ago. He has sung all through Italy, in Spain, and South America. Later he hopes to appear in the United States. Marie Ney, of New Zealand, is going to play Kate Hardcaste in “She Stoops to Conquer,’ with Sir Nigel Playfair, in the English autumn. At present she is touring England and Scotland with “Thunder in the Air.” Maurice Moscoviteli “broke his head” in the trapdoor used in “The Silent House” one night recently in Sydney. It snapped on him unexpectedly. Another J. C. Williamson Vaudeville Company will commence a tour of New Zealand next month. They will appear in Wellington on 10th November'. According to statements made at a meeting of the Hawera Operatic Society, the Wanganui Society’s recent production of “High Jinks” resulted in a loss of £l5O, while Eltham lost £l5O on “La Mascotte,” and Hawera lost £2B on “The Punch Bowl” revue. Hawera, after a rather stormy meeting, decided not to produce “High Jinks” this year.

THE PICTURES. “Wings” has been hailed as one of the greatest pictures the screen has known. In a special review of the New Zealand premiere at the Regent Theatre, Auckland, recently the “Sun” stated:—“ ‘Wings’ is a true epic of the air—a master picture dedicated to the aviators of the Great War. Films of the quality of ‘Wings’ are rare, hut when they come they lend to the screen a creative power that is almost terrifying in its realism. Especially is this so in the case of a production that offers a pageant of strife in the most ruthless and scientific guise known to man. This Paramount picture is big—big in conception, in treatment, in all details of its giant sequences. It must rank among the greatest of contemporary celluloid achievements, and, in its class, it stands alone.” In the great cast are Clara Bow, Charles Rogers, Richard Alien, Gary Cooper, and Jobvna Ralston.

James Hall is to play, the male lead in the film version of “The Canary Murder Case,” the mystery story by S. S. van Dine, which is now in the course of production. Other important names in the cast include those of William Powell, who plays the part of the dillettante detective, Philo Vance, Louise Brooks, and Ruth Lee Taylor.

Douglas Mac Loan is now engaged in the production of “The Carnation Kid,” a comedy, taken from the story by A 1 Cohn. It has been definitely announced that the picture is to be sound synchronised.

A scene so vast that** battery of twenty-five cameras was required is one of the many features of “Sunrise,” which is to be shown shortly. The scene depicts the flight of a young couple right through the heart of a great city, and in order that the director might control the actions of everybody within range of the cameras, a special set, one mile and ahalf long, was erected in the studios. Many attempts were made to shoot the scenes in San Francisco, but they proved unsuccessful. The cast of “.Sunrise” is headed by Janet Gaynor, star of “Seventh Heaven,” and George O’Brien.

Madge Bellamy appears in “The Play Girl.” In this production she enacts a shop girl who thought she could play and dance through life, forgetting the fiddler had to be paid. It is a comedy romance tingling with excitement. Johnny Mack Brown, who played opposite Miss Bellamy in “Soft Living,” has the leading male role in this production.

Sammy Cohen, Marjorie Beebe, Tyler Brooke, and Ben Bard, four comedy players, are doing their initial work in movietone in “Four a.m.,” a short sketch, being directed by William Conselman.

Laid in the old university town of Heidelberg, the screen version of “The Student Prince” reflects all the glamor, fascinating, and romance of life among the students. The settings are authentic, and form an exquisite background for one of the most beautiful stories ever told.

William Haines, the bright and breezy star of “The Smart Set,” "West Point,” and “Spring Fever,” will shortly* be seen in a thrilling

story, in which he plays the role of a newspaper reporter. This picture is | ‘ ‘ Telling the World, ” and a good deal of the action of the film was taken in China. Alice Terry and Ivan Petroviteh will shortly be seen in a gripping story, “The Garden of Allah.” This production was filmed in the locale described by the author. No feat seems to be too difficult for Rin-Tin-Tin. In his latest starring picture, “A Race for Life,” shortly to be released throughout the Dominion, the dog provides one thrilling situation after another. Versatility seems to be the keynote to Rin-Tin-Tin ’« success. Bobby Gordon as Danny, youthful owner of Rinty, who leaves home to win fame and fortune that his aged mother may enjoy luxuries in her declining years, gives a sympathetic performance. In the supporting cast are such _ excellent players as Virginia Browne Fair, Carrol Nye, Pat Hartigan, and James Mason.