THEATRICAL TOPICS

Wanganui Chronicle, Volume LXXXIII, Issue 19990, 5 November 1927, Page 15 (Supplement)

THEATRICAL TOPICS

E GREEN ROOM (By “Anatol. ”) It was definitely arranged that the Vanbrugh-Boucicault company should open at the King’s Theatre, Melbourne, on Saturday night, October 29, (Derby night), and the members of the company were on board the Cathay, which arrived on Monday, October 17. With Miss Vanbrugh and Mr Boucicault are the following:—Norman McKinnel, Hugh Williams, Gwynne Whitby, Annie Saker, Marjorie Playfair, Peggy Carter, Florence and Terence Sullivan, and Prudence Vanbrugh. The lastmentioned is a niece of Miss Irene Vanbrugh. The opening play will be Caroline, by Somerset Maugham, in which Miss Vanbrugh has made one of her biggest, successes in London. The repertoire includes All the King’s Horses, On Approval (Frederick Lonsdale’s latest), The Letter (Somerset Maugham), The Happy Husband (by Harrrosn Owen, the Melbourne journalist and playright), and other plays. The opening of the season will be the occasion of a gala performance.

J. C. Williamson Ltd. have engaged a new comedy company to appear in “The Cuckoo in the Nest” and “Rookery Nook.” The members of the company, together with Mr George Highland, are on the Oronsay, widen reached Melbourne on October 15. According to present arrangements, the company will make its first appearance in Australia in Melbourne at Christman.

* * ♦ * New plays secured for production in Australia by J. C. Williamson are “In The Next Room” and “The Terror,” two mystery plays. Tbe last-men-tioned is by Edgar Wallace, who wrote “The Ringer.” The firm has also secured the latest London success, “Interference,” in which Sir Gerald du Manner is appearing at the St. James ’ London. ♦ * ♦ ♦

Gregan McMahon is a busy man these days. The busy director of the Melbourne Repertory Theatre Society is also a producer for J. C. Williamson Ltd. At the present time he has three productions to get ready—“ The Whole Town’s Talking,” the comedy which is to be staged at the Theatre Royal next Saturday night; “Liliom, ” the Repertory Theatre production to be played at the King’s Theatre the same night; and “Old Adam, 77 which the Repertory Theatre is to present the following week. ♦ ♦ * *

The first production in Australia of “The Whole Town’s Talking” was given at the Theatre Royal, Melbourne, on Saturday night, October 15. This is a comedy with a story that will appeal to everyone, for it contains humorous and diverting situations, and a whimsical story. Part-author is Anita Loos, of “Gentlemen Prefer Blondes.” A flighty husband and a suspicious wife produce varied complications that involve the characters of the play in a whirlwind of misunderstandings. These are of the most humorous kind. One of the newspaper critics complained during the run of the play in London that the audience laughed so much it was difficult to follow much of the dialogue. The cast will include Marie Burke and R. Barrett-Lennard, both of whom will make their first appearance in comedy; George Blunt; Rose Le Varde, Thelma Burness, Beatrice Fischer, Leyland Hodgson, and Bertha Riccardo.

According to present arrangements, when “Madame Pompadour” has run its allotted span, Beppie de Vries will be seen in the first production in Melbourne of “The Student Prince,” the rights of which have been acquired by J. C. Williamson Ltd. “The Student Prince,” which is based on the play, “Old Heidelburg,” has been played in England, Europe, Canada, and the United States with great success. Since its first production it has been presented by as many as eleven companies simultaneously. At one time in 1925 there were nine touring companies in the United States, one company presenting the piece in New York and one in London. It ran in New York continuously for over eighteen months, and more than a year in Chicago. The original company is still playing it at the Ambassador ’s Theatre, New York. * * * *

The biggest musical comedy success in the history of the. firm; this sums up the triumph of “Rose Marie.” The four weeks’ season in Adelaide absolutely broke all records for length of run in that city and for the financial receipts. Every seat in all parts of the theatre were sold out days in advance. After Adelaide, “Rose Marie” will go to Perth, then Kalgoorlie, the huge company then making a long “jump” to Brisbane, opening on November 5. Visits to Toowoomba and Newcastle will follow prior to sailing for Auckland, where the big show will open its New Zealand tour on December 20. As a memberr of the company said recently: “We’re seeing the world, alright,” * * * ♦

The cast of the new musical play, “Castles in the Air,” which was given its first Australian production by J. C. Williamson Ltd. at Her Majesty’s, Sydney, on Saturday, October 15, will be of unusual interest and excellence. It included Roy Russell, the baritone, who made his first appearance in Australia; Rowena Ronald, Gus Bluett, Cecil Kelleway, Leo Franklyn, Beatrice Day, Cecil Sett, Floie Allan, Byrl Walkley, Gaston Mervale, John Stuart, lan Maxwell, and Frank Hawthorne. The play will be produced by Frederick Blackman.

"RUDDIGORE” WHAT JAMES HAY SAYS. I have been asked to write a few particulars about the new opera, or at least new to New Zealand, which is to be produced here on December 12. I may say that I regard it as a great privilege to be allowed to do so, as also to be so closely connected with the first performances of a work which contains so much of the best of both Gilbert and Sullivan. “Rnddigore” was in fact one of the three operas of the whole wonderful series which Gilbert to the last admitted were his particular favourites.

The fact that it has not been presented before in this country may be accounted for in several ways. Tn the first place, it is an extremely difficult and costly production, and calls for stage effects which are difficult to arrange in the case of scenery and stage properties which have to be carried by a company touring over such wide distances as our companies working in Australia, which means also appearing in theatres of varying sizes and facilities. Even in England, where for the last forty years several companies have been continuously touring with the Gilbert and Sullivan operas. “Ruddigore” was comparatively neglected until 1921. At that time, in response to

a general outcry, a revival of the opera was staged in London and at once proved to be one of the most successful of the whole series of revivals. In fact the London public during that, season gave “Ruddigore” even greater popularity than such outstanding favourites as “The Mikado.’ 7 “Gondoliers,” “Yeomen of the Guard.” This result was somewhat of a surprise even to the management, ana even since then “Ruddigore” has been given both in London and the English Provinces, a full share nf the number of performances allotted in each place. As a matter of fact, it has ever since been played more often than most of the other operas.