PLAYS AND PICTURES. 1

Waikato Times, Volume 107, Issue 17982, 29 March 1930, Page 5 (Supplement)

PLAYS AND PICTURES. 1

Theatre Royal. April 15—E. J. Gravestock (Alexander Watson). Victoria Hall. April 2—John Dunn, Violinist. Alexander Watson for Hamilton. Engaged on his sixth and final tour of the Dominion, Mr Alexander Watson, the famous English entertainer, will give one of his inimitable recitals in the Theatre Royal, Hamilton, on Tuesday, April 15, under the direction of E. J. Gravestock, Ltd. The programme for Mr Watson’s recital will include selections from Shakespeare, Sir J. M. Barrie, Rudyard Kipling, Charles Dickens, A. A. Milne, and Mark Twain. The selection from Barrie is the first episode from “The Little Minister" (the riot, the arrest and escape of the Egyptian),.which is one of the most popular numbers in Mr Watson’s repertoire, and gives him ample scope for the delineation of Barrie’s quaint characters, laughable incidents, and , stirring events of the story. ■ Shakespeare will be represented by the magnificent Forum scene from “Julius Caesar,” with the famous orations of Brutus and Mark Antony, and Mr Watson’s thrilling presentation of the frenzied Roman populace.

Comedian Leaving for Hollywood.

Hamilton is unlucky in not seeing x Freddie Forbes, the English comedian heading the company which has been presenting revivals of “Sunny,” “Lady, Be Good,” “Mercenary Mary,” etc., in Auckland. Mr Forbes, on finishing his contract, is proceeding to Hollywood with the intention of trying his luck in the talkies.

Mr Forbes is one of the funniest comedians I have seen. His style is delightfully unforced, and he gets every ounce of humour out of his parts, while his very likeable personality wins him many friends. In “Sunny” Mr Forbes was particularly entertaining. In fact, the whole show was very gay, and the large audience on Saturday night was one of the most responsive I have seen in Auckland, its enthusiasm making one wonder if the swing back to the “legitimate” has started in New Zealand as in other parts of the world. At the close there were many curtain calls. In Miss Catherine Stewart Mr Forbes has a clever assistant in fun-making; her burlesque work is especially good. Another very clever member of the company is Ernest Arnley. a young English comedian. In “Sunny” Mr Arnley was priceless in a “silly-ass” part, the character being very well sustained, while his eccentric dancing was unusually clever, and he got every point out of his songs. Despite the .fact that the chorus had been reduced to a minimum “Sunny” was one of the most enjoyable shows I have seen, and judging by the enthusiasm of the audience I was not alone in that opinion. Effect of Talkies on Stage.

Mr Freddie Forbes is a very likeable person to meet off stage, and in view of bis wide experience of the show business in many parts of the world a chat with him is very interesting. Of course one cannot talk with a member of the profession for long before the effect of the talkies on the “legitimate” and vaudeville comes into the conversation. Mr Forbes recognises that the .talkies have come to stay, and that as improvements arc brought about in the methods of production they will continue to make a wide appeal. He intends to enter the talkies himself, and he leaves for Hollywood almost immediately. But, at.the same time, Mr Forbes is firmly' convinced that the talkies can never replace the stage, and he thinks that they will eventually take' their place as just one branch of entertainment. “The talkies,” said Mr Forbes, “can never give that personal touch between player and audience that means so much in everything. Another difficulty that he thinks can never be altogether overcome by the talkies is the timing of laughs. “An audience varies every night,” said Mr Forbes “A line that gets a laugh one night may fall flat the next, and vice versa. A comedian on the stage realises cthis, and works for his laughs, and times them perfectly. In the S talkies that could not be done; either the dialogue may be hurried, so that the audience, in laughing at one joke, drowns what follows, or, if a long pause is made, there is a danger that the laugh may not come and the pause appear a blank that holds up the "Then,” said Mr Forbes, many of the really ‘big’ successes in the talkies have been stage ' successes, and the stage will always be necessary to ‘try out’ plays and dramatists." Mr Forbes therefore thinks that tnc_ stage vvill come into its own again, better than ever Perhaps, for the people will insist on the best, and that the talkies will take their place as one branch only—an important branch, of course —of entertainment. Marie Ney Makes a Speech.

In responding to a toast at the Repertory Players’ annual dinner in London Marie Ney, the New Zealand actress, made a charming little speech She was verv nervous, she said, and would much -rather be playing in one of the Repertory Players’ plays. They were delighted to have their president in the chair. She overheard two people In an omnibus talking about Jew Suss” as a pretty little piece, and of Mr Matheson Lang's cleverness in turning his face into anything. They went on to discuss “Young IVoodley but could not remember the name of that play. At last one of them said that it had something to do with scent, and finally remarked: “Oh, yes, I know —Young Yardley.” Mr Basil Dean had just told her that it was in a Repertory Players’ production that he first saw Air Frank Lawton, and engaged him for “Young Woodley.” They deserved most of the nice things said about them, and she wanted to emphasise the fact that they were always anxious to receive plays for production. Their willingness to help •heatre= was the secret of the success of the Repertory Players. They wanted • o help managers, authors, producers and players. There was a very good ■beginning for Um establishment of an Actors’ Theatre in the ideal of the Repertory Players.

Dennis Barry in England. Dennis Barry, who won -.so much popularity on and off stage in New Zealand during the two and a half years he was romantic lead with the Allan Wilkie company, is touring England with Sir Frank Benson's Shakespearean company.

“Journey’s End” in Sydney. Writing from Sydney, Reginald Tate (Captain Stanhope, of “Journey’s .End”) speaks of the pleasant memories he and other members of the company have of New Zealand.

At time of writing “Journey’s End” had been running eleven weeks in Sydney to excellent business, and there was no sign of it finishing. The English members of the company had had a very happy time in Australia and New Zealand, and when the time came for their departure they would say good-bye with regret, though of course it would be nice to get Home again. There is a probability that the company will play “Journey’s End” in Africa before returning to England.

Given an Ovation. The Big Four —Messrs Frank Weigall, Charles Perrin, Cliff O’Keefe, and Fred Webber—have been a very popular feature of the musical comedies presented by the English comedian Freddie Forbes under the direction of the Fullers. On Saturday night, in “Sunny,” these clever harmonisers and humorists received a very enthusiastic hearing, and were recalled again and again. It was good to see such enthusiasm, which proved that interest in good vaudeville acts is as keen as ever.

Besides presenting their popular turn, members of the Big Four interpret characters in the productions. In “Sunny” Mr Webber was the juvenile lead, while Mr O’Keefe was particularly good as the father of “Sunny.”

“Journey’s End’s” Effect on People. “Journey’s End” is having an effect upon people—that war is had, and must back again, said Mr Reginald-’Tate when he addressed the Kooroora Club luncheon at the Civil Service Stores at Sydney.

He spoke of the effects of the stage on contemporary life. He contended that the '.“talkies" were essentially a phase. There was hope for the legitimate stage if the people would rallyround and support the drama.

Tricks in Every Trade. When a certain company was in Hamilton recently the audience was convulsed when the leading comedian’s nose fell off. It took him some time to adjust it, and other members of the company appeared to he as amused as the audience, and—apparently!—found difficulty in going on with the play. But according to newspaper reports from other centres this amusing., "unrehearsed” incident is happening nightly. Each night the nose falls off, and each night members of the company cannot proceed with their lines for a moment or two owing to their laughter! New Shakespearean Production. In Allan Wilkie’s new Shakespearean production in Melbourne, the first part of “Henry IV.” Mr Wilkie appears as Falstaff, Alexander Marsh as Hotspur, and John Cameron (the New Zealander) as Prince Hal. “Rio Rita” Revival in England. Aliss Edith Day and Air Billy Alerson may be the principals in “Rio Rita,” with which the new Soho (London) theatre, the Ritz, is to be opened. “Maid of the Mountains” Revival, In the revival of “The Alaid of the Mountains” in Alelbourne Gladys Aloncrieff has the support of Lance Fairfax as Baldasarrc, Alolly Fisher, Gus Bluett, Michael Cole, Arthur Stigant, Aladge Aubrey, and Edwin Brett. Stage Cocktail Party. When the sixteen actresses in “Nine Till Six” asked the ten members of the all-men company of “Journey’s End” to take cocktails with them on the stage of the Apollo Theatre, London, after a matinee performance of these two plays, there were egihl different sorts of cocktails: "Journey’s End.” “Nine Till Six,” “Wbizzbang,” “Caminick,” "Night Patrol,” “Hemstitch,” “Warming Pan,” and “Stop Press."