STAGE IN AUSTRALIA

Waikato Times, Volume 112, Issue 18809, 3 December 1932, Page 17 (Supplement)

STAGE IN AUSTRALIA

SIGNS OF REVIVAL. REFLECTS PURSE OF PUBLIC. (By F. E. Baume In Sydney Sun.) Despite theatrical mergers, effected nd suspected, no combatants In the 'r.usement game are taking chances, he talkies, represented by the distributors, are storing up plenty of good ammunition for the new year. The exhibitors have been playing around with the legit, with varying luck—such varying luck, indeed, that no one in the business has been brave enough to bet that the public

want film and flesh to continue in partnership. Slcns of Now Life. What of the legit, itself? Outtalked by the'talkies for a time, it now shows unmistakable signs of new life. The J. C. Williamson organisation announce a profit on their last half-year. IL is a small profit, certainly: nevertheless, they are first past the post in the Anti-Depression Stakes, and there is jubilation in the legit, camp. The psychological effect of that profit Is tremendous. The producers strain at the leash, property-men dream of pinching the town clock for some colossal scene, stage mechanics count their overtime in advance, and the whole army that gets it§ bread and butter from the stage (with jam on it when the stage prospers) eagerly looks forward to a return to the times when the legitimate theatre, as represented by J, C. Williamson, Ltd., was the Australian railways’ biggest customer. One Success Assists Another. So far as the legitimate theatre is concerned, I have always contended that one success assists another. 1 never could see the argument that there was not enough money for two or more good things at a time. And I never could understand the attitude of those who objected to a few imported artists. The new face In the theatre stimulates interest, and, naturally, profits local actors and stage employees. And so lam glad lo hold out a welcoming hand to Theo. Shall, of Vienna, who comes to us with “Autumn Crocus”; to Margaret Rawlings and Barry K. Barnes, of London, who bring us “ Dr, Pygmalion,” by Harrison Owen, a writer of our very own, whose pen won him fame abroad; to Vernon Fortescue, of England, who will give us Stevenson's Immortal “Treasure Island"; to Shirley Dale and a group of others, who will bring back the musio of Strauss in “ Walzes from Vienna"; to Nicholas Hannen and his gifted wife, Athlene Seyler, who come to us to play Galsworthy as Galsworthy would have it: and to Mr Clarkson Rose, of the United States,

who brings us something new In revues. Room for Stage and Talklos. I think the argument that the more attractions the merrier the life oi the local pro. is helped by the fact that, despite the new attractions I have mentioned, our own Gladys Moncrieff is still starring; Gus Bluett has Joined Madge Elliott and Cyril nitchard for a revival of “ Our Miss Gibbs’’; Ella Shields and George Wallace arc going to New Zealand, where the Grand Opera Company has stayed ten weeks; and that the Gilbert and Sullivan Company, and probably Dame Sybil Thorndike, arc coming back to us. The returning prosperity of the legit, augurs well for the well-being of the talkies. In every era a thriving theatre has reflected the purse of the public. Now that talkie, and legit, have become accustomed to each oilier, no fight should be necessary. The talkietheatre argument is dead. There is room for both —if they have the goods.