GREENROOM GOSSIP.

New Zealand Illustrated Sporting & Dramatic Review, Issue 1159, 27 June 1912, Page 17

GREENROOM GOSSIP.

Miss Elsa Langley and “the Pierrots.” One of the brightest and merriest musical combinations that has visited Auckland is “the Pierrots,” who concluded a highly successful' season at the Town Hall on Saturday night. Prominent amongst a talented coterie is the comedienne, Miss Elsa Langley, who has been a member of the company since she was in short frocks, and is “part and parcel of them” as she admits. A petite, fair-haired, winsome Pierrette is Miss Langley, with the Pierotts’ interests close at heart and unbounded enthusiasm and ability to forward their success and popularity. “Of course,” said Miss Langley to the writer, you know Mr Rob. Thomas and Mr Will. Thomas originated the al fresco entertainment in Australasia some seven years ago. The Pierrots made their initial stand on the beach at St. Kilda, Melbourne, and straightway struck the public taste with a programme that was diverting and above all refined. With such cultured and versatile men as Messrs Thomas, it could not strike a discordant note. We have an up-to-date and spacious al fresco theatre, built on the sands, where for six months in the year we play to crowded audiences. The men can sit back comfortably and smoke at their ease, fresh air is to be had without the asking, and we strive to give them variety and quality in the programme.’ Truly a pleasant vision, and one we can depend on being materialised after the too fleeting glimpse we are favoured with of this happy band in Auckland. May we see them this way again! A Line from “The Wanderers.” Mr J. A. Matheson, touring manager of “The Wanderers” forwards some interesting notes about Mr George Stephenson’s clever company. Writing from Queensland he says: “We have had a most successful time since leaving New Zealand. Record seasons have been completed at Theatre Royal, Brisbane (14 weeks) ; Kings Theatre, .Adelaide (9 weeks), and the new National Amphitheatre, Melbourne (5 weeks). A winter tour of the E. J. Carroll theatres in Queensland has now been entered on. The re-organised company is: —

Messrs “Jock” Willis, A. J. Black, George Winstanley, J. Leith Harvey, Herbert Brahms, and the Misses Beatrice Mercer, Margaret Caraher (a most talented soprano), Ruby Esdaile, and Annie Gore. Mr Matheson was last in Auckland ahead of the Bepses o’ the Barn and the Hamil-ton-Maxwell Company. He can be assured of a hearty welcome when he returns with “The Wanderers.” * # * * An Appeal to all. In all parts of the civilised world “The Blue Bird” is known and loved. It appeals not only to the mind and heart of the child, but to the grownup as well. But apart from its beautiful and sentimental side as a play, the production itself seizes upon one by its spectacular beauty and wonderful effects: “The Blue. Bird” is really a fairy pantomime from, beginning to end, though with a deeper meaning and more serious artistic aims than are generally associated with pantomimes. “The Virgin Goddess.” Oscar Asche and Lily Brayton made a striking success in “The Virgin Goddess,” which brought the Melbourne season to a close. The classic dignity and tragic power of the play made a deep impression, and the acting of Mr. Asche and Miss Brayton was such as to arouse immense enthusiasm. “The Virgin Goddess” may be added to the greatest histrionic successes achieved by the company. ’I S y, ‘ New Theatre for Melbourne. The Majestic is the name of the new theatre which is being erected by Amalgamated Pictures, Limited, in Flinders-street, Melbourne, and will probably be opened in a couple of months’ time. The theatre is designed to suit the comfort and convenience of patrons, and, when completed, will seat 2200 people, distributed over three tiers of tip-up seats, which will be arranged much in the style of Her Majesty’s Theatre, Melbourne. The edifice can be used for either dramatic or picture performances as accommodation has been made for a stage and dressing rooms; and a notable feature of the place will be a novel installation to regulate the temperature and ventilation of the auditorium. Also the theatre has been so designed that an unusual number of exits has been provided to enable the rapid emptying of the building in the event of an alarm of fire. * ❖ * * Lighting Effects in “The Blue Bird.” A feature of “The Blue Bird” is the lighting effects. Superb as it is throughout the play, the lighting reaches a height of marvellous beauty in the Kingdom of the Past, the Kingdom of the Future, and in the Kingdom of the Night, where the stars, dew drops, the perfumes of the night, etc., appear and dance to the sounds of delicious music. The great bronze doors at the back of Night’s Palace open and disclose the beautiful garden where Night, keeps the Blue Bird of. Dreamland. A great silver moon is seen.low down in the sky, myriads of blue birds fly about from tree to tree, the scent of flowers fills the air, fountains play and fling up spouts of water the colour of jewels and the effect is truly ravishing. ’ * Spirit of the East in “Kismet.” “Kismet,” when staged by the Asche-Brayton company in Melbourne, introduced some pronunciations that came as a novelty to many people. For example: Caliph was pronounced as Car-leaf, Sheikh as Shake, and harem as .har-reem. Mr. Asche vouches for the correctness of these by pointing out that Mr. Knoblauch (the author) had made a deep study of the subject and had mastered every, native detail written into the play by him. Moreover, the Moorish Ambassador in London and other authorities had witnessed the production and testified to the correctness of these points. * Sis * * A Social Shave. We are indebted to the “Sun” for the following story that has gone the rounds in Sydney about Mr. Eric Maxon, who is playing the title role in “Ben Hur.” He dropped into a Sydney barber’s shop to have a shave the other day. After the tonsorial artist had completed his ministrations, and Mr. Maxon had left the chair, another customer appropriated it. “Do you know who that was you just shaved?” he said to the man with the razor. “No, sir,” replied the bar-

ber. “That was Maxon, who plays the hero in ‘Ben Hur,’ ” he was informed. “Is that so, indeed,” said the tradesman, looking after the retreating figure with interest. “Well, well. I’ve often seen him on the stage, but this is the first time I ever had the pleasure of meeting him socially.” # * * * “Ben Hur” in America. “Ben Hur” was first legally performed for copyright purposes at the Duke of York’s Theatre, London, 1899, and was first seen in America a year later, when produced in that country by the Klaw and Erlanger Syndicate. This big American firm has been playing “Ben Hur” continuously ever since, with special revivals at intervals in New York.