GREENROOM GOSSIP.

New Zealand Illustrated Sporting & Dramatic Review, Issue 1246, 5 March 1914, Page 36

GREENROOM GOSSIP.

“Joseph and His Brethren,” Few dramatic offerings presented in Melbourne of recent years have aroused the interest and controvesy “Joseph and His Brethren” has occasioned. On all sides the play js being vigorously discussed, whilst in some quarters it has come in for a great deal of criticism. However, the difference in views regarding it is indicated in a practical way by the fact that it has now become the subject of reference from the pulpit, and numerous sermons have, aleady been preached about it. In this connection it is interesting to recall the fact that the Bishop of London witnessed the production at His Majesty’s Theatre and subsequently delivered a most eulogistic address regarding it, whilst similar views were expressed by other of the leading divines in London. The controversy is still raging in Melbourne'.

The Sheep to the Slaughter.

A practical joker wrote to the management at the Theatre Royal, Melbourne, and stated that he had heard of a plot, in view of the threatened butchers’ strike, to seize the sheep used in the production of “Joseph and His Brethren,” and dispose of them for the public good. He therefore suggested that a bullock be substituted for the sheen, as the former would be more difficult to smuggle out of the theatre! The sheep, bv the wav (writes our correspondent). have become much attached to Malcolm Tearle, who plays Joseph, and who makes a striking picture as he crosses the stage in the moonlight, with his little flock trailing after him. Mr. Tearle puts in an appearance every morning at. the Theatre Royal to feed the sheep, so that they might remember him and follow as reauired in the scene. Thev are now quite accustomed to their part in the play, and carry it out exceedingly well.

“Puss in Boots” in South Africa. Distance and difficulties of transport do not deter the J. C. Williamson management from handling the biggest enterprises in connection with the extension of their business to South Africa. The first move was the despatching of the Gilbert and Sullivan Onera Company to South Africa, where it is enjoying a remarkablv successful season. Last week the Lewis Wallcr-Madere Titberadee company sailed for Durban, a lengthy season onening in Johannesburg. But the biggest enterprise of the lot is the sending of a complete pantomime comnanv. Preparations are alreadv well in hand, and the co?npany will stage “Puss in Boots” for the first t.im in Capetown on April 21. following with a comprehensive tour through South Africa. The chorus has been engaged in Melbourne and Svilne’. and intense eagerness was evinced bv the rush of girls for selection. The principals will include Georye Miller (Dame), O. E. Lennon (Cat). Harrv Phvdora (principal comedian). Eileen Redmond (principal girl), Minnie Love, a well-known English artiste (principal boy). Edward Nable, and others. Minnie Everett will go as ballet mistress and supervisor. Some of the most successful features of the J. C. Williamson pantomimes produced in Australia during the last five years will be included.

• * * ♦ The Quinlans in America. The Quinlan Opera Company has achieved a great success at the outset of its tour of America, which commenced in British Columbia. Press notices to hand give vivid and eulogistic accounts of the triumph of the company’s performances, and the opening of the tour promises most favourable for the remainder of the itinerary. The “Dailv Colonist.” at Victoria, went so far as to publish a leading article, personally signed bv Charles H. Lusrrin. the editor-in-chief, eulogising the comnanv’s Productions, and calling unon the citizens of Victoria “not to miss the rich treat and educational advantage in store for those who attend the season of onera.” “t have taken this course,” added the editor, “because the occasion is so exceptional, and T feel it is only doing mv duty to those whom it has been mv privilege to assist.”

A Remarkable Coincidence. A little knot of peonle that stood on the stage of the Theatre Royal,

Melbourne, prior to the commencement of the first performance of “Joseph and His Brethren” was productive of a somewhat remarkable coincidence, which was much commented upon by those concerned. There were Malcolm Tearle (who played Joseph), Frank Harvey (Potiphar), and Charles A. Wenman, producer of “The Forty Thieves” pantomime and other Williamson productions, and Mr. Clyde Meynell, one of the directors of J. C. Williamson, Ltd. Mr. Meynell pointed out that years ago he appeared with Mlle. Beatrice in England, and that in each of the productions in which he had played there had appeared the father of Mr. Tearle, Mr. Harvey and Mr. Wenman. “It seems indeed strange,” commented Mr. Meynell, “that tonight we should all be gathered together here, thousands of miles away from England.”

A Burlesque Specialty. “We certainly could do a real trapeze act,” said Mr. Bowers, of the Three Rubes, whose burlesque specialty is one of the features of “The Forty Thieves” pantomime at Her Majesty’s, Melbourne. “At present we only pretend to do a trapeze act, but only succeed in knocking each other off the bar, or getting so tangled up that we have to let go and fall off in a heap. Years ago we used to do the real thing, but one night we thought we would try and see how a ‘cod’ or make-believe turn, thoroughly burlesqued, would go. The result was startling. The people shrieked with laughter, and brought us back time after time to do more. We thereupon decided that in future we would cut out the real trapeze work and substitute the make-believe on very humorous lines. This part of our turn goes bigger in Melbourne

than in any other place we have ever been. There’s no doubt that Australians have a keen sense of humour and like to laugh. We make our turn longer than it used to be. We find it is appreciated, and we don’t mind how much we do under such circumstances.”

Stage Fright. To be possessed of stage fright is nothing very unusual to Grent Hayes, the banjo player, who will appear at the Auckland Opera House shortly. One of the worst cases of that theatrical malady was experienced by him when he was commanded for the first time to appear before the King of England during a recent tour over the Stoll circuit. “When I was informed that His Majesty had commanded me to appear before him and his family at a special levee, I hardly knew what to do with myself. Being an American, I was naturally not used to Court usages, and when the day arrived I was as stage frightened as a young balladist appearing for the first time on the concert platform. His Majesty’s kindness, however, had a wonderfully encouraging effect upon me, and I know that I never played better in my life than on that occasion. I had made up my mind to not only impress my distinguished audi-

ence, but also to represent my country as fittingly as possible, and though this may be a hard thing for a ban joist to do, I think that I must have succeeded pretty well, because it was not a very long time before I was ‘commanded’ to perform a second time.”

A Word for the Chorus.

The J. C. Williamson, Ltd., Gilbert and Sullivan Opera Company, which opened in “The Mikado” in Johannesburg, has followed this opera with “The Pirates of Penzance,” “The Gondoliers,” and “The Yeomen of the Guard.” The company’s performances have made a profound impression, whilst the chorus has particularly come in for unstinted eulogy. Here is what the critic of the “Times,” Johannesburg, had to say on this point: “I experienced a thrill of real delight when the curtain went up and disclosed the courtyard of Ko Ko’s dwelling, with the stiff-postured ‘gentlemen of Japan’ singing as no chorus has ever before sung in South Africa. The gentlemen and ladies of the Williamson chorus must be heard to be believed. Not alone are their voices of the most excellent quality, not only is their ‘attack’ delightful, but they enter into their work with a zest and a spirit which are absolutely contagious. The masterly opening chorus of ‘The Mikado’ was responsible for a real thrill.”

Brent Hayes, banjo virtuoso, who is to appear at the Auckland Opera House, appeared before the late King ■Edward and other crowned heads. Four years ago he played before the Czar of Russia, and a year later he enjoyed the honour of a Royal command performance before Kaiser Wilhelm of Germany.