GREENROOM GOSSIP.

New Zealand Illustrated Sporting & Dramatic Review, Issue 1249, 26 March 1914, Page 36

GREENROOM GOSSIP.

An Expensive Spectacular Feature. One of the most expensive features ever introduced into a production in Australia is the water spectacle which lias caused something of a sensation in the J. C. Williamson, Ltd., revue, ‘Come Over Here.” The stage is turned into a lake, and into the water walk some shapely girls, who disappear beneath its surface, re-appearing again some time afterwards. The uninitiated observer might come to the conclusion that the girls do not go under the water, but that the effect is obtained by trickery or faking. It is rendered possible, however, by means of the most intricate mechanism, and a remarkably clever device. Under the stage is a series of tanks, which communicate With bjie water tank in the stage. Into one of these the girls are drawn, their heads being in a tank which is being supplied with compressed air pumped by a huge engine under the stage. Eight men, under Mr. Weed, the American engineer and expert of the International Submarine Spectacle Corporation of New York City, are working this effect. Ethel Warwick and Australians. “In one important feature Australian audiences differ from those of London,” said Ethel Warwick, when questioned on the subject. Miss Warwick, who plays Zuleika in “Joseph and His Brethren,” said that Australian theatregoers were more independent in forming an opinion of a production. “In London,” explained Miss Warwick, “hundreds of thousands of people read the papers to imd out what a play is like, and their opinions are largely influenced by the criticisms. People will condemn a play simply because some well-known critic has expressed a hostile opinion. Australians, however, form their own independent opinion. They come to judge for themselves, nor are they so perverse in their hostility if a play does not exactly come up to the mark. If they like it, they go away and say so. If they don’t, they let it off fairly lightly. But they are not led by what the professional critics say.” * * * * A New Class of Patrons. “Joseph and His Brethren,” at the Theatre Royal, Melbourne, might be said to have drawn a class of patrons who rarely visit the ordinary theatrical entertainment. Whilst regular patrons patronised the pageant play in enormous numbers, there were noted at the theatre every night many people who did not come under lhat category. To these “Joseph and His Brethren” came as a refreshing novelty. This must have accounted for a letter received by the J. C. Will.amsoh management, in which the writer said: “I want to thank, you for the treat you gave us in ‘Joseph and His Brethren.’ I have not been to a theatre for fifteen years. The present day type of play, which means nothing and appeals to no one in particular has no attraction for me. If there were more plays like ‘Joseph and His Brethren’ there would be many more playgoers.” 4 if. * . » Madame Berzac and Her Ponies. An interesting passenger on the Niagara last week was Madame Berzac, who was en route to Sydney from America under engagement to Wirth’s Circus, Ltd. Madame Berzac gives a turn with four Shetland ponies and two mules,, the little animals bijni possessed of almost human intelligence- Under Madame’s skilful guidance they have starred many a vaudeville turn in America and England, and with their tricks will astonish Australian audiences. Madame Berzac has a winning personality that endeared her to her fellow passengers on the trip out, so that her subjugation of the four-footed creatures is no matter for surprise. Madame’s act will he given in Sydney in May, when the circus returns from its New Zealand tour. “Madame X.” A good deal of interest attaches to the first production in Australia of “Madame X” by the “Within the Law” Company at the Theatre Royal, Melbourne, on the 28th inst. “Madame X” is a gripping drama, the action of which takes place in France, and the majority of the characters are real French types-. They will afford the principals even more opportunity from the intensely dramatic point of

view for the exercise of their emotional powers. Muriel Starr showed such a range of emotion in her role of Mary Turner that playgoers will have little doubt as to her versatility, and as her part in “Madame X.” fits her admirably, she should hold the audience just as she did in the American drama. E. W. Morrison, who gave such a fine performance as Joe Garson, will be Laroque, an adventurer. Mary Worth (“Aggie Lynch”) will play Helene, daughter of the prosecuting attorney, and Eric Maxon will have- a strong “juvenile” part as the voung attorney who pleads for the murderess, whose identity is unknown to him but who really is his mother. Altogether, a strong cast for a strong p!ay. . .= .1

The Camel Objects to Shams. There is one important member of the “Joseph and His Brethren” company at the Theatre Royal, Melbourne, whose name does not appear in the programme, but who nevertheless plays a spectacular part in the piece. This is the camel, whose appearance on the stage nightly causes a murmur of interest to ripple through the audience. But one night during the week

the camel nearly disappointed patrons. It may have been due (suggests our correspondent) to his discovery of the fact that the palm trees, that looked so much like those beneath which he used to wander in his native land, were merely painted attempts to depict the real thing, and that the desert that stretched without end into, the hazy distance was a delusion and’' a snare. At any rate, the stately ship of the desert sailed away into Little Bourke Street through the open stage door, and refused to be persuaded to return. He nearly frightened the lives out of some Celestials who were partaking of “long soup” in a Chinese restaurant close by the theatre, into the door of which he thrust his swaying head. But just as he was due on the stage, the property staff and the attendants of the obstreperous animal managed to drag him back upon the scene.

A Harry Lauder Incident. There must be some enlivening influence about Harry Lauder's songs, for they always arouse his audience to a high pitch of enthusiasm. Not long back in New York his song entitled “We Parted on the Shore” was found to be peculiarly effective with local audiences. Almost invariably they joined in the chorus at night, and when he finally left New York a great crowd stood upon the wharf and bawled the song as a parting farewell. Recently, at the London Tivoli, Lauder’s singing of “Stop Yer Ticklin’ Jock” greatly stirred a bunch of Scotch “swaddles” in the audience.

In fact, one got so excited that he threw his bonnet on the stage, and a contingent of ushers X resse 4 forward to remove him. Thereat he shouted to Lauder: “Don’t let them put me oot, Harry. I kent ye in Glasca.” Rather recklessly Lauder called back, “Don’t let them pit you out. Remember you’re a Scotchman. Hang on.” It was admittedly improper advice, but it put everyone into a good humour and the episode concluded in loud laughter. * * * * Favourites in “Come Over Here.” The cast of the revue, “Come Over Here,” to be staged at Her Majesty’s, Melbourne, on the 28th inst., is a remarkably lengthy one, and includes some old favourites. Amongst them will be Charlie Stone, Olive Godwin, Johnny Osborne, Winnie Volt, Leslie Holland, Vera Pearce, Jack Cannot, Violet Collinson, Ivy Schilling, Fred. Leslie, Claude Bantock, Baby Cremer, Louis Victor, Harry Sweeney, Edmind Sherras, and Daisy Jerome. Emil Bierman will be musical director, Redge Carey stage manager, and the revue will he produced by Frank Dix.

“Mr. Wu” and “Who’s the Lady?” It is not often a London manager scores two tremendous successes simultaneously. However, Louis Meyer (who is entering into extensive Australian management with Beaumont Smith) has achieved it with two plays of entirely different class in London, namely, “Who’s the Lady?” (a French farce comedy) and “Mr. Wu,” a remarkable Chinese tragedy.

The World-famous Maud Allan. Australasia is fortunate in having a visit from such an artist as Maud Allan. In her book entitled “My Life and Dancing,” she says: “The Greeks were not the only pupils of the ancient Egyptian dancers. The Hebrews, during the time of the Egyptian captivity, without doubt learnt much of this art from their task-masters, and one might easily quote a vast number of passages from the Old Testament having reference to the dances of the Israelites. ‘Praise Him with timbrel and with dance,’ commands the Psalmist. The pitiful episode of Jepthah’s daughter springs to one’s mind, and we learn that the daughters of Shiloh were dancing when the son of Benjamin descended upon them, as the Romans upon the Sabme women. There were dances in honour of Judith when she returned bearing the head of Holofernes, probably a kind of ‘country dance’ danced by two rows of girls.” The famous Russian musicians, Leo, Jan and Mischel Cherniavsky, who have earned a world-

wide reputation for themselves since they were here last, will appear in conjunction with Miss Allan. The tour is under the direction of W. Angus MacLeod. Mr. Howard Edie is manager. Miss Allan will open here on the Ist June next.