GREENROOM GOSSIP.

New Zealand Illustrated Sporting & Dramatic Review, Issue 1260, 11 June 1914, Page 36

GREENROOM GOSSIP.

Harold Bauer Coming io Australia. Two of the most eminent pianists of the present generation, Harold Bauer and Leonard Berwick, were both born in England and received an English education. Bauer was born at New Maldon, near London, and during his immaturity his training was exclusively English. When he was eighteen or nineteen he set out for Paris taking his violin—for that, was his first study —and endeavoured to get a living as a teacher. In Paris he entered on a further course of study and finally took up the piano in circumstances auguring a brilliant future for that artiste. The famous pianist, who, by the way, opens in Melbourne next month, still plays the violin in private and occasionally in Paris gives informal violin recitals.

The Most Popular Pantomime. “The Forty Thieves” continues to be the most popular show at any of the legitimate theatres of Sydney (according to “Punch”). Every performance drafts crowded houses, and it would seem that the run of the pantomime cculd be prolonged indefinitely. This is not a matter of surprise. A really good show is always certain of strong public support in Sydney, and “The Forty Thieves” mnst be classed amongst the best shows of its kind which have been seen here. It would be hard to find a weakness anywhere in the cast

How Harry Lauder Entered Sydney. Smoking his red-bowled mee sch um, Harry Lauder strolled along the platform, and the cheering broke out vigorously. “Stand back there,” yelled a policeman as the ranks closed in. But he might as well have spoken to the tide. With a rush the ranks were broken, and men, women, and children struggled with each other to get close enough to -pat the comedian on the back. Old women, with all their little bits of finery on for the occasion, pushed away with elbows and shoulders to get near him, and one well-dressed woman who sheltered close to the capacious form of a constable, held up a bonnie little kilted lassie, who looked very timid, for the visitor to kiss. The occasion delighted Harry Lauder, who said that he came to Australia to entertain, but was being entertained instead. It was the same in Melbourne, he said, and he felt like crying at times, “Oh, Lord, save me from my friends.” The public appreciation was an awkward thing sometimes, and he was afraid that he would have to change his dress. If he wore breeks, he figured it out, he would be able to get about incog, for an hour or two and see things without being seen. * * * * J. C. Williamson Plays. J. C. Williamson, Ltd., have acquired the Australasian rights of the foTowing plays:—“The Land of Promise,” by Somerset Maughan, in which the dramatist sets his big scenes in Canada; “The Yellow Ticket,” by Michael Morton, a melodrama of the Jewish persecution in Russia; “Potash and Perlmutter,” a dramatisation of the well-known Jewish stories of Montague Glass; “Seven Keys to Baldpate,” Geo. M. Cohan’s dramatisation of a popular novel; “Under Cover,” a drama that has just been successfully staged in New York. * * * * George Cross on Dry Areas. 'Mr. George Cross, leading man of the George Willoughby Dramatic Company, which toured the Dominion with “The Beggar Giri’s Wedding,” is back again in Sydney, and has been giving his opinion of New Zealand boardinghouses to the “Sun.” “One doesn’t really know,” said Mr. Cross, “what human misery really is until they have stopped at a boaridng-house in the Dominion, more especially one situated in one of the dry areas. Over every place there hangs a damp, dismal air of gloom, while the unfortunate people whose unhappy lot it is to live in them sneak in and out of the back way as though they were ashamed of being seen on the premises. In most cases the boardinghouse was originally a hotel which had been forced to close on account of the local option vote, and in instances such as these the abandoned bar remains as a sort of a monument of the days when things were different. The residents of the no-license areas, however, have one bright ray among an otherwise cheerless existence. This is the keg party, which has by this time become almost an institution in some parts of the country. During the week the members

of each syndicate subscribe so much eash towards the price of a keg of liquor, and on Sunday this is taken out into some secluded part of the country, and each one of the party then proceeds, 'figuratively speaking, to drink his clothes off. The fact that they are compelled by the adverse circumstances of fate to spend their lives in a place which is under nolicense is excuse for almost anything.” * * * * The Drury Lane Naval Drama. Australian audiences have seen the great Drury Lane naval drama “Sealed Orders” before American playgoers. This was the case also as regards “The Whip,” the Australian production of which was given prior to the production of the piece in New York, where it was staged with a cast including some of the principals who had taken part in the sporting drama in Australia. Latest files to hand by the American mail contain the announcement that “Sealed Orders” will shortly be presented on the New York stage.

“We Parted on the Shore.” Those who have heard “We Parted on the Shore,” as sung by the great Scotch comedian, Harry Lauder, in Australia, will be surprised to hear that it was originally composed by the comedian as a serious sentimental song, with a strong note of pathos that would make people feel sad. Lauder, who is always influenced by the sea, was once travelling by train in full sight of the ocean, which was torn and lashed by a heavy gale. Out at sea the comedian could observe a small brig battling against the tempest, and the sight of the vessel gave him the subject for his song. The clank of the train wheels gave him the time for a melody to fit the words, and he was carefully rhyming the verses in his mind when he thought of rhe tune “It’s years and years and years,” which instantly made the verse of comic import and imparted a droll effect to the whole composition. Lauder himself was so tickled by the result that he decided to retain the tune and christen the whole effort with a subtly humorous title of “We Parted on the Shore.”

The Element of Mystery. The fascinating element of mystery characterises “The Argyle Case” throughout, and the strong American play is reported to be holding the interest of audiences at the Criterion Theatre, Sydney. “The Argyle Case” is a real detective play, and gains in

interest from the fact that it was written in collaboration with Detective William Burns, who ran to earth the dynamiters at Los Angeles, and other notorious and dangerous malefactors. Some artists who made their first appearance in Australia in this piece add to the interest of the cast. These include Charles A. Millward and William Harrigan, both of whom have achieved a prominent success in the play. :-c sfc * The Burghers and “The Gondoliers.” The “Rand Daily Mail,” of Johannesburg, published the following humorous account regarding the visit to the Gilbert and Sullivan Opera Company’s performance of “The Gondoliers” of six hundred burghers: — “Six hundred burghers from the Lichtenburg military district and elsewhere heard the J. C. Williamson performance of ‘The Gondoliers’ at His Majesty’s Theatre last night. Many of the men of the commandoes had never been inside a theatre before, and their observation of the rule concerning evening dress was dis-

honoured, both in respect of the breeches and the ordinance —cartridge belts and other weapons of war. The excitement of the burghers at the appearance of the ladies of the chorus was an extraordinary proof of the universality of the regard of mankind in all parts of the' world for feminine beauty, and was a further proof of the contention that many an ardent heart beats beneath a rough exterior. The burghers regretted that the conductor of the orchestra used such threatening gestures with his baton towards the men under him, all of whom were doing their best, and were gravely annoyed when the conductor jerked the baton towards the fairest contralto in the chorus. At the conclusion of the performance, the burghers gave three cheers for the management, and the ultimate result of the visit will be that the old song, ‘When country cousins come to town,’ will be quite apt and up-to-date ere long, when the burghers pay a visit to the city with their wives and daughters.”

“Hullo! Everybody!”

Mr. Edward Lauri is having great success at Home with the revue “Hullo! Everybody!” of which he is the producer. Miss May Beatty (of New Zealand popularity) takes a prominent part. One paper says she makes a most fascinating Ivy Chance, her voice being greatly appreciated in the “Lunch a la Grand Opera” duet. Mr. George Clarke and Miss Esta Stella are also starring in the cast.

Elman’s Views on Artistic Attire.

The famous Russian violinist, Mischa Elman, although a mere boy in years, has decided views on .many subjects. One of these is that in order. to be a great artist it is not necessary to set oneself aside from the rest of mankind by extravagance of dress. Elman believes that artists should cut their hair, and wear the customary attire like other human beings, and the young fiddler is very people except in their work. I don’t proud of the fact that he nelieves himself to be one of the first exponents of rational dress for artists. In a recent New York interview, in response to a remark about his tweed suit and conventional tie, Elman said: “1 am very proud to think that I perhaps started the fashion for artists to try and appear like other people. They are just as ordinary as any other want in any way that I, or any of us, should claim attention from the outside, and for that reason I do not like extravagance of dress. What notoriety our work brings us, that is different, but I believe that a man can be great without wearing long hair and a flowing tie.” MISS ELLEN TERRY AS HERMIONE. Ellen Terry made her first appearance on the stage at the Princess Theatre, London, then the home of Shakespearian drama. Charles Kean, son of the great actor Edmund Kean, was the manager, and the first night. April 28th, 1856, of his production of “The Winter’s Tale” was honoured by the presence of Queen Victoria, Prince Albert, and the Princess Royal, so that the eight-year-old impersonator of the boy Mamillius entered upon her public career under happy auspices. Since that time Ellen Terry has appeared in all the most important feminine parts in the plays of Shakespeare, and in many of the roles, such as Beatrice, Ophelia, Portia, Imogen, Mistress Page, Desdemona, Viola, Volumnia, and Cordelia, is recognised by all the greatest critics of our time as the finest exponent of these characters that has ever lived. Her last Shakespearian part was that of Hermione in Sir Herbert Beerbohm Tree’s recent production of “The Winter’s Tale.” DEATH OF MR. LAURENCE IRVING. A TRAGEDY OF THE SEA. Mr. Laurence Irving, who, with his wife, Miss Mabel Hackney, was drowned in the Empress of Ireland disaster, was the younger son of the late Sir Henry Irving. He was born in 1871, and made his professional debut in 1891 as a member of F. R. Benson’s company in “A Midsummer Night’s Dream.” He spent some years writing and translating plays. The last piece produced by him was “Typhoon,” which scored a conspicuous success, and of which he was part author. His wife was leading lady in the production, and received great praise from the critics. Miss Ellen Terry, who is at present in Auckland, was greatly overcome when she heard the news of their death. Laurence Irving was a great favourite of hers, and she always held that he would worthily carry out the high traditions of his father’s acting. Miss Terry also expressed the warmest admiration for Miss Mabel Hackney. Miss Maud Allan, the classical dancer, who was also in Auckland when the tragedy of the sea was unfolded, expressed keen sorrow at the loss of two valued members of the profession. She knew them both intimately and was much distressed at their untimely end. According to the cables, as soon as it was realised that a collision had occurred Mr. Laurence Irving tied a life-belt to Mrs. Irving. When the vessel lurched Mr. Irving was thrown against a door. A passenger offered to help Mr. Irving, who replied, “Look after yourself, old man, but God bless you all the same!”

Both Mr. and Mrs. Irving climbed the rail as the explosion occurred, but were not seen again. Mr. Irving and his wife secured two life-belts. “Dearie,” said Irving to her, “hurry, there’s no time to lose.”

Irving placed a life-belt around his wife, calmly donned his own, and climbed over the rail as the huge vessel careened. Mrs. Irving was ter-ror-stricken, so Irving carried her on deck. The explosion occurred as the Irvings prepared to leap into the water. Apparently the shock killed them.