GREENROOM GOSSIP.

New Zealand Illustrated Sporting & Dramatic Review, Issue 1362, 1 June 1916, Page 34

GREENROOM GOSSIP.

Barry Lupino, the pantomime favourite who was such a success in Australia under the J. C. Williamson management, is in the cast of the big production of “Robinson Crusoe, Junr.,” in New York. It is rather a curious coincidence that in the same production are the Three Rubes, who appeared in Australia with Mr. Lupino in “The Forty Thieves.” In “Robinson Crusoe, Junr.,” they are billed under their own names of Bowers, Crocket and Walters.

Maggie Moore, Fred MacGuire, the two Quealeys, and Ray de Vere were to appear in the new Coyne revue at the Fuller Bijou Theatre in Melbourne on May 27.

Mr. Hugh D. Mclntosh loves to do things in a big way, usually does them so, and generally succeeds. An indication of the character of the man was afforded quite recently when he decided to alter the dates of the New Zealand tour of the Tivoli Follies Pantomime Company, simply because he learned that a larger and better-fitted steamer was leaving Sydney for Auckland a week later than the original date arranged. The Follies have proved to be a good money-making show, and Hugh D. thinks its members should have all that is coming co them. Hence the reason for a new set of dates to coincide with the Makura’s arrival in Auckland on July 9. The tour as re-arranged is as follows: —Auckland, July 10 to 17; Gisborne, July 20 to 22; Napier, July 24 uiid 25; Hastings, July 26; Wanganui, July 7 and 28; Palmerston North, July 29; Masterton, July 31 and August 1; Wellington, August 2 to 9; Timaru, August 15 and 16; Oamaru, August 18; Dunedin, August 19 to 25; Invercargill, August 26 to 28; Christchurch, August 30 to September 5. This rearranged tour means that the Taranaki towns are cut out in favour of Gisborne, which, for its population, is the best show town in New Zealand.

Is is a mistake to imagine that the big picture spectacle, “The Birth of a Nation,” is based on the history of the United States. It is a great spectacular drama, crammed with spectacles in which thousands of people figure in the most thrilling and exciting scenes. Some of these scenes depict various notable incidents that stand out in the national history of America, but the picture is not merely a pictorial exposition of historical tacts. Mr. D. W. Griffiths, the worldfamous producer, took the thrilling story “The Clansman,” by Thomas Dixon, as the foundation of his scenario. Those who have read the book know that after the American Civil war, which made the negro slaves free, a reign of terror set in when the blacks, impressed with the oft-prea<_hed declaration of the Northern whites that the blacks were as good as the whites, on the same level, and worthy of the same rights, practically ruled the South. So tragic became this phase of the aftermath of Hie Civil War, that the whites drought mro existence the dreaded secret society known as the “Ku Klux Klan.” 't hese night riders seized the negro leaders, gave them a summary trial and execution, and flung their bodies

back mto their houses. “The Birth oi a Nation” introduced the exploits oi the Ku Klux Klan, but throughout the whoie drama is a fascinating love story that provides the silver lining to every cloud.

In “So Long, Letty,” now booming at Her Majesty’s, Melbourne, Mr. C. 11. Workman is generously padded to make his proportions loom larger. So plump does he appear that when he attempts to emulate Field Fisher’s “bending” exercise in the play a catastrophe to his gaiments appears imminent. The other day Mr. Workman leceived a letter from a wellknown firm of chemists. “Dear Mr. Workman,” it ran. “We noticed at the performance of ‘So Long, Letty,’ the other night, that since you were last in Melbourne you have put on a considerable amount of weight. This must be exceedingly embarrassing to you, to say the least, in connection with your stage work. We venture to suggest that you accept a sample of our lamous cure for corpulency, which we guarantee most effective, and we would be delighted to supply you with a complete course of same if, on finding it satisfactory, you furnished us with a suitable testimonial.” The chemist would have found it extremely difficult to reduce Mr. Workman’s “fat” by means of his medicine, for it consists of wool!

The London Opera House, Kingsway, was recently purchased by a very powerful music hall syndicate in which, it is understood, Mr. Oswald Stoll holds the chief interest. The house was built by Mr. Kammerstein in 1911 at a cost of over £200,000. After a short run of grand opera it has been a music hall, kinema, theatre, and public hall.

A London message states that Miss Doris Rhoda Burton, an actress, has been awarded £750 damages for breach of promise by a King’s Bench jury against the married Russian diamond merchant, Mr. George Dresden, of Hatton Garden. The plaintiff, whose stage name is Doritza Duilbert, fs 26 years of age and Mr. Dresden is 53.

The lady ushers at Melbourne Theatre Royal will provide a surprise for patrons who visit “The Birth of a Nation.” All the girls will be dressed in crinolines, and a “curtsey girl” will hand out the programmes. D. W. Griffith, at all his dramatic spectacles, has sought to impart the right atmosphere to his productions by such means, holding that it is important to immediately impress the audience with the atmosphere of the story when they enter the theatre. The “curtsey” girl is a particularly novel and pleasing innovation. She will not only hand out a programme, but a curtsey and a smile of welcome as well! Everybody will want to make the acquaintance of the curtsey girl!

The news that Charlie Chaplin had signed a contract with a Mr. Freuler, of an American film company, at a salary of £134,000, with a stipulation that he shall not visit Great Britain and run the risk as a single man of military age of being conscripted, has been received with disfavour both in film and in public circles in London. Several letters have been received by the newspapers asking if it is patriotic to go to see Chaplin films. One correspondent asks how Mr. Chaplin invests his savings—in American stocks or in British war loan?