STAGE GOSSIP.

New Zealand Illustrated Sporting & Dramatic Review, Issue 1367, 6 July 1916, Page 4

STAGE GOSSIP.

“The Birth of a Nation,” the re-

markable dramatic picture spectacle, has put up a unique record for an attraction in Australia. Four distinct productions are now being sent out by J. C. Williamson, Ltd. In Melbourne and Sydney “The Birth of a Nation” has drawn immense audiences. In Melbourne the original season was twice extended, the film being transferred fiom the Theatre Royal to the Auditorium, and then to the Town Hall. It will be presented right through Australia and New Zealand. Mr. George Bowles, who represents Mr. D. W. Griffith, the great picture producer who was responsible tor the production of “The Birth of a Nation,” said that the success of the enterprise in Australia had exceeded all expectations. “When I cabled to Mr. Griffith informing him to this effect, he cabled back that it was the best piece of news he had ever had regarding ‘The Birth of a Nation.’ We had been given to understand before I left New York,” explained Mr. Bowles, “that Australia was a fine field for picture attractions, but would be very difficult to run at prices higher than those charged for ordinary picture shows. However, the success achieved has been remarkable.” * * * * Madge Fabian, who is starring in “On Trial” at the Theatre Royal, Melbourne, candidly admits that there are at least two things a woman should not do on the stage. One of these is shoot; the other, throw things. “In the first case,” explained Miss Fabian, “she is apt to let the gun dangle, and close her eyes as she fires. However tense the situation is it is apt to become ridiculous. In the case of the second, when she throws things she is sure to hit the wrong object.” Miss Fabian gave point to her assertion in the following instances: “When Alexandra Carlisle was playing the tite role in ‘Everywoman’ at Drury Lane, London, in the scene where she throws the bottle at the mirror she cast the missile with great force, but missed the mirror and struck the scene cloth. Of course there were shrieks of laughter from the audience. I was more unfortunate myself when subsequently playing the same part. This time the bottle fell into the stalls and hit a bald-headed old gentleman on the chin. His injury necessitated medical attention, and it took all my powers of sympathy and persuasiveness to restrain him from tuking an action for damages.”

Sara Allgood, who plays the title role in “Peg o’ My Heart,” now concluding its season in Sydney, has no doubt about the popular appeal of the dainty little comedy. “The sentiment of it seems to grip and hold those who see it, to go home with them and sit with them at their firesides,” said Miss Allgood, lately, “and when little bits of the play flit across their memories a soft, gentle smile comes to their faces. ‘Peg o’ My Heart’ is a • play that becomes intimate,” continued Miss Allgood. “The audience live in it, just as much as I do, and I can assure you that I do always. Take the name of my part in the cast, for instance, Peg O’Connell. It is too formal. Everybody says ‘Peg’ or ‘Peg o’ My Heart.’ So it must be taken for granted, too, that the very poetry of the title has meant a great deal towards the play’s popularity. ‘Peg’ is a wonderful part for me. I find new delights in it every performance.”

One morning Frank Harvey’s mail, handed to him at the stage door entrance of the Theatre Royal, Melbourne, comprised eleven letters. One contained an inquiry as to whether he was married. One desired his advice on the subject: what is the best way for a young girl to get on the stage? Eight were requests for signed photographs. But there was one that gave Mr. Harvey intense gratification, for the writer metaphori-

cally conferred upon him the distinction of being the best actor at present appearing in Australia. The reason for the conferring of this sweeping distinction upon Mr. Harvey was thus summed up by the writer: “You are the first actor I have seen here for years who shewed commendable restraint in making use of stage tricks. In other words, you do not pose and strut, and gape in the limelight. How actors do love limelight! Any other actor in the scene in ‘On Trial’ where you rush in and shoot Trask would have paused until the limelight was planted squarely upon him, then tragically stepped into the middle of the room, waited until the audience had got a good look at him, fired the pistol, and then retired. But you come in like a whirlwind, do the deed, and like a flash it is all over. Australia has had too little of this natural method of acting. .“The most interesting thing about the compliment,” commented Mr. Harvey, as he read out the letter, “is that it is signed with the name of a well-known

Australian actor I appreciate the compliment a great deal more on that account.” J. and N. Tait have been fortunate in securing the services of Mr. E. W. Morrison as producer of the delightful little comedy “Peg o’ My Heart.” Mr. Morrison, who first came to Australia with the late Edith Crane and Tyrone Power several years ago, gained a lot of experience as a producer in America under various wellknown managers. Although the public sees him not, the producer is a very important personage, and the success or failure of a piece often depends on his ability to present it in a manner that makes the most of its situations. The hand of an experienced producer is seen in the stage setting of “Peg o’ My Heart.” Mr. Morrison knows his job, as the Americans say. His one regret, perhaps,, is that the comedy has no part which suits his personality. Whenever he is producing he always likes to have a small role, just to keep his hand in, as it were.

Among those on their way to the front with the Australian forces is Reg. Wykeham, the well-known actor, who will be remembered throughout New Zealand. His appearance with the Wykeham-Nable company in the Dominion, is perhaps best remembered, his comedy work being of a high standard, while he has frequently delighted New Zealand audiences during his many tours of the country.

The war is having a disastrous effect on the theatrical business in England, says a writer in the “Theatre Magazine.” The London theatres, it is said, are kept alive by their week-end audiences. That is the time when Tommy Atkins, relieved from active duty at the front, is temporarily sent home for a little diversion. As a consequence this transient class seeks amusement at the theatres. With far more excuse than the “tired business man” of New York, he naturally wants only the lightest form of entertainment. The problem play and the emotional drama are having a hard time of it. Strange to say, however,, the English

metropolis this season has had lots of Shakespeare, and it has been presented too, with substantial returns. With the Germans the trip back to Berlin is not so easy, but the drama is not neglected by the Kaiser’s soldiers. Before hostilities broke out a theatre at Lille was in course of construction. Now the Germans have completed it, having secured in some way the original drawings, and a professional company from Berlin is daily holding forth. The drama is accepted everywhere as the great panacea for the horrors of war.

The German picture theatres appear to be having as successful a time as our own (writes “The Projector” in London “Daily Mail”). Just now the programmes are particularly strong in big pictures, and an effort is being made to popularise singing pictures, of which we know something in this country. In the Union Theatre of Berlin, Wagner’s “Lohengrin” has been screened, with some first-class opera singers in the principal roles. In each scene the director of the German Landstheater is seen directing the opera, the singers being seated in a darkened room at the side of the stage. The experiment does not appear to have been a success, for Berliners know too well the voices of the singers shown in the pictures to be satisfied with the substitutes. “Lohengrin,” with its long acts, tired the spectators, who could not reconcile a long pose with the usual action in a moving picture. One producer has turned out a very popular film, “The Great Bet,” which depicts life as he expects it to be in 2000 . A.D. By the aid of technical and mechanical contrivances, he shows an air-line cab service, furniture which moves on the pressing of a button, books which come out of the shelves at command, and an extraordinary automatic figure which behaves like a human being. The Germans are already talking about this picture as representing a new school of production. In the past two weeks of “Stop! Look! Listen!” at the Colonial Theatre Gaby Deslys has exhibited about 50 of her wonderful gowns and hats; but she has as many more in her wardrobe, which she will try to wear at the remaining performances of her engagement (says the Boston “Globe” of April 16). This fascinating French woman never wears the same gowns at two performances, and the attaches of the Colonial Theatre have been making bets on how many new dresses she will display every evening. Just before coming to Boston she received nine new gowns from Paris, all advance models, and these she reserves especially for the matinees, when women constitute the greater part of the audience.

Charlie Chaplin, the famous moving picture actor, used to be a member of William Gillette’s company. In fact, he made his stage debut in “Sherlock Holmes” as the detective’s boy, Billy. That was in London, when Mr. Gillette produced the play there several years ago.

Miss Doris Gilham, now playing the stiff and haughty Mrs. Chichester in “Peg o’ My Heart” at the Sydney Palace, happens to be a Sydney native, though she has spent most of her life in England. She went to the Old Country when very young to be educated, and showing early dramatic ability she took to the stage as a matter of course. Much of her success has been achieved in popular plays like “The Flag Lieutenant,” “Under Two Flags,” and “The Fatal Wedding,” but her favourite parts are Glory Quayle in “The Christian” and Astrea in “The Trumpet Call.” She has also done excellent work in intellectual plays, such as are staged by Miss Hornman at the Gaiety Theatre, Manchester. Miss Gilham. has travelled considerably, notably in South Africa, whe:e she appeared in two or three locally-written productions. Incidentally she happened to be appearing in Johannesburg when an extraordinary snowstorm wrapped the city in white and caused a sensation among the coloured population.