SOUTHERN STAGE NOTES.

New Zealand Illustrated Sporting & Dramatic Review, Issue 1372, 10 August 1916, Page 34

SOUTHERN STAGE NOTES.

(By

“Lorgnette.”

WELLINGTON, August 7

Horace Goldin, the magician and illusionist, who opens a Dominion tour at the Grand Opera House on Wednesday evening, August 30, was born in Russia, but is described in “The Green Room Book” as a citizen of the United States of America. He was originally a commercial traveller, and came into prominence by reason

of his clever sleight-of-hand work at charity entertainments. He made his first appearance as a professional magician in 1896, since when he has shown in the best theatres of the world. In the entertainment he now presents —which is probably the most sumptuously dressed turn of its kind ever presented to New Zealand playgoers—he creates a good impression by appearing in character sketches of six of the world’s greatest magicians. That is to say, the curtain rises each time on a stage set in the colours of the particular country from which the performer he represents is supposed to hail from. If a Frenchman, the dressing suggests the atmosphere of that country, and the tricks are those peculiar to the performers of the nation. Mr. Goldin will be assisted by a high-class vaudeville company. Mr. Stanley Grant, the well-known theatrical manager, arrived in Wellington by the Manuka to complete arrangements for the Dominion tour of the picture drama “The Birth of a Nation.” The tour, which opens at the Wellington Town Hall on Aug-ust 29, will be under the direction of J. C. Williamson, Ltd. By last week’s Sydney mail I received a newsy letter from Mr. Jack O’Sullivan (brother of Mr. Tom Pollard), dated Melbourne, July 10. He says that “George Marlow is doing great business at the Melbourne Prin-

cess with the Gonsalez Italian Opera Company, the theatre being packed nightly. They produce three different operas each week, such as ‘Rigoletto,’ ‘Faust,’ ‘La Tosca/ ‘II Trovatore,’ ‘La Traviata,’ and ‘Lucia de Lammermoor.’ The male singers are very fine indeed —about the best voices we have had in opera in Australia. The tenors are simply great. The ladies are good actresses, and the majority of them are splendid vocalists. The J. C. Williamson production of ‘Tonight’s the Night’ is proving a great success. I am sure you and all his friends in New Zealand will be pleased to know that Alf. Stephens, who was a very clever and popular member of the old Pollard Opera Company, has donned the khaki, and is already on his way to ‘do his bit’ against the Bosches. Recently I was doing the advance work for Phillip Lytton’s

company with ‘The Waybacks,’ a stage version of Henry Fletcher’s famous ‘Wayback’ stories, but am at present enjoying a few weeks’ holiday. Mr. Lytton has made a heap of money with this production. Give my kind regards to all old friends.” Mr. William A. Low is at present in Wellington booking a tour for the big picture drama “Jane Shore.” One of the most striking performances ever put on the New Zealand stage was produced at the Grand Opera House, Wellington, on July 28 and 29 by Miss Gladys Campbell and her pupils, in the shape of a musical comedy entitled “Sunset Land,” from the pen of Miss Beaumont, of Preston, England. “Sunset Land” is a pretty conceit most admirably staged, the scenery (from the brush of Mr. W. Beck) being extremely handsome, and the groupings of the characters tasteful and, in many instances, artistic. In fact, it is a pantomime, a ballet and a musical comedy all in one, being brimful of song, dance and mirth. Miss Isobel Wilford, as Dame Fortune, was most successful in her songs and dances, whilst she wore some very pretty frocks. Miss Marie Fix gave really fine impersonations of the characters of The Man in the Moon and the ship’s doctor, whilst Miss Marjorie Nicholls was good both as Captain Drake and Neptune. Miss Hazel Hardwicke as Freda and Miss

Rere Beckway as Basil played their parts with accuracy and finish. Miss Francis Muter, as Seafoam, Miss Nesta Cooke as Jim, Miss Chrissie Young as Tim, and Miss Evelyn O’Brien as the Chinaman were all well in the picture. With such a number of solo dances and ballets it Avould be invidious to pick any one out for special praise. They were all good, several of them being of professional quality. Miss Campbell deserves every credit for the high standard of excellence to which she has got her clever M pupils. This versatile teacher is a graduate from Mrs. H. Wordsworth’s College of Physical Culture, Queensbury Hall, South Kensington, London, wliere the curriculum covers instruction in all branches of dancing, fencing, Swedish gymnastics and elocution. The three years’ course at this college, it will be noticed, is a strenuous and constant one. The prizes won by Miss Campbell during her college career were many and important. Lady Beerbohm Tree’s certificate of distinction for elocution was won during the first year in a competition of over 100 pupils. In producing the play Miss Campbell was fortunate in having the experience and help of Mr. W. H. Didsbury, who acted as stage and business manager. It might also be mentioned that all the dances, introduced into the piece, with the exception of the famous rhyme ballet, were conceived and invented by Miss Campbell, and adapted to music specially selected. The performances were in aid of the British Red Cross Society. Both performances were witnessed by her Excellency Lady Liverpool and party from Government House. Her Excellency was so enamoured with the performance that she has asked Miss Campbell to reproduce “Sunset Land” for the benefit of the Countess of Liverpool Patriotic Fund. Miss Campbell has agreed to do so as soon as she can get suitable dates for the Grand Opera House.