STAGE NOTES.

New Zealand Illustrated Sporting & Dramatic Review, Issue 1401, 1 March 1917, Page 5

STAGE NOTES.

The advantages of a dramatic education are shown in the case of Winchell Smith, who collaborated with J. L. Hazzard in the production of “Turn to the Right,” which J. and N. Tait are producing at the King’s Theatre, Melbourne. Winchell Smith was a promising actor at twenty, and for over ten years he worked with the late Charles Frohman, appearing in various productions and stage managing numerous others. Later on he was the brilliant lieutenant of Arnold Daly, who is noted on both sides of the Atlantic for his artistic presentation of Bernard Shaw’s plays. Naturally, all this experience was invaluable to Winchell Smith when he commenced to write plays for the American stage. His natural aptitude for play writing was assisted by an educated sense of stage effect, and he was soon a flourishing dramatic author. How well he has succeeded can be estimated by the fact

that he made enough money in two or three years to build a 500,000 dollar home at Connecticut, U.S.A. It may not be generally known that Rupert Julian, movie actor, author, and producer, who, with his wife, Elsie Wilson, is doing well in America, is from Auckland, Hay being the name he was known by then. He was an enthusiastic amateur in the Northern city, and did some fair work on the professional stage, notably in the Julius Knight Co., but did not give promise of reaching the heights he has climbed to in the States. * « • • It is claimed for the great picture film “Intolerance” that it is more than a succession of wondrous spectacles in which thousands of people take part, assisted by all the forces and facilities of an immense organisation. It has a coherent story, which not only takes us back to the ancient and mediaeval, but also realistically presents some stirring phases of everyday life. The dash of the highpowered racing car to save the life of the present-day hero and its race with a flying train is the climax of the transition from the past to the present. It cost £'400,000 to make “Intolerance,” which runs as a complete evening’s entertainment. An orchestral score arranged and composed by the best modern musicians will accompany the story.

The death of Mr. Heniy Bracy, which occurred in a private hospital at Darlinghurst, Sydney, on January 31, is announced. In the death of Mr. Bracy New Zealand and Australia lose one of their best known and universally admired theatre personalities, his courteous manner and interesting personality having secured him many friends both in the Dominion and in Australia. One of the most brilliant periods in Mr. Bracy’s Australasian career was when he appeared in Sydney in July, 1892, when the late George Lauri made his first appearance in the New South Wales capital. During the season the following pieces were staged: — “Marjorie,” “The Gondoliers,” “The Mikado,” “The Old Guard,” “Charity Begins at Home,” “Pepita,” and “The Yeoman of the Guard.” The company also included Mr. Charles Ryley, Mr. Howard Vernon, Mr. Sidney Dean, Miss Flora Granpner, Miss May Pollard, and Miss Florence Young. In all the pieces mentioned the late Mr. Bracy was the principal tenor. As a producer and stage manager Mr. Bracy was noted for his punctuality, his attention to details, and his sense of the dignity of his position. He joined the J. C. Williamson firm in 1890 as manager of the operatic department, and some of the firm’s most famous productions in comic cpera and musical comedy were staged under his guidance. Previously he had acted in a similar capacity for the Williamson, Musgrove and Garner management. /He also had an important share in the selection of voices and the training of the chorus of the Melba Grand Opera Company. Mr. Bracy’s connection with the stage in Australasia, however, dates much further back than his association with the Williamson, Musgrove and Garner management. He came out to Australia first in 1874 under engagement to Harwood, Stewart, Coppin and Hennings as principal tenor to this firm under a two years’ contract, but on his arrival he found there no operas ready for production. He therefore had to step down into drama, his first appearance at the' Theatre Royal, Melbourne, being Rosencrantz in “Hamlet.” Later he was transferred to the W. S. Lyster management, producing “The Princess of Trebizonde,” “Chilperic,” “The Grand Duchess,” “La Perichole,” “Girofle-Girofia” and “The Brigands.” In these productions the prima donna roles were snug by Mrs. Henry Bracy (Miss Clara Thompson). Mr. and Mrs. Bracy afterwards went to San Francisco, and returned to Mr. Lyster in 1878, and produced “Les Cloches de Corneville” for the first time in the Commonwealth. Subsequently he returned to England to fulfil . engagements in various operas. In 1884 he was singing at the London Savoy in the Gilbert and Sullivan operas. Jn 1888 Mr. Bracy was once again in Australia, this time with his own company, which successfully produced “The Sultan of Mocha,” “The Lady of the Locket,” and “The Beggar Student.” Mr. Bracy was one of those stage veterans with associations so far back that they receive the paternal title; he was familiarly known' round the theatres as “Pa” Bracy.