A CLEVER PRODUCTION.

New Zealand Illustrated Sporting & Dramatic Review, Issue 1434, 18 October 1917, Page 32

A CLEVER PRODUCTION.

MISS HALL’S DANCE RECITAL. Local dance recitals have resolved themselves into elaborate entertainments nowadays, and the keenest interest is always aroused in these events. One of the most popular is the annual carnival given by Miss Cecil Hall and her pupils, which took place at His Majesty’s Theatre last Friday and Saturday. The programme was a most ambitious one, and demonstrated the high standard of excellence Miss Hall has achieved. Many original ideas were carried out both in costuming and design, and the audience were loud in their expressions of admiration. One of the most spectacular features was an Egyptian scena entitled “Vengeance,” Miss Hall as the Princess revealing her interpretative art in emphasising the note of tragedy. Mr. W. J. Meredith was the slave of the Temple, with Miss Vera Ziman as the Golden Idol and Miss Eleanore Miller as the Spirit of Evil. Slaves, priestesses and flower maidens in choruses and dances added to the effect. A most delightful extravaganza was the “Christmas Eve Phantasy,” which unfolded all the joys of Yuletide, and included the dance of the Christmas trees, the dance of the Christmas bonbons,

dance of the snowflakes, “The Land of Nod,” with pyjama and lantern chorus, and the “Plum-pudding Fairy.” Very charming were the dear little Kewpies, led by Cupid (Keith Leaning), while a special appeal was made by Miss Muriel Philcox in her descriptive monologue, “The Land of Children’s Dreams.” Another elaborate scena was a “Gipsy Divertisement” with a Spanish setting. Mrs. Patrick Cole enlivened proceedings with her spirited act ng as “Carmen.” A Dutch specialty, “A Wooden Wedding,” with Misses Muriel Brown and Beryl Nettleton as the contracting couple, also evoked ardent admiration, the effect being heightened with the bevy of Dutch dancers. “Carnival” was truly expressed in a Paris divertisement depicting the harlequin, columbine and taxi-trot ballet. The individual classical dancing and posturing came in for special notice, amongst those of outstanding merit being Misses Lyla Bennett (“The Wind”), Jocelyn Dixon (“Vanity”), Muriel Philcox (“Spirit of the Mist”), Dorothy and Marjorie Turner (“Danse du Champagne”), Mary McKenzie (“Polka Caprice”), and Margaret Miller (“Dance Captivante”). Other dainty soloists were little Ellice Alison, Patricia Cole, Phyllis Hunt, Mona Craig, Bettina Edwards, Edna Schnauer, Elsie de Tourret, Phyllis Bath, Inez Rostgard, Marjorie Mills, Muriel Brown, and Amber Jones. A pretty little dance story was conveyed in “The Orchid,” charmingly represented by Jocelyn Dixon and an array of sunbeams. The latter youthful maiden also danced a Russian Trepak with much zest. Variety was lent in “The Sailor’s Hornpipe,” into which Dorothy Spencer and Ailsa Ronayne infused the necessary vivacity. An “Early Victorian Romance” was quaintly represented by Jocelyn Dixon and Biddy Philcox, while another charming dance sketch was “The Spectre of the Rose,” by Amber Jones and Mur el Philcox. Little 1-hyllis Bath had a great reception for her exposition of “La France,” and she also figured with Biddy Philcox in “Danse Coquette.” Altogether the entertainment was a tribute to Miss Hall’s interpretative genius and her facility for imparting her gift. The voluntary orchestra was directed by Mr. S. Green, while Miss Marian Aitken proved an efficient pianist. Mr. Alan McElwain was stage manager of the production. The proceeds are to be given to the Returned Soldiers’ Association. Owing to the success of the two nights’ season and the number of people that could not obtain admission, a third performance is to be given to-night (Wednesday).

RED CROSS “OUR DAY” APPEAL. AN ELABORATE PROGRAMME. The British authorities have forwarded a request through His Excellency the Governor-General to the people of New Zealand, asking their co-operation, with the rest of the British Empire, to make a special effort to augment the funds of the Red Cross during the month of October, and to set aside as a special appeal day Friday, October 19. In response to the request, Auckland’s patriotic workers have set to work with a will, and have mapped out a gigantic programme for that day. Queen Street is to be en fete, preparations being well advanced to erect stalls in the main thoroughfare of the city. The Allied Consuls have constructed a “Wizard’s Cave” in the basement of the New Zealand Insurance Buildings, and the attractions promise to be of a novel and mystifying character, while a special draw will be the refreshment department in charge of an enterprising committee. The Women’s Mutual Aid and Returned Soldiers have organised “Wonderland,” which will be located at the corner of Queen and Victoria Street West. The Auckland Women's Patriotic League have made elaborate arrangements for a cafe chantant in the Town Hall. The Y.M.C.A. are featuring a model “Dug-out”; the Civic League' are exploiting the “Merry Jesters” at the H.B. Buildings, and there will be other innumerable attract.ons, including a Swiss chocolate chalet, stalls of every description, including fish, jumble, sweets, French, Italian and Belgian, not to mention guessing competitions and auctions galore. The propr.etors of the picture theatres are contributing 5000 one shill.ng tickets to the fund, available from October 19 to 31. On Thursday (October 18) a grand swimming carnival will be held at the Tepid Baths, with displays by champions and the lady members of the Royal Life-saving Society. Special serv.ces and collections will be held in the churches on the following Sunday. A dance recital will be given at His Majesty’s Theatre on November 3 by Miss Beresford’s pupils, and a gymkhana by the Auckland police force takes place in the Town Hall on November 9. A children’s fancy dress ball, and bowling and golf tournaments will also term part of the great October campaign. Mr. C. F. Bickford is cha.rman and honorary financial organiser.

When it is remembered that the sum of £5 10s. 6d. per minute is spent on Red Cross work, the magnitude of the organisation can be realised, and everyone should rise to the occasion and give cheerfully and 1 berally. It has been well emphasised that giving to the Red Cross is not a charity. Ic is a common, unquestioned and universal duty. Here are just a few of the achievements of this last organisation: It bnngs relief and comfort to all belligerents; it carries the burdens of small countr es devastated by the enemy, and for the time being crushed; it maintains Red Cross hospital ships and trains; it supplies countless comforts in these and arnqy hospitals; it provides a bureau for tracing the miss ng and wounded, and. tree accommodation for relatives visiting men lying dangerously ill in France; Red Cross motors and ambulance cars meet all wounded soldiers on arrival in England; Red Cross cars convey wounded soldiers to places of interest and amusement; and Red Cross depots in England and Scotland rece.ve parcels up to 71b. weight and deliver to the trenches free of cost.

A stirring appeal for the Red Cross is made in the New York “Argonaut,” part of which is as follows: —Reflect for a moment on the necessity for such hospitals in a war where the wounded number millions, where a full army corps of twenty-five or thirty thousand men is continuously in hospital for diseases and sickness unrelated to wounds, and then think of our shame if we do not pour in our money to save the lives of our young men who will pour out their blood for us. And so give as you would give to that boy, not alone what you can spare, but what you can not spare. Give as our Canadian neighbours say and do, “until it hurts.” . .

Give to the Red Cross, fellow citizens: give unst ntingly.

“The New Henrietta,” the second play that is to be staged by the new J. and N. Tait company in New Zealand, has proved a veritable boom in Australia. It is a play of unusual virtues, in that it combines the elements of farcical comedy with those of serious drama, and breaks away entirely from the sloppily sentimental comedy that has come out of America in waves during the last few years. “The New Henrietta” is a play for all ages and both sexes. Its central thread follows the fortunes of Mr. Van Alstyne, a middle-aged citizen just beginning to take things easy on a competency, when a merry widow arrives and upsets the whole scheme.

The newly-organised J. C. William son Musical Comedy Company has scored a decided success with “Mr. Manhattan” at Her Majesty’s, Melbourne. The piece is described as a “musical cocktail,” from which it may be correctly gathered that it is bright, sparkling and exhilarating. Since the opening night further musical numbers have been added, which have had the effect of still further adding to the joyous note of the piece, and a change in the cast has brought the inclusion of Mr. Robert Greig. The “girl” element is particularly attractive in “Mr. Manhattan,” the chorus and ballet being seen to the best possible advantage. Two chorus items, “We Want Our Dinner” and “We Want Some Hats,” hit the audience so hard at every performance that the demand for a repetition invariably holds up the piece.

The J. C. Williamson New English Comedy Company has scored another success in Sydney, where the first Australian production of “You’re in Love” has been given. This piece is from the same producer as “High Jinks.” The author takes his characters on a yachting trip to the South Seas. Miss Maude Fane scored a big success as Georgiana, the girl who is most in love and married on condition that for a year there must be no kisses between herself and her husband.

One of the biggest h ts in “Mr. Manhattan” was scored by Louis Kimball, who stepped out of the Kathlene MacDonell production of “Outcast” at the Theatre Royal to take the title role in the musical comedy at Her Majesty’s, Melbourne. Mr. Kimball was accorded an ovation at the end of the performance. He had not previously appeared in musical comedy in Australia, but bad played such roles in America.

Miss Madge Surtees, who made such a success in the title role of “Sunday” with the Royal Dramatic Company, is at present appearing in plays at King’s Theatre, Melbourne, under the Bailey and Grant direction.

THEATRICAL OUTLOOK AT HOME. The theatrical outlook is not particularly encouraging (says the “Daily Alai”). There is an absence of big plays, and there is still more marked absence of really great players. The biggest success of the past two years has been “A Little Bit of Fluff,” whose title rightly indicates it as a bit of fluffy foolery! Its success is rivalled by that of “Romance,” a play of very healthy sentimentality, but scarcely what one would call a great p:ay. if you look down the list of the theatres to-day you will find that musical comedies of one kind and another are in the majority, from “Chu Chin Chow” at His Majesty’s to Harry Grattan’s revue “Cheep” at the Vaudeville. There is “Zig-Zag” at the Hipprodrome, “Round the Map” at the Alhambra, “Theodore and Co.” at the Gaiety, “The Alaid of the Mountains” at Daly’s, “Smile” at the Garrick, G'aby Deslys in “Suzette” at the Globe, and so on. Judging from the lists the principal writer of plays for London is Brieux, whose medical study, “Damaged Goods,” is at the St. Martin’s, and whose comedy, “The Three Daughters of M. Dupont,” at the Ambassadors. Several of our bestknown playwrights are engaged .n war work and have no time for drama. Some of our great actors of yesterday have gone, and others are waiting for a more favourable atmosphere.