GREENROOM GOSSIP.

New Zealand Illustrated Sporting & Dramatic Review, Issue 1446, 10 January 1918, Page 34

GREENROOM GOSSIP.

Most marriages are stern and solemn and often serious in their consequences, leaving little to laugh about, but “The Marriage of Kitty,” the charming comedy to be presented here by the world-famous Miss Marie Tempest, under th© J. C. Williamson direction, is on© of the most hilarious functions on record.

The Fullers had three new big productions opening simultaneously in Melbourne during Christmas week. These were Allan Wilkie’s presentation of the historic play “For the King,” the Fuller Dramatic Company in “Three Weeks,” and the pantomime “The Bunyip.”

Mr. Victor Beck, the well-known theatrical agent, was taken seriously ill in Christchurch a few days ago, and was obliged tb undergo an operation. He is making a good recovery.

Every once in a long while the J. C. Williamson management are able to secure for their Australian theatres a world celebrity. Their latest is Miss Marie Tempest, who is due in Auckland next month, when she will submit “The Marriage of Kitty.” The comedy affords a typical Marie Tempest part—the environment of Mayfair and a ripple of fun on the surface of a bright story. Miss Tempest has played the part altogether over 1000 times in London (including four revivals in the West End). She has also played it for long seasons in America. With Miss Tempest will be Mr. Graham Brownes who has been the star’s leading man for several years.

From the costume point of view it is generally conceded in Melbourne that the “Dick Whittington” pantomime excels any of the J. C. Williamson firm’s achievements in this direction. From first to last the pantomime is characterised by a glorious succession of wonderful and beautiful costumes, ranging from those of early periods tO’ the very latest creation of the Paris modiste. An idea of the lavishness of the costume display is ’ndicated by the fact that the chorus ladies have no fewer than 'fifteen distinct changes of dress throughout the pantomime.

The new Fuller pantomime, “Robinson Crusoe,” now being staged at the Sydney Grand Opera House, had a brilliant opening, and is spoken of by Sydney critics as a worthy successor to this firm’s previous pantomime success, “The Bunyip.” The cast is a strong one, and includes Victor Prince

as the castaway, Robinson Crusoe; Vaude and Verne as Friday and Saturday, Charles Zoli as the Pirate King, Percy Clifton as a keyhole prowler Puren Chaste, Billy Watson as Archibald Crusoe, Maud Fanning as the Cannibal Queen, Lou Vernon as a giant octopus, and Kelson Henderson as King M’crobe, a fearsome object; dainty Nellie Fallon is the principal girl, Olive Sinclair the Princess of Rainbowland, and popular Nellie Kolle dons the tights as pr'ncipal boy.

On Chr stmas Day Mr. Cyril Maude, who recently arrived in Christchurch, extended an invitation to the whole of his company to spend a day in the country with him, and 25 of a party made the trip to the Ashley Gorge in the afternoon. The weather was perfect for such an outing, and all enjoyed themselves immensely, the party returning to town at about 11.30 pm. Elaborate arrangements were made by Mr. Maude, and an excellent

dinner was d'scussed in the open air. Mr. Maude was greatly pleased with the success of the gathering, and said that it was absolutely “the greatest Christmas Day he had evei’ spent.”

The success of Miss Vera Pearce as principal boy in the J. C. Williamson “Dick Whittington” pantomime at Her Majesty’s, Melbourne, s all the more significant by reason of the young Australian’s early association with the J. C. Williamson management at this theatre. Miss Pearce made her first stage appearance as a child in J. C. Williamson pantomime at Her Majesty’s, and successively made her way through the various phases of this production, including chorus and ballet. Now, as principal boy, she has reaped the reward of all those years of work and preparation. “One of the best principal boys ever seen on the Australian stage,” is the verdict of pantomime patrons at Her Majesty’s, Melbourne.

A striking figure in the “Dick Whittington” pantonr’me at Her Majesty’s, Melbourne, is the representation of war in the War Ballet, in which the whole of the nations in the present great conflict are depicted. War is a grim, swift and black-garbed figure that sways the nations, and, thrusting peace and civ’lisation apart, sets the nations against each other in the terrible clash and slaughter of battle. War is represented by Miss Ruby Grainger with vivid realism. She looks and acts the role perfectly, and at every performance of the War Ballet her representation arouses a great deal of comment.

Mr. Sydney Stirling, as the sol’citor godfather in “The Marriage of Kitty” (Miss Marie Tempest’s openng play here), the lawyer who protects his clients from the law, is at his best in moments of exasperation. “You got yourself into this muddle, you can get yourself out,” ; s the, natural exclamation of the person who has planned the whole thing, but whose plans miscarry.

The death has occurred in England of Mr. Fred. Billington, one of the oldest and most popular members of the D’Oyly Carte Company playing in the Gilbert and Sullivan operas. He arrived in London from Cambridge, where he had been on duty with the company. He had luncheon with Mr. D’Oyly Carte, and afterwards fell suddenly in one of the corridors. A doctor who was called found Mr. Billington dead. He had been complaining of heart trouble. Mr. Billington originated for the provincial D’Oyly Carte company the “heavy” light parts created in London by Mr. Rutland Barrington. For the best part of a generation he was almost continuously on tour, and as time passed on and one member of the company after another was changed he re mained. He must have played some parts thousands of times and travelled countless miles. His most popular part was Pooh Bah in “The Mikado.” He also took the sentry in “lolanthe,” the Grand Inquisitor in “The Gondoliers,” Wilfred Shadbolt in “The Yeoman of the Guard,” and the vicar in “The Sorcerer.”

A line from Mr. J. L. Cathro, who is ahead of “Look Who’s Here,” goes to show that the company are doing splendid business : n the South. In Dunedin they establshed a record, and consequently Mr. Cathro has nothing but pra’se for the Scotch city. The company play Auckland th s month.

Miss Ethel Morr son plays charmingly the part of Rosalie, the romant c serving maid, in “The Marriage of Kitty,” the brilliant comedy which will open the Marie Tempest season in Auckland shortly. Her exuberant belief in the happy reunion of the married couple, in contrast to the distrustful indifference of the man-ser-vant (Leslie Victor), is one of the best things in the second act of the play.