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New Zealand Illustrated Sporting & Dramatic Review, Issue 1453, 28 February 1918, Page 32

J. C. Williamson’s Musical Comedy Company concluded their New Zealand tour last week, and have returned to Australia. They open in Melbourne on March 9 in "The Only Girl.” Miss Connie Ediss is said to have a great role in it.

The hold of the theatre on the public is greater than ever (comments the London “Daily Mail”). Increased rents have not deterred men from producing plays, neither have the inflated salaries, nor the increased tax and the excess war profits (when there were any). Reduced lighting, air raids, scarcity of cabs and omnibuses, have not kept the public away. Playgoing is now the national amusement. In fact, there is no other, except it be the kinematograph shows.

Miss Maud Beatty’s many New Zealand admirers will be pleased to learn that the Christchurch actress has secured an engagement with J. C. Williamson; Ltd. The “Press” makes the following interesting comments: Christchurch can claim for its very own a musical comedy “star,” who has made good practically the world over. This is Miss Maud Beatty, who, with her sister May. captivated audience after audience in Australasia not so many years ago. Maud, who is about a year older than May, was born, as it were, in the glare of the spotlight, for she breathed her first in the old Palace Hotel, a portion of the old Christchurch Theatre Royal building. She started her theatrical career with Mr. Tom Pollard’s Juveniles, and quickly rose to the front row of musical comedy artistes. Possessed of a fine stage appearance, a very passable voice, and considieirabel hisitrionic ability, she became a recognised “star,” and toured as such in various parts of the world, including a season at Drury Lane, London, where she appeared as principal boy in the production of “Mother Goose” with such artists as Dan Leno and Herbert Campbell. More’s the pity, she has been lost to Australasian theatre-goers for several years past, but that does not by any means signify that she has been away from the footlights. On the contrary, she has been making good in New York and other parts of America. In her career, she has played all kinds of parts with equal success, musical comedy and straightout comedy, opera, and ordinary drama. When Mr. Hugh J. Ward was in America some time ago, looking around for new attractions for J. C. Williamson, Ltd., he had a conversation with Maud Beatty ; and although no actual agreement was arrived at, he gave her to understand that Australasia would be very glad to see her again. The result is that she has cabled to her mother (Mrs. H. A. Kent), in Christchurch, stating that she is sailing at the first opportunity to appear under the J. C. Williamson banner. She has passed through many trials since she left here, amongst them being the death of her husband, but theatregoers will be glad to see the old-time favourrite on the New Zealand boards again.. As yet, the terms of her contract are unknown, but it is almost certain that she will be reserved for one of J. C. Williamson’s best musical comedies.

The policy of food economy has been extended to the stage (says a London paper of December 2nd). Property bread is now used in food scenes, and the comedians are extravagant with soup that is really coloured water. At the Adelphi in “The Boy,” W. H. Berry sits down to a meal consisting of canvas bread, brown water soup, wood cutlets, and ginger-ale champagne. When the audience notices bread being thrown about the stage they need feel no indignation; it is canvas bread. Weak cocoa serves for the beer drunk in “Bubbly” at the Comedy; the foam is quite realistic.

Mr. Arthur Styan and Miss Nellie Ferguson are said to do some of the best work of their long careers in “Seven Days’ Leave,” the big Fuller success. In this play of submarine

and spy menace Mr. Wilkie is the captain hero, Mr. Vivian Edwards a subtle spy, and there is an athletic English girl whose swimming and diving prowess bring about the destruction of a U boat.

Miss Kathlene Macdonell’s sensational collapse at the first production of “The Willow Tree” in Sydney caused much food for comment among playgoers, and, the gallery girls whose silly giggling was responsible for spoiling the emotional climax of the piece have' had to run the gauntlet of plenty of censure. The finishing touch was when an individual in the “gods” imitated the parting lover’s kiss. The resultant laughter died for a moment, only to break out again when a bit of stage business apparently miscarried. Here (says one paper) Miss Macdonell reached the breaking point of her endurance, flung into the footlights the mirror she was holding, and ran sobbing from the stage. Mr. Charles Waldron hesitated a moment, and then followed her, and the curtain was lowered and the stage manager came to the front. There was a woman’s call from the gallery: “Three cheers for Miss Macdonell,” and they were given. Directing himself to the gallery, Mr. Carey said: “We have to thank you ladies for the fact that Miss Macdonell has fainted.” A moment later he came to the front again and asked for a doctor. A gentleman from the dress circle volunteered his services. With hysterical cries from Miss Macdonell ringing in their ears the crowd filed their way slowly out of the theatre.

Mr. W. A. Low, the well-known theatrical manager, has just recovered from a very .serious nervous attack, and has been advised by his doctor to take a long sea trip. He leaves next Tuesday for a comprehensive tour o' the Fiji and Samoan Islands, and expects to be absent from the Dominion about three months.

“The Bing Boys Are Here” is said, by those who ought to know to be the biggest success in the history of the J-C.W. firm.

Miss Vera Pearce’s career on the Australian stage has served as a spur to ambitious young stage aspirants. From a child in pantomime, playing rabbits and other small roles, Miss Pearce won her way to the proud position of principal boy in Australia’s biggest pantomime production, and stamped with the Williamson hallmark of success. Every day Miss Pearce receives many letters from young girls asking her advice as to how to get into the theatrical profession, and make their way as she has done. Miss Pearce’s advice is: “Work hard, study hard, keep moving, don’t get lazy, be patient, and —keep your eyes open. The next opportunity may bei yours, and you must be ready to take it.”

A clever character study of a frivolous chorus girl is presented by Miss Norma Mitchell in “The Easiest Way” at Melbourne Theatre Royal. Though the type is one more common to the American than the Australian stage, it is decidedly illuminaating as regards a certain phase of stage life, and will possibly be attractive to playgoers who can enjoy the humour and self-confidence of Elfie St. Clair. The role is played by Miss Norma Mitchell in a way that robs it of any offensiveness or suggestiveness. Miss Mitchell appeared in America with several prominent stars, including Margaret Anglin, and was associated with Miss Marie Tempest and Mr. Graham Browne in a comedy entitled “Her Husband’s Wife.” She is a cousin of Miss Muriel Starr, with whom she came to Australia. .

How Messrs. J. and N. Tait captured Guy Bates Post for a short season in Australia makes interesting reading. Mr. Post is not an ordinary mediocrity, but a front rank star, whose professional aloofness would be immensely increased by his position and his salary. Undoubtedly, the Taits had to offer him very special terms to listen to their proposal, but the firm who brought out Harry Lauder at a reputed salary of £l,OOO a week would not be deterred by money considerations if they wanted an artist very badly. As they desired to let Australians see Mr. Post in his sensational dual impersonation in “The l Masquerader,” they were able to settle the financial side of the negotiations without much difficulty. But they were unable to induce Mr. Post to make a long stay in the Commonwealth, As he is booked to open at the beginning of the next autumn season in New York, the best they could do was to engage him for a season which would practically confine his activities to the two big capitals. If time permits, and suitable dates can be secured, he may make hurried visits to one or two other capitals, and these arrangements will be made if it is humanly possible. It is expected that he will make his first appearance in “The Masquerader” in Sydney about the beginning of April.

During his season in Wellington Malini, the magician, visited Victoria Hospital, and for over half an hour completely mystified the sick and wounded soldiers and a party of nurses. During his stay in the Southern city Malini visited Trentham Camp and the Soldiers’ Convalescent Hospitlal at Lowry Bay, and gave exhibitions of his remarkable talent.

Australians certainly have the capacity for rising to sudden heights (says Melbourne “Table Talk”). In theatrical work this has been proved over and over again, but probably never so conclusively as at one night in Sydney, when Miss Peggy Peat, at an hour’s notice, went on and played Miss Ada Reeve’s part in “Winnie Brooke, Widow,” Peggy did not join the company until the new year, when she took a small part, and she had never been rehearsed as Miss Reeve’s , understudy.