YOUTH AND SUCCESS.

New Zealand Illustrated Sporting & Dramatic Review, Issue 1465, 23 May 1918, Page 35

YOUTH AND SUCCESS.

MISS GLADYS MONCRIEFF. “You have a rare voice here. It is worth every care that can be bestowed upon it.” No less a .personagei than Madame Melba pronounced this . dictum on Miss Gladys Moncrieff when the latter sang before the great diva in Melbourne some four years ago. Miss Moncrieff, a young Queenslander, equipped with a beautiful soprano voice and ambition to place it properly, went down to the metropolis to try her luck in the theatrical arena, and being taken in hand by that sterling teacher of singing, Mrs. Hugh Ward, rapidly stepped into fame, assuming leading parts in the J. C. Williamson Gilbert and Sullivan Opera Company. It was in Gilbert and Sullivan roles that the young singer was introduced to New Zealand audiences early in 1915, creating a highlyfavourable impression with the beauty of her voice. Since then she has been over to South Africa for the firm, staying for nine months, and playing

leading parts with an English Comedy Company in a repertoire of musical pieces. These included "Betty,” in which she created the name part, “The Dancing Mistress,” “High Jinks,” “The Girl in the Taxi,” “Our Miss Gibbs,” “The Quaker Girl,” and others. On her return to Australia after a brief rest she took Miss Ethel Cadman’s place with the Comic Opera Company, and in less than six weeks had made herself familiar with important roles in eight pieces. Miss Moncrieff was over here again last November with the company in “The Pink Lady” and “Cinema Star” tour, her vocal capabilities and live personality always keeping her well in evidence.

Naturally, Miss Moncrieff is delighted at having been given the opportunity of creating Katinka in the important musical production of that name. “It’s just lovely to create a part,” she says. But she wears her laurels with a modest charm, and behind her girlish gaiety, which makes one feel aglow, therei is a serious vein expressed in her conviction that success means earnestness and hard work. “Mr. Highland, the producer, took wonderful pains with me,” she says, “and I owe much of my success to him. He was simply untiring. I have to thank Mr. McCunn, too, for his trouble with me in the musical part. In fact, I cannot be too grateful for the helpful advice' of both.”

Three years ago, when Miss Moncrieff paid her first visit to Auckland she expressed a wish to the writer that she would do credit to the efforts of Mr. and Mrs. Hugh Ward. They may well be proud of their young protegee, who in the space of so short a time has forged her way to stardom and furnished another shining example of what Australia can produce.

Effective costuming is one of the features of “Katinka,” the modern note expressed in smart American frocking alternating with the picturesque touch supplied in the Russian and Turkish attire.

Mr. Chas. M. Berkeley, after helping to set the Comic Opera boom going in Auckland for J. C. Williamson, is now getting ready for the big firm’s pantomime campaign—“ Dick Whittington.”

Miss Nellie Kolle, a favourite performer on the Fuller circuit, is back again in New Zealand after a lengthy absence, and is at present appearingin Wellington.

The New Zealand tour of the J. C. Williamson pantomime “Dick Whittington” has been mapped out as follows: —Auckland, June 3-15; Gisborne, June 17, 18; Hastings, June 20; Napier, June 21, 22; Palmerston North, June 24; Hawera, June 25; Wanganui, June 26; Wellington, June 27-July 6; Christchurch, July 7-15; Dunedin, July 17-22; Timaru, July 24.

Bright, versatile Lydia Carne, who was such an enlivening spot in the Walter Johnson revue, was given a benefit performance at the Opera House, Auckland, last week, which should augment her finances, unfortunately depleted by a long and serious illness in Christchurch. In the latter city Fullers’ audeville Company and Sydney James’ Royal Strollers gave a combined entertainment for the invalided artist. * * * * As was to be expected, the dances, marches, glittering ensembles and other “living pictures” in the J. C. Williamson pantomime of “Dick Whittington” loom large in this gorgeous production, and in this department Miss Minnie Everett has ex-

celled herself, and more wonderful still without repeating herself. She has devised dresses and marches for comic operas innumerable, and yet is able to draw upon her originality and ingenuity in the expressions of emotions, feelings, passions and thoughts without words. Miss Everett is fortunate in having such eloquent interpreters as Miss Maggie Dickinson, Miss Ruby Grainger and Mr. Sydney Yates, to say nothing of a very capable corps de ballet, whose arms and legs are capable of any expression. The ballet that realises and idealises the great war may be cited as one of the many triumphs of Miss Everett and her capable army.

In recognition of his work in raising over £50,000 for war charities and entertaining soldiers at the front and at home, Mr. George Robey, the popular English comedian, was the guest at a luncheon at the Criterion Restaurant, London. Sir William Dunn, Mayor, presided, and the company included Lord Burnham, Sir Thomas Lipton, Major-General

Sir Desmond O’Callaghan, and Sir Arthur Pearson. Letters were read from Lord French and Lord Jellicoe. Mr, Robey wore the uniform of the Motor Transport Volunteers, in which he is a lieutenant. He was presented with a silver service and a cheque for £250 for any charity.

D. W. Griffiths, producer of “Intolerance,” has prepared, under the auspices of the British and French war cinematograph committees, a great drama of the west front called “Hearts of the World.” The measure of the task is apparent when it is known that he has photographed 263,000 feet of film, to be cut for display purposes to 10,000 feet. The footage of film consumed closely ap-

proaches that used in the production of “Intolerance,” and exceeds that used in “The Birth of a Nation,” the other two of his trilogy of motion picture spectacles. Never has such great scenery surrounded the making of a photoplay. Not more than 10 people know the plot of the drama. Its most pertinent details have been approved by the experts of the British and French War Offices, but even to them the plot in its entirety is not known.