TOWN HALL.

New Zealand Illustrated Sporting & Dramatic Review, Issue 1473, 18 July 1918, Page 35

TOWN HALL.

THE ENGLISH PIERROTS.

The English Pierrots, whose previous visits to the Dominion gained for them the reputation of providing a clean, bright entertainment, devoid of any semblance to vulgarity and containing plenty of originality and charm, will appear at the Town Hall on Saturday next. In their class of entertainment they occupy front rank, and their extensive experience of what is best suited to the public has resulted in a state of perfection being reached, which has earned for them the highest approval wherever they have appeared during the past fifteen years. The company consists of ten performers, each an accomplished artist in his or her own particular line. Special features are the musical sketches, into which are introduced clever witticisms and smart patter. Included in the personnel is Mr. W. P. Turner, the quaint comedian, whose cheery personality and tine comedy will be recalled with pleasure on the occasion of his previous visits. Miss Elsa Langley, the dainty little comedienne, who has been associated with the company for over ten years, is still with the combination, as is Miss Billy Wilson, whose special featuring of child impersonations will be favourably recalled. Referring to the Pierrots’ recent Sydney season, the “Critic” says: “The quality of the English Pierrot entertainment leaves no doubt in the mind of the lover of good comedy that this compact combination thoroughly deserve the great success achieved.” The English Pierrots come with a reputation built on merit, and doubtless their appearance is being awaited with pleasurable anticipation. The personnel of the com-

pany remains the same as on the occasion of their last visit, with the exception of two artists, Miss Elsie Rosslyn (soprano) and Miss Rima Young (at the piano), both having gained excellent credentials by their clever work in Australia. The fine programmes presented by this company will doubtless go a long way towards enhancing their popularity. The box plan is at Wildman and Arey’s.

There was quite a notable gathering of members of the theatrical and musical profession in Wellington one day last week. There were Signor Capelli and his supporting artists (at present in Auckland), the Scarlet Troubadours, Mr. Maurice Ralph (representing “Peg o’ My Heart”), the members of the “Dick Whittington” Pantomime Company, and the English Pierrots all in town. At one street meeting there were no fewer than nineteen mummers present, representing five distinct companies.

1 used to be a martyr to bronchitis, A victim sad of winter ills and ails, Till I was told by chatty Mrs. Rig-htis, Of a. remedy that really never fails. The winter time now scarcely seems to try me, Tho’ I sometimes get a twinge, you may be sure; But I always keep a large sized bottle by me, Of Woods’ Great Peppermint Cure.

Mr. John Farrell,

who is at present in Auckland as business manager of “The Bing Boys,” recently volunteered for active service, but on medical examination was rejected on account of his eyesight. Mr. Farrell is an Australian and one of J. C. Williamson’s best-known managers.

Little Elsie Dick, whose photograph is reproduced herewith, is a clever little Wellingtonian of nine years of age, possessed of a natural instinct for rhythmical and artistic movement. She has appeared in public on several occasions for patriotic purposes, her interpretative skill marking her already as a child who should go far in her art. Her teacher. Miss Gladys Campbell, has chosen her as solo dancer in a big patriotic function to be held next month. Elsie is the daughter of Mr. and Mrs. W. J. Dick, both well-known in Wellington for their musical attainments. They are at present strengthening factors in “The Bing Boys” orchestra, Mr. Dick playing the ’cello and his wife the double bass.

The many New Zealand friends of Mrs. Dick Stewart will be glad to know that she is making a splendid recovery after a very serious operation, which was performed by Dr. George Armstrong, of Sydney. The operation was entirely successful, and Mrs. Stewart hopes to be about again in the course of a few weeks.

The Allan Wilkie company are at present playing a highly successful season at Her Majesty’s Theatre, Brisbane, and will, later on, play some of the other centres of Queensland and N.S.W. before returning to the Grand Opera House, Sydney, in a repertoire of new plays.

“Harry Lauder.” says the New York “Dramatic Mirror,” “playing a brief engagement at the Metropolitan Opera House, is using art for patriotic purposes. About half of his act is devoted to the singing of songs he has made famous, supplemented by a few new ones, whereas the remainder of his period on the stage is utilised in an eloquent appeal on behalf of the Liberty Loan and Lie Harry Lauder appeal for crippled soldiers. It is all to the credit of the comedian that he puts more heart and feeling into his war talk than into anything else he does. ‘Marching With the President from the North, South, East and West,’ ‘l’m Going to Marry ’Arry on the Fifth of Jan-u--ary,’ and ‘We ’A’ Go Hame the Same Way’ are among the most effective of Mr. Lauder’s new numbers.”

“The Enemy Within,” a stirring picture to be shown in Auckland shortly, deals with the internal plotting of the spies who placed the mines which sank British ships in coastal waters and who guided the piracy in the Pacific of a German raider. Reginald (“Snowy”) Baker, Australia’s famous athlete, takes the leading part, viz., Jack Airlie, the Australian special agent who fought and defeated the spies. “The Enemy Within” will be shown under the direction of Mr. W. A. Low.

Charlie Chaplin, when making his initial effort. “A Dog’s Life” for the First National Circuit, required a number of dogs, and enlisted the aid of the Los Angeles Pound. The response was twenty-one animals, and at the end of the week they knew Chaplin was their kind master, and were ready for their scenes. Then the trouble arrived. Charlie had become attached to every dog, but the people in the vicinity complained of the barking and howling at night, and the authorities stepped in. Charlie was forbidden to have more than twelve dogs on the place.

Mr. John Hopkins came up to Auckland to see Capelli start off on his Dominion tour.

Mr. G. S. Douglas-Macaul, representative of the Fisk Jubilee Singers, passed through Auckland this week on his way south ahead of the company. The Fisks have been tripping around the Bay of Plenty and Goldfields districts, doing excellent business everywhere. They were at Whangarei at the beginning of this week, and are due at Hamilton in a few days, thence playing towns along the line.

Cyril Maude’s manager, Alfred Turner, thus extols New Zealand in a letter from America to “The London Referee”: —“We sailed for New Zealand on November 22, and opened at Wellington on November 27. I had no idea that New Zealand was so beautiful, and the more I saw of it the more beautiful I thought it. It is full of variety and charm. The rivers are perfect, and fishing is the national sport. The scenery is the grandest I have ever seen. The people are charming. They speak with a perfect accent, and are most hospitable. I hope some day to return to New Zealand —it is my ambi-

Margaret Wycherley, who is playing in “The Thirteenth Chair,” writes interestingly in the Sydney “Theatre”: “Since I have been in a position to decide what I would and would not play, I have made one rule and stuck to it. I will always play a good part. By that I don’t mean something showy; but a part in which I can see possibilities. There are those whom the managers have elected to star who insist upon a certain kind of part—that is. they specialise. I don’t. I have no preferences so long as the part is well written and is in touch with human nature. In ‘The Thirteenth Chair,’ as you know, I impersonate an old woman. What I now have to fight against will be a disposition on the part of managers t offer me every old-woman character that is written. I would prefer not to play another old woman for some years, because I hold that the great test of any actor or actress is versatility. If I can do anything to break down the type system I will do it. Nothing has so injured acting as an art as casting to type or specialisation by actors along certain lines. Anyone who loves the theatre cannot help regarding this modern development in acting with dismay. I believe in the French model, which is imaginative and creative where the actor is concerned. For people to come on the stage and play themselves is not art.”