GREENROOM GOSSIP

New Zealand Illustrated Sporting & Dramatic Review, Issue 1481, 12 September 1918, Page 27

GREENROOM GOSSIP

That “Frenchy” musical play, “Oh! 'Oh! Delphine,” was ..staged at Her Majesty’s, Melbourne, on Saturday night. The new piece comes to Australia with a unique record, for it is numbered amongst the biggest musical successes of London, Paris and New York. The cast is an exceptionally strong and attractive one, including George Welch, Nesta Barry, Oliver Peacock, Reginald Roberts, Jack Ralston, Phil Smith, Gladys Moncrieff, Phyllis Amery, Florence Young, John Ford, Eva Webber, Olive Godwin, Addie Lennard, Kitty Downes, Cyril Ritchard.

J. C. Williamson. Ltd., appear to have shattered the old illusion that 13 is unlucky. “The 13th Chair’’ has proved one of the biggest dramatic successes the firm has ever handled. When “Katinka” has finished its run at Her Majesty’s, Melbourne, it will have completed its thirteenth week. Number 13 has proved decidedly lucky so far as J. C. Williamson, Ltd., are concerned.

Miss Sara Allgood had her first experience in playing before the cinematograph camera before she came to New Zealand, appearing in a charming little play called “Just Peggy,” which no doubt will be seen here before long. Miss Allgood informed a pressman that she greatly enjoyed the experience, but had to admit thar film-acting had its drawbacks. For instance, she said that once a thing was done —a motion made, an arm waved, a head tossed a finger moved, or an eyelid lifted before the all-see ing eye of the camera —there was no altering it —it was hopelesslj r irrevocable, and one could not —never got the chance —to improve on a performance as one can on the ordinary stage. “When you play a part on the stage,” said Miss Allgood, “either von or the producer will find means of improving it by adding touches here and there, or refraining from doing something that ‘felt’ wrong, but once a picture is taken it cannot be altered —at least it could be by taking it all over again, but that is not to be thought of with celluloid ribbon at the price it is.” Did you see the film? “Yes,” said Miss Allgood, “the greater part of it, and do you know, when I first saw myself talking and chatting and smiling on the screen I had a sensation similar to the one I have experienced in coming out of ether, and could not look at myself for quite a while. Then they ran through a part of it again, and I got more used to myself. I saw lots of faults in myself that I could cure. I hope I will get the chance to later on.”

Messrs. Adams and Waters, the creators of Potash and Perlmutter, who are appearing in these roles in “Business Before Pleasure” at the Criterion, Sydney, have made a big success personally as well as in the comedy. A newspaper man who interviewed them declared that they were as funny off the stage as they are on. He described them as “the embodiment of the humour of the Hebrew race.” “Business Before Pleasure” has broken all records for comedy at the Criterion Theatre Sydney.

J. C. Williamson, Ltd., have secured the Australian and New Zealand rights of D. W. Griffith’s film masterpiece, “Hearts of the World.” Mr. George Tallis, managing director of the firm, writing from iNew York by the last mail, said that “Hearts of the World” was drawing capacity business in New York, and had broken even the record of “The Birth of a Nation.” “It is powerful, thrilling, and with a story that appeals to the heart,” wrote Mr. Tallis, “and is altogether a wonderful picture.”

The New English Musical Comedy Company added another to its list of successes with the production of “Oh, Boy!” at Her Majesty’s, Sydney. This light and bright musical comedy was the musical success of the season in New York, and is particularly suited to the Musical Comedy Company. It is crowded with catchy numbers and dances, and is lavishly produced. The dressing is described as “gorgeous.” “Oh. Boy!” will be staged in Melbourne in the near future.

On Sunday evening I looked in at the Palace Theatre (says a writer in a recent issue of the London “Daily Mail”). A despairing attendant shook his head. “There’s not room to squeeze your foot in.” he said. But even despairing attendants can be persuaded to modify their views. I walked at the back of the aisles and found them crowded with soldiers, standing up, while every seat was occupied. Then locating some friends in the stage box I went round to them. From there I could get a view of the great theatre, packed as I have never seen it packed before with American soldiers. A famous American admiral was in the stalls just in front of me. Soldiers and officers and nurses crowded everywhere. The initials “U. 5. “U.5.R.,” and “U.S.A.” on the coat collars told all the branches of the Service that were represented, Regulars, State Militia, and the National Army. This was the Sunday evening entertainment now being arranged for the American troops. Even the brilliant performance on the stage, where the greatest English entertainers gladly gave their services, could not draw one’s eyes from the scene in the body of the theatre itself. And when, after a little while, we all stood to attention and the band played the American and the British National Anthems. I am not ashamed to admit that for a

minute or two I could not see clearly; and I certainly would not have liked to venture to talk. For it came to me what this thing meant —the two great Anglo-Saxon nations joining hands in the fight for world liberty.

There is a little story attached io the hard, over-baked biscuits which the voluble Mrs. Gilmore tries on De Luxe Annie (Miss Emelie Polini) in the J. and N. Tait success. These biscuits, it may be said, are a popular deli.cacy in the country where Annie is supposed to encounter the boardinghouse-keeper, and when “De Luxe Annie” was staged in that part of the world there was a feeling that the play was gpying a national institution. In one town there also happened to live a lady who might have been Mrs. Gilmore’s sister, and the manager of the touring company required all his tact and diplomacy to explain that the author when sketching the character of Mrs. Gilmore was not possibly thinking of her, nor was he alluding to her well-known skill in making the local biscuit. In fact, explained the manager, neither the author nor himself had known of her existence until she had called in to voice her protest.