OPERA HOUSE.

New Zealand Illustrated Sporting & Dramatic Review, Issue 1504, 20 February 1919, Page 34

OPERA HOUSE.

The Royal Togos are back again at the Opera House with their marvellous juggling and sensational sliding act. A large audience watched them with breathless interest on Monday night, and loudly applauded their feats on the rope extended from the stage to the family circle. Miss Ethel Vaugn was the only newcomer on the bill, and she amply justified her inclusion in a smart evening frock and a saucy style all her own. Little snatches of song, a confiding way and child imitations easily helped her on the road to favour. Miss Nellie Kolle chorussed with customary effect, and varied her usual procedure with a monologue entitled “Spotty.” A bright jolly performer, she has a big following amongst the audience. Boy Bonham in his nicely-

presented contortion act, and the Gilberts in a song medley completed the vaudeville section. Mr. Al Bruce’s Company supplied the second half of the programme in another nonsensicality entitled “The Candy Ship.” Miss Mabelle Morgan was a stimulating factor all through as Eva Tanguay, the - actress, and her songs “When Love Creeps in Your Heart” and “Ain’t You Coming Back to Dixieland” were artistically handled. The Rosebuds pleasingly supplemented the latter and were also gay accessories to Mr. Hal Scott in his song “If Ever They Put a Tax on Love” and in other numbers led by Mr. Robert Raymond and Mr. Sam. Wallace. “Oh, You Beautiful Doll” was an attractive incident in which Mr. Al Bruce, Miss Letty Craydon and the Rosebuds participated, Miss Craydon being also previously coupled with Mr. Raymond in a dainty song and dance. Mr. Bruce and Miss Florence Fanning as the Flannigans had grotesque parts, out of which they made the most. “Lulu” will be their next offering.

BE DIPLOMATIC AND LIVE!

M. B. FIGMAN’S FIAT. “Quick and receptive,” is how Mr. M. B. Figman summed up his first New Zealand audience —which happened to be an Auckland one. “ Theirs was to reason why,’ I sensed intuitively directly the curtain went up, but it was’nt long before they let themselves go—and I was satisfied ! ” “You can’t tell the truth without offending. That’s the fundamental principle underlying ‘Nothing But the Truth.’ It’s not simply a comedy for exploiting fun. And its principle has a universal application that touches the general chord of interest. A disagreeable sort of old world it would be if we all said exactly what we thought! You just have to keep back some of the truth —the unpalatable part! There are ways and ways of saying a thing. And after all what

right has anyone to hurt another’s feelings when a little white lie —a diplomatic twist —will avoid it.” The possibilities of using this idea as the basis of a play inspired Mr. Figman some six or seven years ago to write a comedy, which he produced in America with Miss Muriel Starr as leading lady. In it he evolved a chain of circumstances proving that it is absolutely impossible in business to tell the whole- truth —and live!

For two years Mr. Figman has played the leading role in “Nothing But the Truth” —one year in New York and the rest of the time in Chicago, San Francisco and on tour. Then over to Melbourne, where he opened on Boxing Night to a splendid ovation, and after nearly five weeks’ run to capacity business, influenza broke out and a sudden closure was put on the theatres. A few hours’ notice and trunks were packed for Sydney, to open there on February 1. But the epidemic still pursued them, and with Sydney too under the dread ban the firm decided

to send the company post haste to New Zealand.

“Talk about hustle,” laughed Mr. Figman. “Why Australia’s got America beaten off the map!” Arriving in Auckland on Saturday the only thing against them was the “go-slow” tram attitude (since adjusted), and they got plenty of fun out of it. “We were highly amused while waiting for a tram to pass so that we could cross the road, to see the conductor with a ‘You First’ air of gallantry await our pleasure till we got leisurely across!” Another humorous instance: A tram going at snail pace; a martyred passenger asking for an explanation about some incomprehensible trivality. “We can’t argue and run the cars at the same time!” was the dignified rejoinder of the master of the situation.

Only high-class comedies are identified with Mr. Figman, and he treasures this recognition with pardonable pride. “I insist on a comedy being absolutely clean,” he says, with an air of resoluteness that makes

you feel he would get his own way about it too, “and I will not play anything bordering on suggestiveness.”

In Miss Lolita Robertson —Gwendolyn of “Nothing But the Truth” —Mr. Figman has a wife and leading woman of appealing charm and discernment, and travelling with their infant son and daughter they make up a family party of rare content.