HUGH J. WARD'S ACTIVITIES.

New Zealand Illustrated Sporting & Dramatic Review, Issue 1522, 26 June 1919, Page 33

HUGH J. WARD'S ACTIVITIES.

ACTOR AND BENEFACTOR

The career of Mr. Hugh J. Ward, managing director of J. C. Williamson, Ltd., is interestingly traced in a .recent issue of the Sydney “Sunday News,” and many of his happenings will strike the chord of memory with New Zealand theatregoers. Ln 1871 he was born in Philadelphia. U.S.A., where he received his early education. He 'first entered the sphere which was to become his life’s profession as a child dancer in a minstrel troupe. This opened the door to regular children’s parts, and, at the age of 16 years, he was firmly established, appearing with such noted performers as Henrietta Crosman, Mrs. Madge Carr-Cook, and others. His twelve years’ experience as a “stock” actor was divided over two years in Salt Lake City, two years in Denver, two years in San Francisco, two years in Philadelphia, and four years in Pittsburg. He was subsequently a member of Charles H. Hoyt’s Comedy Company which visited Australia, and he was there engaged by the late Mr. J. C. Williamson. He played Wellard Strong in “A Trip to Chinatown” in Her Majesty’s Theatre. That was 20 years ago. To-day he is managing director of that and all its associated theatres.

Prominent in Williamson’s Opera Company for five years, he played

in many of the Gilbert and Sullivan operas, and also as Cyrus Gilfain in “Floradora” and the Emperor and Sir Bingo in “San Toy.” In 1903 he left Australia, and appeared successfully in the Christmas of that year, and for three seasons, in Drury Lane Theatre, and later at the Empire. He also appeared on the Paris stage for seven months. Returning to New York, he toured at tlie head of his own company through India, China, Burmah, the Straits Settlements, Australia, and New Zealand, occupying three years in all. Later he was appointed a director of J. C. Williamson, Limited, and on the death of Mr. Will’amson became managing director of that firm.

Among his more successful impersonations as an actor may be mentioned: —Rip, in “Rip Van Winkle”; Mathias, in “The Bells”; Caleb Plummer, in “Dot”; Rev. Robert Spalding, in “The Private Secretary”; Peter Amos Dunn, in “Niobe”; Captain Redwood, in “Jim the Penman”; Baron Stein, in “Diplomacy”; Jaikes, in “The Silver King”; Beau Farintosh, in “School”; Eccles, in “Caste”; Fizzleton, in “Nita’s First”; Carraway Bones, in “Turned Up”; • Sir Toby Belch, in “Twelfth Night”; Baron Chevrail, in “A Parisian Romance,” etc.

When Mr. Ward first reached Australia such noted stars as George Lauri, Wallace Brownlow, Charles Kenningham, Florence Young, and Carrie Moore were all at the height of their fame. During his career he

has appeared in over 100 parts. He has been a consistent and practical supporter of Australian artists. Confident of their ability and adaptability, he has assisted them whole heartedly. During, his .managing, directorship in. Sydney the Melba Grand Opera Company, the Quinlan Grand Opera Company, Oscar Asche and Lily Brayton, H. P. Irving, Louis Waller, Marie Tempest, * Cyril Maude, and many others have been engaged.

The writer then refers to another side of Mr. Ward, emphasising his public activity in the interest of deserving cases.

Two years before the war he collected £lB,OOO and built a magnificent children’s hospital in New Zealand. He has. in his possession a silver model of the institution, presented to him by a grateful people. He collected £ll,OOO and added a wing to the Dunedin Hospital as a memorial to the late King Edward. A series of matinees given on behalf of the widow of the late Captain Scott realised £5000; a matinee organised in the interests of the Crown Street Women’s Hospital totalled, together with collections, £7000; the United Charities Rose Day, organised by him, and a matinee conducted on its behalf, secured nearly £5000; a matinee Lor Harold Baker and a friend for saving seven lives at Coogee netted (together with other means) £2OOO. He has given valuable assistance to minor charities and on all Hospital

Saturdays. The outbreak of war found Mr. Ward foremost to help in the nation’s crisis. He was sole organiser of the State for Belgian Day, this organisation acting as a model and nucleus for every subsequent big “Day.” On May 14, 1915, a performance at Her Majesty’s Theatre realised £21,000 for Belgium. This still stands as the world’s record matinee performance. Through his instrumentality “Hospital Saturday” was changed to “Hospital Friday.” Governor Strickland once remarked that it “was Mr. Ward who started all the big things.” Mr. Ward organised “Australia Day,” and worked for three weeks in its preparation. The Belgian Day organisation throughout the city and State was augmented for this special occasion. The day was responsible- 'for over £800,009. All other’ national “days” found Mr. Ward prominent jn their arrangements with either money, matinees, or advice, and ready with equipment for professional and amateur performers throughout both City and State. The Red Cross House Badge Drive was instituted by him in every Stat§ in Australia and New Zealand. The estimated result in N.S.W. was £40,000; that throughout Australia at £lOO,OOO. During the Sixth War Loan £2,250,000 was raised in the theatres under his control in Sydney and in Melbourne; a similar effort in connection with the last war loan brought the total to approximately £5,000,000. Mr. Ward was also a member of the central committee. He was associate

organiser of the A.I.F. Memorial Day, when approximately £40,000 was raised.

A general estimate of Mr. Ward’s untiring efforts in the interests of charities and . hospitals prior to the war shows that, directly and indirectly, he was responsible for, roughly, £50,000. Since the war the estimate for charities, hospitals, and war funds reaches £1,250,000. Nor is that all. His own personal donations, ever ready and liberal, represent 50 per cent, of his salary during the whole of the war period. . He has been selected by the Federal Government as Commonwealth chairman of the Peace Celebrations Committee, and is also on the State executive controlling New South Wales celebrat’on. As the writer concludes, “It is a fitting finale to four years of good and profitable work.”

Before very long Australian playgoers will have the opportunity of seeing a “comedy that has literally taken America by storm. This is “Lightnin’,” by Winchell Smith and Frank Bacon, which has been running at the Gaiety Theatre, New York, since August last. “Lightnin’ ” has not only plenty of fun, but contains a good deal of dramatic interest, too. The leading character is one of the quaintest and most appealing creations ever placed upon the stage. He has been likened to David Harum. For this role J. C. Williamson have

made a notable engagement, that of William J. Ferguson, whom Walter Jordan, the firm’s New York representative, describes as “America’s finest character comedian.”

Miss Muriel Starr, undoubtedly the most consistently successful dramatic artist that has ever appeared in Australia, is now making her farewell appearances in Melbourne, and after a visit to the other States and New Zealand will return to America to fulfil an important engagement in New York. This is Miss Starr’s third season in Australia, and the measure of her popularity is such that in every part of Australia and New Zealand she lias been welcomed as warmly as when she made her first appearance. Miss Starr has achieved her latest success in “The Silent Witness” at Melbourne Theatre Royal.

“It is said that every man, woman and child in Los Angeles has at one time or another figured in motion pictures.” said Mr. Albert Goldie, of Los Angeles. “I can quite believe it. I was caught three times in crowds whilst some picture stunt was being taken, and every one I know has been caught at some time or other. It is a queer place. You become blase to the most extraordinary happenings when you realise that there is a camera lurking somewhere in the vicinity. I was passing a big hotel once and saw a woman in a brilliant evening dress toilet scurrying down a fire escape, and after

her rushed a man who did incredible jumping feats as he hurried down the escape after his quarry. On another occasion Mrs. Goldie and I were strolling past the swimming pool at Venice, and, seeing it gaily lighted, we went in. There we saw the water of the pool — only about twice the size of a hotel diningroom —being lashed into waves (by machinery) ; there was a fake wreck, artificial rain and lightning, and a wonderful rescue being effected by the hero. Whilst this was taking place there was a crowd of mixed bathers and spectators looking onand exchanging witticisms with the actors as they went through their’ stunt in three feet of water. Yet. I suppose the picture of that wreck has thrilled hundreds of thousands of people all over the world.”

Young Elkington, who married “Bunty” and has since decided to settle £6OO a year on her, was at last advices rowing in the Trinity Hall eights, and hoping that the selector’s eye was on him for the big event. The youngster (he’s little more) is now swatting economics, and talks of an Egyptian tour after his exam. His mother is still in the south of France. —“Bulletin.”

Sir Harry Lauder is now earning thousands yearly, though he began life as a wage-earner with two or> three shillings a week as a golf caddie. After a short time in a flaxmill Lauder became a coal miner, and he worked for some years, eight . hours a day, often up to his knees in water, and frequently denied the luxury of a straight back. Naturally,, Lauder never regrets leaving that exhausting livelihood for the comparatively pleasant atmosphere of the vaudeville stage, even though his career on the latter was at first exceedingly precarious. An old lady once asked the comedian if he didn’t*, retain some sentimental feeling about' his s’mple lot as a miner, and all he answered was “Dinna blether.”