GREENROOM GOSSIP

New Zealand Illustrated Sporting & Dramatic Review, Issue 1540, 30 October 1919, Page 32

GREENROOM GOSSIP

Dame Nellie Melba recently gave an autographed photo, of herself to be auctioned for the East London Hospital for Children. The Earl of Erril acted as auctioneer, and the splendid sum of £lOO was given for the said photo. At the same sale, the Diva herself auctioned a silver box belonging to the Duke of Portland.

Arthur Tauchert is said to be the living embodiment of C. J. Dennis’ “Sentimental Bloke,” which is to be screened in Auckland shortly. In face, physique and mannerisms he is true to type. Miss Lottie Lyle plays opposite Mr. Tauchert as Doreen in “The Sentimental Bloke” picture. Gilbert Emery, probably remembered for his fine character studies with the Clarke and Meynell Companies, gives a fine study of Ginger Mick. M « * •

Frederic • Shipman’s second company for the East sailed from • Sydney by the Montoro last month. This company is modelled along the Paul Dufault lines, and will be known as the Cahill-Brooke Company... It includes George Brooke, the Queensland tenor; Edward Cahill, the pianist, and Rita Erie, soprano. The company will be under the personal management of Mary Laing-Meas on, and will open in Singapore a fortnight later than the-Third Fantastics.

“Theodore and C 0.,” which the J. C. Williamson Royal Comic Opera Company is to play at Her Majesty’s, Melbourne, shortly, comes from the Gaiety Theatre, London, where it ran for many weeks. The libretto, : by H. M. Harwood and George Grossmith, is founded on the French of P. Gavault, and the' music 'is by Ivor Novello and Jerome D. Kern, with lyrics by Adrian Ross and Clifford... Grey. The new play will introduce for the first time in Australia Theo. Leonard, - a comedian who was engaged in South Africa by J. C. Williamson, Ltd., who specially sent a representative of the firm to secure him for their Australian musical comedy productions. In a farewell eulogy prior to his departure, the “Natal Advertiser” referred to Mr. Leonard as “the funniest comedian South Africa has ever laughed at.”

The funeral of the late Mr. Har-... rington Reynolds took place at the Bromley Cemetery, Christchurch. The cortege included practically all the members of the theatrical profession now appearing in Christchurch, while there was also a good attendance of Freemasons and of other friends of the late Mr. Reynolds. The service at the graveside was conducted by the Rev. A. H. Julius, of Akaroa, and the pall-bearers were Messrs. Fred Bluett, Walter Dyer, Paul Stanhope, Ernest Pitcher, Trueman Neilson and Walter C. Helsdon. -Mr. Frank Kenny represented the Allan Wilkie Company, several members of which were present. Mr. W. C. Helsdon represented Fullers’ Theatres, Ltd. .Num- . erous telegrams of sympathy were received from all parts of New Zealand, and amongst the many who sent wreaths were Messrs. Ben. and John Fuller, Mr. Walter Fuller, the staff of the local Opera House, artists now appearing at the Opera House, the staff and members of the Allan Wilkie Company, and Mr. T. Tansey and family, of the Excelsior Hotel.

A remarkable feature of the production of “The Eyes of Youth” by the J. and N. Tait Company is the speed with which the many scenes will be staged. This is made possible by the fact of the whole of the play being acted upon platforms on wheels raised "about six inches above the level of the floor of the ordinary stage. As soon as the last word is spoken in the one scene there is a “black out” and a quick curtain, and even as the curtain falls the platform on which the scene just witnessed is wheeled to one side of the stage and the other platform, all ready set for the next scene is wheeled round in its place. The whole operation takes about a minute, whereas six or seven minutes at least would be taken in the ordinary way to effect the complete change necessary. The idea was used most effectively in “The Masquerader” with Mr. Guy Bates Post in Sydney and Melbourne, when the changes were performed in a few seconds, much to the amazement of the audiences.

Among the members of the Emelie Polini Company, now in Auckland, is Mr. Arthur Greenaway, an actor who is well known to New Zealand audiences. Mr. Greenaway relates that when he was in America, eight or nine years ago, he toured the States with Miss Nance O’Neil, and among the members of the company, in a very humble capacity was an actor named Dave Griffiths. He was not by any means what one would describe as a good actor, being somewhat eccentric and a kicker at conventional methods. That actor was now D. W. Griffiths, the giant among picture producers, who has shown the world the possibilities of “the movies” /in producing masterpieces on the screen. There was no mistaking the impression made by Miss Emelie Polini on her opening performance in “De Luxe ■ t Annie” in Wellington. The part of the unfortunate lady who, through an accidental blow on the head, loses her memory of the past and takes up with a notorious "crook,” is one de- / manding a great deal of talent over a wide -range of expression, because essentially Annie, or Nan Delmore, as she is called in crook circles, is a good . woman . morally, r Something psychological in Her make-up keeps her “straight” in one respect, whilst its permits her to be the partner in , clever confidence deceptions, practised ' on susceptible old gentlemen. ' The rainbow passions that illumine the play are those reflected in her beautiful love for the young architect who is designing her new summer resi- . dence (who in reality is her husband, trying by subtle means to recall the ' memory’’of. his errant wife); her devotion, in another sense, to Jimmy Fitzpatrick, her working partner, and in the appealing scene at the end, when, after an operation on the brain, the veil is lifted and once more she is • able, to • recognise her husband,

whilst Jimmy, who has a dog-like devotion for his partner, becomes an utter stranger. The play is fascinating throughout, and the extreme naturalnes’s of Miss Polini is an object lesson to all strugglers along the dramatic way. At the conclusion the curtain had to be raised and lowered six times before the applause of the big audience died down.

Mr. Oscar Asche’s production of “Chu Chin Chow” at His Majesty’s Theatre, London? ‘ has created a world’s record, 1467 performances having been given, thus exceeding the record of “Charley’s Aunt.”

One of the reasons for the wonderful success of “Lightnin’ ” is the fact that it was written by an ideal collaboration between actor and playwright. Frank Bacon has been a character actor for nearly thirty years. Winchell Smith has written some of the most successful comedies the stage has ever known, including “Turn to the Right,” “The Boomerang,” “The Fortune Hunter,” “Brewster’s Millions,” and others. If these two do not know what the public wants nobody knows. They have combined the knowledge of actor and playwright to such advantage that in “Lightnin’ ” the audience find just all those things they love best —humour, pathos, melodrama, action and incident, human nature, all cleverly blended, with a dash of love and youth to add a sparkle and zest to the mixture.

“Chu Chin Chow” is to be presented in Australia by Mr. H. D. Mclntosh. The venture is looked upon as one of the biggest things yet attempted by an Australian management.

The death is reported from Sydney of Mr. R. F. Anson, a fairly wellknown actor. The deceased was the son of Mr. G. W. Anson, one of the finest character actors Australia and New Zealand ever saw. The late Mr. Anson was a member of the Oscar Asche Company which toured New Zealand.

Miss Olive Godwin, one of the most charming Australian musical comedy actresses, was married on September 23 to Mr. E. J. Roberts, one of the musical directors on the staff of J. C. Williamson, Ltd. The wedding took place at St. Andrew’s Cathedral, Sydney, and the ceremony was performed by Dean Talbot. The bride was attended by Miss Meta Waterman as bridesmaid, and given away by her brother-in-law, Mr. J. C. Waterman. Miss Godwin is the only daughter of the late Mr. Charles E. Godwin, of Dubbo. The bridegroom is a son of Mr. Samuel Roberts, of Willenball, Staffordshire, England. The wedding was a very quiet one, and subsequently morning tea was taken at the Hotel Carlton. Amongst those present were Mr. Hugh J. Ward, Mr. Andrew McCunn, and Mr. J- W. Hazlitt. Mr. and Mrs. Roberts were in New Zealand recently with the Royal Comic Opera Company.

During the past year 173.8 kinematograph films, amounting to 3,479,860 feet, have been examiried by the censor, and fees amounting to £ll6O have been, received. The : receipts were in excess .of the expenditure; e « * if • Mr. John Tait, Of the : firm of J. and ■N. Tait, states j thaj . the firm hopes to get Mr. Guy Ba.tes Post td return to Australia, arid,; this time, tp New Zealand, in about.’a year’s time. The famous actor, who broke allexisting records in /Australia last year,' is not under contract to come, but he has given his word! that if his arrangements in America permit he will certainly endeavour to make a’ dash for the land of .sunshine. Mr. Tait describes Mr. Post as a genius •-... with a kink for acting. ' j . An interesting review’of Miss Florence Young’s life appears in the “Sydney Theatre.” After tracing her career since her first professional appearance wtih the G'eorge Musgrove- . Nellie Stewart Company in Melbourne in 1890, she concludes: “All going well I shall in November, 1920, have? seen, thirty years of stage life since ■ beginning with J. C. Williamson, Ltd. Of..that period I have worked pretty well twenty-five years for the firm in question. At least; ten times prima donnas have been brought to Australia with the very legitimate object' of satisfying the public demand for change—for freshness and variety— ; in the performers entertaining them.. But it has always -ended up in my going back again. •_ My; appearances outside musical comedy and comic > opera include the playing of principal boy in the following J.C.W. panto-, mimes:— ! Djin-Djin,’ ‘Matsa,’ ‘Mother Goose,’ and' ‘Humpty-Dumpty.’ The first two were given in successive years, and similarly- the last two—insuccessive years. But through .being required elsewhere I had in ‘HumptyDumpty’ to finish with the Melbourne season. With ' the completion of my thirty years I intend retiring into private life, or if not then at any rate very shortly afterwards. I shall keenly miss all the stage has long meant to me. But my decision has been well thought out, and it is not at all likely that I shall depart from it.”