THE STAGE.

Press, Volume LXVIII, Issue 20489, 7 March 1932, Page 5

THE STAGE.

IMPORTANCE OP ELOCUTION MR GREGORY'S STROUD'S VIEWS. Actor, farmer, and ex-submarine officer, Mr Gregory Stroud, of J. C. Williamson's Gilbert and Sullivan Opera Company, has wide interests quite apart from the stage, and, to a representative of The Press on Saturday afternoon, he recounted some of his experiences and explained his views on many questions. Mr Stroud is convinced that it will not be long before the legitimate stage again shares favour with the other entertainment interests of the world. The dancing show," he considers, has begun to pall in London, and its place is oemg taken by the more serious type or musical entertainment. While a purely dancing show is pleasing at the time, it leaves little to remember, and people go away from the theatre not quite satisfied that they have had tne most for their money. The present o£ 8,00(1 sh ovvs in the heart of 0;£ London proves that deacl nt * b' 00< * sta § e is no means Elocution. One aspect of the theatrical life upon which' Mr Stroud holds very definite fw'V 8 at of s P ee ch. He considers •ri mei '* can talkies are having, and will have, very little effect on the speech of the British public. Indeed it ■b? v malte people appreciate good -bnghsh when they hear it, and, in this connexion, he considers that English is lemarkably well spoken in New Zealand. The delivery is slow and commands much more serious attention thau the rapid forms from overseas. ou m ay think it strange," lie said, but I have a tremendous a'ffection for the countryside, and I can almost make myself believe in the fairies and pixies. J'or that reason I have a great interest in the Maori race, with all their ancient and wonderful legends." Interest in Fanning. Acting and farming would lie regarded by most people as professions as t emote in nature from each other as the poles, yet Mr Stroud, who has a farm in Sussex, delights to work on it when free from his theatrical engagements. ( Although Jn the front rank of his pro- L

f-ession he takes a keen interest in farn work, and, while in the Xorth Island he made ;i trip to Massey College anc ■viewed the famous McLean Sliorthorr herd in Havvke's Bay. "When the stagf has finished with me," as lie put it modestly, "I will retire to my farm which I find to be a wonderful rest cure from the nerve tension of the tlieatre.' ; Mr Stroud is an ardent admirer of Gilbert and Sullivan works. The words of the former, ho s.iys, ''are as near to Shakespeare in their flow as anything else." As is the case with every true artist, he is troubled with "nerves'* on all first nights—even in the smallest town. In deprecation of the style of manv of the younger artists lie said that they were too apt to turn to the audience in the middle of their "lines" instead of addressing the people playing opposite. Thus the illusion of the presentation was lost. "One must always tnink, and believe, there are four walls surrounding the" artist—the back of the stage, the prompt side, the "0.P." side, and the footlights. Forget that there is an audience there at all, ancf you can then put the most into your part. But the reaction of the audience is a factor that must'jbe.:,rated highest of all," - • " Played Many Parts. Although Mr Stroud was in Australia in 1921-22 with "Chu Chin Chow," tliis is his first visit to New Zealand. Primarily he studied for the concert platform, but was induced by a producer to take up the stage, and his experience covers many years. He was with Lee j White and Clay Smith in "Bran Pie," and on his return to England lie played in "Sally" at the Winter Garden, London, with Dorothy Dickson and Leslie Ilenson. He played the lead in "The Music Box," produced by C. B. Cochran, and in Bcecham's "Merchant of Venice" he took Bassanio at the Garrick , Theatre. With Desiree Ellinger and Courtis Pounds he was in the cast of "The First Kiss," and he played the lead in "Katja the Dancer" with Lillian Davis and Gene Gerrard, now proniinent in the talkies. Mr Stroud experienced a London season with D'Oylcy Carte in 1927-28 at the Princess Theatre, aiid a little later was with the Royal Opera at Covent Garden. After giving three recitals at the Hall, London, his first stage appearance was in a revival of "The Country Girl," and, the war intervening, he engaged in submarine service. On the cessation of hostilities his real stage career began.