THE THEATRE.

Dominion, Volume 8, Issue 2378, 6 February 1915, Page 9

THE THEATRE.

[BT SYLVIUS.] I

the World's a tieatre; the E&rtb a stage.—Heywood. Wanted Outside I "One of the best tricks ever invented to get a good seat at a theatre was perpetrated at the Theatre Royal, Bournemouth." said Barry Lupino. "A man entered the stalls, and found them.full, so he walked into the gangway and called out, 'is Mr. Smith here? He is wanted outside most urgently.' About twenty popple got np and left the stalls, and tho man coollv took i«e best seat that was vacated." Fun in Melbourne. To help the Belgian Relief Fund in Melbourne Barry Lupino has blossomed out as a window-dresser. The whole of a large window of the London Stores was taken up by Mr. Lupiuo's display, which attracted thousands of people, and provided plenty, of humour. The comedian's efforts to "dress" the window were similar to his method of papering the ceiling in "The Forty Thieves" pantomime. While ho worked in the window, ladies of the "Cinderella" pantomime company collected in the crowd, and' a substantial sum was realised. Actor Warriors. ' "With the very disquieting news of the rebellion -in the Transvaal and Orango Free State, it is with a feeling pride," »ay» the London "Era, 1 "that we learn that; the whole of the male members of the J. C. Williamson, Ltd., Compauy, at present in Johannesburg, have joined the Transvaal Civiliau Corps—formed with the object of town and home dofence. In addition, Mr. Harold Ashton, the managing director of J. C. Williamson (S.A.), LttL, Mr. Barlow Coulthard, tho general manager,' and the members of the staff and orchestra have also joined tho corps, and all are energetically training alongside men of all callings, including barristers, clergymen, clerks, miners, butchers, and blacksmiths."

The Spirit of the Play.

Too little attention is paid to the spirit of the play by the average gcenio artist, and one is forced to the conclusion sometimes that the artist must be merely instructed to put in tree wings ou this side, a set house on that, and a lake ecene on the back-cloth. That is all very well as far as it goes, but does it go far enough? 16 thore the faintest idea to convey in that scene those forms, colbyrs, and shadows that are calculated to fit- the spirit of the scene, and so get the fullest emotional value out of the setting! 1 In Australia the scenic artists are fairly ingenious, but so far they have not attempted the new art a3 evolved by Gordon Craig (Ellen Terry's son), and practised by Max Reinhardt, the famous Berlin producer. The other evening the Willoughby Company gave us the Thames Embankment, with forest wings, sub-tropical vegetation 18ft. in height—a thick bush growth that would have done credit to central Papua stood there beside the lamps that lighted up the Embankment, and none of the characters—not even the police constable —noticed the rank incongruousnoss of the Embankment's botanical trimmings. Such ridiculous mistakes are made in the case of nearly every show that visits New Zealand—the fault, indeed, is so common that no one notices, far less criticises it. Of the art of Gordon Craig the New York "Theatre" says: "Gordon Craig knows better than anyone else, perhaps, the emotional value of lights. The mood of the scene will invariably be suggested by the lighting. Ho has discovered, too, that independent of any drama in tho accepted sense a whole story can be worked out by the interplay of coloured lights on screens of various shapes and relationships. All his experiments in stage lighting, unlike those of others, have been purely for the beauty or suggestiveness of tho resultant lights, and not to imitate nature. He can reproduce all of the beauty of moonlight, but he never is guilty of trying to show a rising moon'. "In the matter of costumes, too, imaginative beauty instead of realism will guide. The costumes will he simple and decorative, and like blocks of colour in a great pattern—part of the colour and decorative scheme. "In the massing, grouping, and movement of the figures on the stage, there is anaesthetic value seldom before rear lised in stage production. Through line and rhythm of movement, Gordon Craig will heighten the essential beauty of the play. There will be no accidental tripping on a rug or falling over a chair to add a semblance of naturalness to the action. The movement will be in effect a oontinuou6 decorativepattern, always find consciously under the direction of the artist of tfie theatre."

"The Chaperon." ' 'The Chaperon," a bright farcical comedy, bas succeeded- "Who's tho Lady?" at the i'alace Theatre, and has apparently made a distinct hit, sj>ecial praise being given to Mr. Torn Sheli'ord, Miss Ktbcl Dane, and Miss Sinna St. Clair. Says the Sydney "Sunday Times":— "To appreciate 'The Chaperon and its absurdly humorous situations one must know' a little of tho story. The plot hinges on the consequences of the substitution of Hilary Chester, a knut pure and simple, but the regular 'chapeion' employed at the Bestauraat Royal, London. This chaperon accommodates young and old gentlemen who desiro to take pretty girls to dinner at the reßtauraut, the idea being *liat the chaperon and the -young lady are Mr. and Mrs. Jones, and that they are entertaining a guest for dinner. Christopher Pottinger, M.P., a model of domestic propriety, in the opinion of his kinsfolk, finds the need of the chaperon in order to entertain at dinner Mis's [Rosamond Gaythorne, an actress. The real chaperon is unable to take his accustonicd place, and Chester fills in for him. Complications ensue when Pottingear's wife and her suffragette sister arrive on the scene. The chaperon and the lady are introduced as mall and wife, and Mrs. Pottinger puts the fat in the fire by inviting them to come to her country .home. Inspired by some spirit of devilment, the couple accept. Once at the country home things get worse. Chester finds tbat the young lady to whom ho is engaged is installed there aB companion.' She faints, naturally, when she is introduced to 'Mr. and Mrs. Jones.' Things go from bad to worse, for the couple's motor breaks down, and they miss the last train to town. Thence onward the plot proceeds, with laughts by the score, until finally a friend appears on the scene with another car, and matters are .set to right.'

Beaumont Smith, wlio will be remembered as having introduced the BucklerPagefc Company to "Wellington, will during tho nest few weeks send along two other novelties, in tho first company, playing "The Glad Eye," "Who's the Lady?" and "The Chaperon," Miss lithel Dane, who made her greatest London successes in these comedies, will also be seen here, while tho mam support will be contributed by a company specially selected'in London. Ihess cimodios have recently had successful runs in Sydney and Melbourne. The other Beaumont Smith venture, 'Seven Little Australians," has just completed an exceptionally successf..! season in Sydney Adapted from Ithel lurner s books, "Bobbie" and "Seven Little Australians," the play is performed by sqvgq children and fivo adults. the former are Vera Spaull and Cecil Haines, who has made an exceptionally •nrnmißitta gtaxt in her theatrical car6&u».