STAGE FOLK

Evening Star, Issue 21748, 16 June 1934, Page 6

STAGE FOLK

Mr C. Roy Spackman has arranged a most attractive programme for the next concert to bo given by tho Dunedin Junior Orchestra early in July. This orchestra, which made such an auspicious debut last year, is playing better than ever, and should easily surpass all its previous efforts at the forthcoming concert. Among the numbers to be given will be three waltzes by Adam Carse- these are particularly beautiful, and the orchestra excells in this type of composition. A selection from Sullivan’s ‘ lolanthe,’ arranged by Percy Godfrey (which is the arrangement played and recorded by the 8.8. C. Of-

chestra) will be played by the orchestra, and those who have heard this item at rehearsal have marvelled at the ease with which the members have overcome the difficulties of Sullivan’s music. The finale is a revelation in spirited orchestral playing. Other items include Rossi’s ‘ Merchant of Venice ’ suite,, a charming intermezzo, ‘ Dance of the Buttercups’ (Mendoza), ‘Hungarian Dance Nots ’ (Brahms), ‘Minuet From the D Major Symphony’ (Mozart), ‘ Moment Musical ’ (Schubert), ‘ By the Sea ’ (Schubert), and ‘ Traumerei ’ (Schumann). The last two numbers havo been orchestrated by Mr Spackman, ‘Traumerei’ for strings only, The orchestra' will give its two concerts of this season on Saturday nights. .

The lead in the ‘ Merry Malones ’ Musical Comedy Company, which is: to appear in New Zealand presently, is to be taken by Polly Walker, who was the originator of the part in New York with George M. Cohan and Sam Harris. In addition to her there will be in the company Florenz Ames (sent out by George M. Cohan to play Cohan’s part), Robert Caperon (American artist), John Moore (from England), Shirley Dale (from London), Alex. Kellaway (from London), Buddy Roberts (from the United States). Cis Roberts (from New York), Leal Douglas, Rene Maxwell, and Keith Connelly (from Sydney), and Doreen May (from Adelaide). There will be a cast of about twentyfour people, ballet, chorus, and choristers numbering fifty, so there will be about seventy-five people on the stage at the one time.

In connection with Sir Benjamin Fuller’s efforts to arrange for grand opera, for Australia and New Zealand, some of those who have been signed include Mr Walter Widdup (tlie world’s great est tenor), Mr Norman Allin (bass), Mr Charles Moore (producer), Mr Barnard Ross (baritone), Miss Murie) Brunskill (contralto), and Mr Robert Amesworth (conductor). ,

The legal proceedings in regard to Phillip Hargrave have now terminated satisfactorily, and this phenomenal boy pianist is likely to tour New Zealand in the near future. The legal authorities have decided that the boy’s teacher, Miss Garnaut, shall be his guardian, and the arrangements that were interrupted by the legal proceedings will continue as before, and the concerts will be presented under the direction of Messrs J. and N. Tait.

< White Horse Inn,’ which is being presented by J. C. Williamson Ltd. at the Theatre Royal, Sydney, has broken all theatrical records in that city. Borne idea of the spectacular scope of this remarkably elaborate and beautiful production is contained in the fact that there are no fewer than fifteen different scenes in the three acts and twenty-seven musical numbers, some of which are already well known in Australia. One can, however, have no real idea of the charm of these numbers until they are heard in their correct setting. 1 White Horse Ijan ’ will be the opening production of J. C. Williamson’s now His Majesty’s Theatre m Melbourne in July.

Miss Myra Jolinstone, the young Dunedin violinist Who has been completing her studies at the Melbourne Conservatoriura, had the pleasurable twontv-first birthday thrill of obtaining her first professional engagement on

tho actual day of celebrating, being chosen from a multitude of aspirants as one of the eight violins for the orchestra of ‘ The Merry Malones,’ a big musical production to open in Melbourne this month.

Jane Wood, who gives an arresting performance as Lady Lilian, the “ drooping lily,” in the J. C. Williamson production of ‘ Fresh Fields ’ at the Comedy Theatre, Melbourne, was born in Peru, and is of Spanish extraction on her father’s side. An interesting event in her stage career in London, where she has played many leading roles, was her association in several important productions with two artists who are well known to Australians—Madge Titheradge and Owen Nares—with whom she achieved one of her biggest successes in ‘ Grounds for,

Divorce.’ Some of the other plays in which she has appeared _ include ‘ Madame X,’ ‘ The Wandering Jew ’ (with Matheson Lang), and ‘ Dr Pygmalion ’ (by the Melbourne playwright, Harrison Owen, This play was staged in Australia by J. 0. Williamson Ltd., with Margaret Rawlings and Barry K. Barnes in the leading roles.

Among interesting reminiscences mentioned during the week Leif Pouishnoff, the brilliant Russian pianist, at present in the north, recalled that he was the first eminent musician to bo permitted to give recitals in Teheran, the Persian capital, and the Shah became much interested when told about him. Etiquette forbade His Majesty’s attendance at the concerts. Through the Russian Ambassador arrangements were made for Pouishnoff to play privately to the Shah at the palace. He soon discovered that the music which would most charm the royal heart Was of the showy order of Liszt’s rhapsodies, so he chose the second one. ‘ As ebon as ho finished the Shah requested him to play that rhapsody again,- then again, and yet again, several times.. When it came to the .. seventh demand: for the rhapsody .Pouishnoff had “to plead that hb was quite exhausted. _ He played to the Shah on other occasions, and the Persian order that he wears is in itself an exceedingly handsome memento, besides being a mark of great distinction. He has: brought only the miniature with hirm to Australia : and New Zealand, but if still here’ when Prince Henry comes he will find it necessary to send to London . for: the: full regalia, a star studded with diamonds and appended to a beautiful green ribbon. ;

During the'past few years the University Dramatic Society has earned for itself an excellent reputation for the production of interesting and Unusual plays, and although opinion was divided over the suitability of its 1933 choice, Patrick Hamilton’s ‘ Rope,’ it was freely admitted that no fault could be found with the able interpretation and artistic staging of an extremely difficult piece. This year the students have turned their ability into a dif-

ferent channel, and in staging the whimsical, delightfully quiet, and subtle 1 Dover Road,’ by A. A. Milne, have once more achieved their worthy object of supplying the Dunedin public with a new and welcome type of entertainment. The cast is headed by Lester Moller and Russell Napier, the latter becoming a comedian of no small merit, and the former adopting for the first time a character role—that of the old and whimsical Mr Latimer. Margot Garrett and Wyvern Do Clive Lowe are also associated in some excellent comedy work, while two newcomers—fsobel Newlands and Bruce M'Kenzie—are expected to give a very good ■ account of themselves in important parts, ‘ The Dover Road ’ is being performed at His Majesty’s Theatre next Thursday, Friday, and Saturday, June 21; 22, and 23. Miss Bessie Thomson is the producer. Sacha Guitry, famous French actor-producer-playwright, has written another play. In itself the announcement is hardly news, but it appears that this particular play was constructed in response to a request from M. Edouard Herriot, ex-Premier of France and Mayor of Lyons, to Guitry to write a

play for the anniversary of the death of Joseph Mario Jacquard, inventor of the automatic loom. Guitry entitled his effort ‘ His Father and Himself,’ and gave it a 1798 setting. The play was fully staged in Lyons, and subsequently arrangements were made for a Paris season.

The Dunedin public is shortly to be treated to a performance of grand opera. The Dunedin Grand Opera Club has been in existence for the past two years, but it is only after seeing its last performance that the public has realised the excellent standard and beautiful voices in this society. The, Grand Opera Club is under the capable conductorship of Mr Walmsley, who is well known in musical circles. The opera selected this year is ‘ Car-

men,’ and the scenery and effects in this great work are exceedingly fine. The soloists who were selected this year are especially suited for the parts. allotted to them. " The role of the toreador is portrayed by Mr Arthur Macdonald, whose rich bass voice is shown in this opera at its very best. _ The role of Carmen is taken by Miss Grace Nixon, of Christchurch, who is in herself an added attraction. Miss Nixon, besides being' the possessor of a _ rich mezzo .voice, is also an accomplished dancer; and to find both .these things in one person is exceedingly rare., Mr Hubert Carter plays Don Jose, and his tenor yoice is shown to full advantage in the role he plays. Mr Carter leaves shortly for England, where he will play in grand opera. With these and many other fine soloists, the public is assured of a very high-class performance, and a tremendous amount. of time and energy has been expended to ensure success. Operas are an education to young and old, and it only remains for the public to patronise and encourage such work as this. This society is a credit to Dunedin and to its promoters, and I feel sure that the people of .Dunedin will show their interest and appreciation’by attending the com'ing performances.''.

: English-speaking countries are. the only people who tolerate or encourage opera in a foreign language, according to Lanny Ross, noted radio singer, ■who is making his film debut in Paramount’s * Melody in Spring.’ He believes that we should demand that all opera singers use .English .when performing in English-speaking countries. (Sir Ben Fuller’s coming Australasian experiment may be cited.) ‘‘ Opera is irarslated into French when given -in France,” Ross declares. “ That is probably one of the reasons why opera is highly successful there. _ The ordinary person who is not a linguist can understand and enjoy the performance. We should make the great opera stars who want to sing in England and America learn the English language. I will admit that it is a difficult language to sing, but if the lyric translators _ are adroit they can use words, especially those of Latin derivation, which pro-

sent no difficulties. Gilbert and Sullivan light operas' are always playing somewhere in America, and the fact that they prosper shows a decided, demand for musical drama that can be understood, despite all arguments to the contrary.” Ross considers concert singing a higher achievement for the singer, than opera." In the concert, the singer may give a repertoire of twenty songs of all sorts from operatic airs to semi-popular tunes. It is his ambition to give a concert as soon as he considers himself sufficiently trainedThe wonderful indicating a revival of interest in music, that has. been given the outstanding Russian pianist, Leif Pouishnoff and the famous Australian baritone, Horace Stevens, at their concerts in Auckland, was mentioned in Christchurch by Mr Maurice Ralph. New Zealand representative for Mr Hugo Larsen, who has arrived in Christchurch from the north, The Auckland season of these artists opened on May 31, when a crowded audience at the" Town Hall included the Gov-ernor-General (Lord Bledisloe) and Lady Bledisloe. Mr Pouishnoff’s playing bore out what has been said of him in London and Australia —that he is

as great as Paderewski. Mr Stevens’s singing was as good as is expected of a man who, has gained a high reputation in Great Britain. On the following day the artists were the guests or their Excellencies at _ Government House. The concerts which have followed have all been as successful as the first, and music-lovers in Dunedin will, therefore, await with impatience the opening of the. season here next month. Trouble is brewing between the.lrish' Free State President, Mr De Valera,and the famous Abbey Theatre Player# of Dublin. Mr De Valera is reported to have forbidden the company to in. dude Synge’s play ‘ The Playboy of the* Western World ’ and Sean O’Casey’s ‘The Plough and the Stars’ (which deals with the 1916 insurrection) in its repertory for a. forthconiing tour of tlio United States. It was understood that at a secret conference between the President and a representative of the company, Mr Lennox Robinson, Mr Da Valera declared that, although he had never'been in the Abbey Theatre and had no knowledge of the plays produced there, ho had obtained _ the views of “ competent representatives of Irish opinion in the United States.” It wa* presumably on the advice_ of these unnamed persons that he wished to veto the performance of the Synge and O’Casey plays. His power t0,.d0 so is based upon the fact that the Abbey Theatre receives an annual subsidy of £750 from the Government, which nominates one of the directors. , It is believed, ho.wever, that the directors .will be prepared to forfeit the subsidy rather than submit to dictation of this kind from the Government. Mr W. B, Yeats, another of the directors, is reported to have told Mr De Valera that the Abbey Theatre was not to be regarded as “a minor branch of the Civil Service.”- '