ALMOST A LIFETIME

Gisborne Herald, Volume LXVI, Issue 20042, 14 September 1939, Page 10

ALMOST A LIFETIME

LONG STAGE CAREER “CINGALEE’ ’ P RODUCER LILLIPUTIAN TO STAR Since the days when visits of J. C. Williamson tnealrical companies to Gisborne were frequent —enough ’ far irom commonplace —a new generation or entertainment seekers has grown up wunout experience of the New Zealand s.age in its finest flower.

Tne names of stars of the flesh and blood theatre mean nothing to them, although from the conversations of their eiders tney may have absorbed some of the glamour of a time when coasting steamers would drop theatrical companies here to present selections from the greatest works of modern playwrights. The stars of other decades live on, but not in the full limelight of the professional stage. Many at'e in permanent retirement, ousted irom tneir profession by an era of “canned” entertainment standardised abroad and presented in identical form to the tribesmen of Papua and the more enlightened people of liie Europeanised Dominions. Others have taken their talents into the producing field, and are associated closely with (he survival of amateur theatricals, giving the benefit oi Lheir talent and experience tations such as those of the Gisborne Operatic Society. Highly Qualified Producer Those of the older generation of theatre-goers will need no introduction to Eva Moore, the former Australian star who next week will produce for the Gisborne society the excellent musical play “The Cingalee.” For those of less mature years, however, a brief review of Miss Moore’s career should have much of interest. The Eva Moore of other days is the Mrs. Mcßeath of to-day, and there are few residents of New Zealand who are as well qualified by temperament, as well as by experience and native talent, for the task of production. Miss Moore was one of an Australian country family whose parents had had no connection with the theatre, and who possibly never saw a stage performance before the first of their daughters, Carrie, began to develop the talent which carried her to stardom. There were six girls in the family, and all turned to the stage successively, not in their young womanhood, but rather while of tender years. Carrie Moore broke the trail for all six, and it was through her efforts, in part, that others of the family found the avenues of stage employment in which all made good. Singing Through the Orient

Eva Moore started her career as a member of Pollard’s Lilliputians, a company allied to the Pollard Juveniles who toured New Zealand 30 years and more ago. The company was in charge of a sister of Tom Pollard, and followed itineraries throughout the United States, the Philippines, and the Orient.

The circuit took two years, anil Eva Moore, then between eight and 10 years of age, played a great number of parts in Gilbert and Sullivan operas during that time. She remained for several more seasons with the Lilliputians, and recalls that the parts were often so far over her head that she merely repeated the words without knowing the meaping of more than a fraction. /

Her early ambition was to be a dancer, and she was professionally trained for that work, but in later years her voice attracted the attention of producers, and 'she spent _ 10 years in the United States playing with stock companies, subsequently returning to Australia to engage with the Williamson firm in pantomime and later in musical comedy. Her first New Zealand tour was as principal girl in the “Alladin” pantomime, and later she toured this country again as star in a No. 2 company playing the "Merry Widow.” Her dancing talent was overlaid by her accomplishments as a singer, and though she kept up her studies as much as possible, she had little chance of developing further her ambition to dance on the stage. Significant Anniversary

Foliowing her sister, Carrie Moore, who made good in London in the original production of “The Cingalee,” Eva Moore clayed in an Australian production of that musical, in the part of Peggy Sabine. Many other interesting experiences followed prior to her marriage in New Zealand a year or two before the Great War. Her son was born in. New Zealand on the day of the outbreak of war between Britain and Germany, in 1914. Mcntionihg this fact to an interviewer, Miss Moore was reminded that as a Lilliputian with the Pollard company, she was in Kobe when the Russo-Japanese War broke out. Another anniversary of some interest to her is that of the great San Francisco earthquake, in April, 190 C; .Miss Moore was playing in San Francisco at that time, and has vivid recollections of the havoc caused by the disaster.

Since her marriage and her retirement from the professional stage, Miss Moore has continued her connection with theatrical life through the medium of amateur productions. She has produced 17 annual efforts of the Palmerston North society, a record for New Zealand, and has judged at many Competitions festivals, one of her most valued souvenirs being the silver badge of the Dunedin Competitions Society, of which she 'is the only woman holder. She has iudged at Dunedin on several occasions.

Discussing the forthcoming production of “The Cingalee” in Gisborne, Miss Moore expressed enthusiasm for the amateur talent available, and intimated that in rehearsal the whole company had shown the greatest keenness and aptitude. Every indication pointed to a most successful season next week.