THE SEARCH FOR PLAYS

New Zealand Times, Volume LIII, Issue 12607, 18 November 1926, Page 9

THE SEARCH FOR PLAYS

A TASK THAT IS NOT SO EASY 1 DIFFICULTIES IN THE WAY OF CHOICE MR WARD ON THE THEATRE ‘‘The choice of plays in a far country and under strange conditions is by no means an easy business, and a missioner in search of theatrical fare has a very delicate task.” Thus Mr Hugh J. Ward, famous theatrical entrepreneur, when he was asked to talk on the work which has brought him fame and popularity. For many years connected with the theatre, Mr Ward definitely entered the list of Australia’s biggest men almost iwc decades ago, when he arranged a wonderful successful Oriental tour. The way was blazed for the career which was to rench its height when he joined forces with Fullers some years ago, and which he has now left to take a vacation after disposing of his interests, one of the biggest theatrical directors in the world. ■ IN THE ROUND “When you go abroad to choose a play the first thing that you have to decide is what interest a show mav have for others besides the local people,” said Mr Ward. “You may go to London, New York, or the other big cities of the world and find a play presented very beautifully by specially selected actors. Indeed, it may be so well done by these originals that unless you have experience you are likely to he fooled by their performance, and may commit yourself to something which will prove unsuitable. Experience taught me that I must visualise the play as it would bo when played by others than the actors whom I saw in it. To import the necessary players' would get over the difficulty, but frequently it is veTy hard to get the people that you want to come out. Therefore one must be able fo look through a play and see it as it . would be under different conditions. In other words, the thing to do is to get a play which is bettor than the players. WHAT TELLS ON HIM “Another difficulty is created for the seeker of theatrical fare by the fact that if he is at all sensitive in feeling and thought he must he very much influenced by his environment. The atmosphere of a big, new city will affect him. to such a degree that when he goes into the theatre his judgment will be affected, especially if the piece be performed skilfully. Thus he may be led to choose something which at the time he may feel to be harmonious, but which transplanted to another country will he felt to be merely odd. It doesn’t do to let the sensibilities of a people and the general .atmosphere of a country sway the judgment. “Finding successes is not easy work. A play which is not very popular at the beginning of its run may later prove to be outstanding, and another which begins well may fall off and soon cease running. But it is for the reasons I have given that some things which come out after being great successes in London or New York have been found not to repeat their success in this part of the worTd. They do not because they deal with a special

and not a universal subject. I have looked for a basis of sentimental appeal and of humour which would bear transportation'. THEN AND NOW “Musical plays, of course, I have had to edit and reconstruct to a' certain degree. They are still very successful and seean the popular style of entertainment for the people, possessing as they do all the elements of appeal to eye and ear. In the old musioal comedies, it is true, there was a better sustained musical score which came of the influence of Sullivan. Those plays, contemporary with the Gilbert and Sullivan regime, were of higher musical merit than the productions of to-day. But then came splendid jingling tunes, and the style of entertainment which was created by Mr George Edwards. “To-day, however, there is a tendency to ask for better music in musical comedy, and one pf the leaders of

the newer band of composers is George Gershwin, whose “Lady .be Good’ is, being performed in Australia now. He is quite a musician. I heard his ‘Rhapsody in Blue’ played by Paul Whiteman’s band of 32 pieces—practically an elaborate syncopated orchestra—and I enjoyed it very much. THE DIVERSION OF THE "DAMN” "As for non-musical plays it is, I know, hard to get new men with good stuff. Playwrights owning the trained skid oT the bigger dramatists are not to Tie found on every bush, the work isn’t easy by any means, and though you may find a man who can write words,, when it comes to dramatic construction it is another matter. My objection to the theatre to-day is an objection to the exploitation of vocal violence. The bad language type ef play does not. appeal to me at alb In my day we didn’t have to employ the curse-word to score a point. However, it is a phase, I hope, arffi will pass.”