THEATRICAL AFFAIRS

Rotorua Morning Post, Volume 2, Issue 304, 18 August 1932, Page 2

THEATRICAL AFFAIRS

MORE ARTISTIC OPERAS PRODUCED ON LESS MONEY. VISITING STAR'S OPINION. "Germany is leading the world in the theatre at present, and the less money the German producers have the more artistic is their work. . . . The German operetta is having a big influence on the English theatre, and they're getting back to romance, thank God." That view of the theatre world in Europe was expressed by Mr. Cyril Ritchard, one of the stars of the J. C. Williamson musical comedy, "Blue Roses," who arrived in Christchurch from Wellington last week. ' He said that the German productions toolc one's breath away, and the scenery and the exploitation of the stage's possibilities were remarkable. The Germans, however, were not cramped for money for some productions, and in Berlin Mr. Ritchard saw an astounding presentation of "Carmen" which was not specially put on, but merely part of the repertoire of the Grand Opera House. This production was the sort of thing that C. B. Cochran would have talked about for a year before doing it, and then talked about it for a year after doing it. In Berlin, all sorts of productions were put on, and the problem play was still dealt with and made very powerful and sometimes almost nauseating to a foreigner by the realism of the acting. "They are a morbid lot in Berlin," said Mr. Ritchard, "but they also like humour — some of it is almost ehildish. However, people in Germany go to the theatre to think more than they do in other parts of the world. "The Germans almost claim George Bernard Shaw as their own, and as for Shakespeare, they claim that he has never been understood in England. The latter contention, of course, is quite wrong, for some brilliant shakespearian work is being done in London 'across the bridge' at the Old Vic. There one sees Shaw and Shakespeare acted by a company of young, attractive and talented people, and produced by a genius — a iftan named Williams. Magnificent Effects. "The company has no money, but it achieves magnificent effects by curtains and occasional pillars and the German style of lighting. Then, too, Shakespeare is produced with the speed of the modern revue, and no one is allowed to rant. The prices are very low — judged by English values — ranging from 5d in the pit to 5s for the best seats. At the end of a show the audience is usually cheering. "These young people are doing wonderful work, and are animated by the best ideals of the stage — and fulfilling them. None of them makes more than £10 a week, and they are all malcing their reputations. For instanee, John Gielgud (a nephew of Ellen Terry), a young fellow of from 24 to 25, played in every leading Shakespearian role ac the Cld \'ic. for two years, but when he left the company he was a London stai', able to command his own price, practically. Then, Marie Ney, the New Zealander, did the same thing. In spite of their poor pay, these young players get more publicity than any other actors, and all the critics go to the Old Vic. It is the living theatre. "Another thing that is done once every week or so is the presentation of the liallet under the directorship of Ninette de Valois, late of the Russian Ballet. She has trained a number of talented young people, and with them appear as guests — giving their services voluntarily — such people as Anton Dolin, Phyllis Bedella, Serge Lifar, and Lydia Lopokova, all stars of the Rusian ballet. "The Shakespeaian company's performance of 'Hamlet' was so highly thought of that C. B. Cochran brought it over to the Queen's Theatre for a season of a month. Cochran is doing the big spectacular work in London at present, and some of his productions have been Noel Coward's remarkable 'Cavalcade,. 'The Miracle,' 'Helen' (with the music of Offenbach), the production by R'einhardt, the ballet by Massine, and the cast including Evelyn Laye, George Robey, and W. II. Berry). This work, which is a satire on 'Helen of Troy,' was originally an operetta by Offenbach, who got A. P. Herbert, of 'Punch,' to adapt the plot. "From these shows it doesn't look as if the English stage is on its last legs, does it?"