Stageland AUCKLAND ADJUDICATORS AT PALMERSTON NORTH

Sun (Auckland), Volume 1, Issue 38, 7 May 1927, Page 21 (Supplement)

Stageland

AUCKLAND ADJUDICATORS AT PALMERSTON NORTH

HIS MAJESTY’S THEATRE Now Playing “Crooks, Ltd." (University Students). May 14-May 26—“ The Best People” and “Meet the Wife.” July 2-July 16.—“ Lady Be Good.” COMING “Tell Me More.” ■Renee Kelly in “The Last of Mrs. Cheney,” “Daddy Longlegs,” and other pieces. “Rose Marie.” Nellie Bramley Co., in several plays. La Mascotte,” Auckland Amateur Operatic Society. Ella Shields has sailed from Liverpool for America to play 16 months in the land of no drinks. Long Tack Sam and Co. are playing in the Broadway Theatre, New York They tbured New Zealand last with a W illiamson Celebrity Vaudeville Co. Six-Cylinder Love,” a farce-comedy with Richard Taber and Hale Norcross was presented at the Criterion Theatre! Sydney, on April 2. Recently they played “Is Zat So” in New Zealand.

The Australian premiere of Leo Fall’s famous comic opera, “Madame Pompadour” will take place in Sydney on May 21.

Renee Kelly came out to Australia for four months, and has proved so popular that the Firm has kept her busy for 14 months, with more to follow. She will be in Auckland shortly with “The Last of Mrs. Cheyney.”

E. Tripp Edgar died in London recently. He visited Australia with the first Oscar Asche-Brayton company in 1913, and proved to be a most brilliant Shakespearean actor. Some years ago he introduced the noted American piece, “A Trip to Chinatown” to England and made a pot of money.

Writing in “The Stage,” Jimmy Glover says; “I had a call the other day from May Beatty, who may be remembered as the widow of the late Mr. Edward Lauri. She has been for some

years in Australia, and, of course, is glad to get home again. She tells me that music matters in Australia are progressing wonderfully, and from a short conversation I should think that under proper management there is very great demand for good artists down under. Here then might be some outlet for a lot of the talent that seems to be wasted in this country. Things are going from bad to worse, not only in London but in the provinces. One does not care to be a Jeremiah, but when one knows that very good artists are playing to empty or dead-headed benches in most of the halls within half a mile of Langham Place, anybody who hc.P kept real music at heart must be sorry.”

Ethel Irving, one of the finest actresses who ever toured on this side, is playing the lead in a new play “The White Villa,” round the provinces in the United Kingdom. Gilbert Porteous and Ailsa Grahame, last seen here with “The Cat and the Canary,” are in the cast.

“Lady, Be Good,” to be produced in New Zealand by J. C. Williamson, Ltd., under special arrangement with Sir Benjamin and Mr. John Fuller, is an hilarious musical comedy full of brilliant dialogue, catchy song numbers, and dancing—wonderful and original dancing too—in every act. Jimmy Godden and Elsie Prince are an unfortunate hard-up couple, thrown out of a boardinghouse because, being “broke,” they cannot satisfy the landlady. Do they despair? Do they hide their heads in shame and wail? Not they. In the most miraculous manner they reappear as a couple “with millions behind them.” They are as resourceful as they are daring, and their search for the fortune in Mexico is one of the most amusing quests ever presented on a New Zealand stage. Charlton Morton as the detective from “the yard” is another scream, and with a splendid company to support the principal fun-makers, the “Lady, Be Good” season should be as successful as that of “No, No, Nanette.”

There is a most intriguing and amusing plot in --Polly With a Past,” by George Middleton and Guy Bolton, to be introduced to New Zealand at Wellington on May 18 by J. C. Williamson, Ltd. It is too elaborate to recapitulate in detail. The three bachelor friends who discover that their handsome domestic possesses exceptional musical and educational talents, and decide that she is a lady who must be waited upon rather than be allowed to wait, are delightful fellows. Then the guileless millionaire, Rex Van Zile, arrives on the scene, and Polly, to free him from the clutches of Myrtle Davis, engrossed in “rescue work,” poses as Paulette, a French adventuress with a lurid past. She wears gowns as startling as her history, and when introduced to the aristocratic Van Zile family, startles them with her outspoken remarks. Next Myrtle appears with Stiles, a more or less reformed drunkard, who recognises Polly as the accomplished daughter of the Baptist minister in his home town. The advent of Prentice Van Zile with his “dictionary.” as he calls his cheque book, leads to further complications and many humorous situations, but Polly holds the fort, defeats the machinations of her enemies, and is eventually acclaimed as the simple, honest girl she really is. Renee Kelly, the London star, plays the principal character with charming abafldon and an alluringgrace. wears some startling gowns, and generally gives evidence that she is one of the most accomplished and versatile of actresses. She will be supported by a specially chosen company of liiLh- grade artists-

(By COTHURNUS) W. Templar Powell, who visited New Zealand some time ago, is on tour in the English provinces with Galsworthy’s play “The Escape.” He is a Christchurch boy, who made his name in England with “White Cargo.” Silda Spong is living quietly at present in New York. Sydney recalls her as a lovely Rosalind, and as a heroine for a time with the Bland Holt company. New Zealand last saw her in “Every woman.” Priscilla Verne, one of the best serio-comics in her day in Australia, is a valued saleslady in the ready-made costume section at David Jones, Ltd., Sydney. Maud Courtney and Mr. “C” were appearing at the Theatre Royal, Dublin. Murray, the Australian ’’escapologist.,” was also in the bill. Mr. and Mrs. C are well-known in New Zealand. They appeared many times on_ the Fuller circuit.

Colonel Harry Day, in the British House of Commons, declared that London playgoers are paying nearly £2,000,000 a year in royalties to American authors and producers, who are allowed to escape without contributing a penny in tax.

Mr. Theo Trezise will leave Auckland shortly to produce for the Whangarei amateurs. It is Mr. Trezise’s intention to stage one of his own productions. Later he will visit other coup-try centres to fulfil engagements. Pat Hanna, the popular leader of Pat Hanna’s Diggers, who are playing a season at Manly, went post haste to Brisbane to appear at the Winter Garden before the Duke and Duchess of York. The whole company’s aid was sought, but this could not be managed at short notice, so Pat went alone, finishing his trip to the northern capital by airplane.

Gladys Moncrieff has been reengaged to return to Australia and play in “The Blue Mazurka.” Mr. Frank Tait, on his return to Australia from abroad, stated that Miss Moncrieff has the best musical comedy voice in the world. She is to play under the direction of J. C. Williamson. Ltd. Miss Moncrieff is scoring her biggest success overseas in “The Blue Mazurka,” Lehar’s operetta, in London. Interest in “The Blue Mazurka” will be accentuated by the fact that Miss Moncrieff received some of the most appreciative notices ever accorded an Australian artist by London newspapers. She is cast for the part of Bianca.

No one woman has been endowed with so many curious qualities as hI’AYYY; “ USt “of'f.u be out of the social swim. She is the subject of everv tea-table talk. Thev tell scandal of her. Thev gossip about her outrageously. In “The Last of Mrs. Cheney.” coming to New Zealand, and opening at the Grand Opera House, Wellington, on May IS, Renee Kelly shows with wonderful artistry the sort of woman this fascinating, mysterious person really is.

Scott Alexander, who played the skipper in “White Cargo,” intends to make his home in Christchurch in the near future.

Madge Elliott and Cyril Ritchards were in France when the mail left, ppearing at the casino in Cannes in a singing-dancing act.

A play called “The Legacy,” which Phyllis Neilson Terry was to have staged shortly in London, with herself in the chief role, has been banned by the Lord Chamberlain.

Katrina and Joan, the dancers who were in New Zealand with a Williamson vaudeville company, writing in a London paper, say: “Then we were sent to New Zealand. Here climate and people were very English, and the scenery was divine. The audiences were most appreciative.”

Patric Curwen, was a tea-planter for three years, after much experience of the stage. Returning to the theatre, he appeared in the recent London revival of “Kismet.” In “The Ringer,’ 'now playing in Australia, he is Dr. Lomond, the divisional police surgeon.

Many plays that are outstanding successes in London fail miserably in New York, and vice versa, but the play that can please both Broadway and West End London theatre-goers rarely fails in Australia and New Zealand. Such a one appears to be “The Best People.” In fact, Avery Hopwood’s comedy is an all-nations success, judging by the fact that it has been running simultaneously in England, America, France, Belgium, and Australia since early last year. Some- of the folk who do the world’s grand tour say that the company now appearing in Australia compares favourably with some of the companies they have seen abroad. It may be mentioned, incidentally, that “The Best People” has made a comfortable fortune for its author, so that its universal success can not be attributer altogether to the artists.

There has been published in Naples a brilliant critical study of D’Annunzio by Francesco Flora, an avowed admirer of “the poet soldier.” Nevertheless, he denounces dannunzianesimo as “a moral code of life.” The influence of modern Italy’s greatest poet is so profound, mentally and politically, that, in Flora’s words, the ruling classes to-day are threequarters dannunziane in form and formula.” So far back as 1903 Croce described D’Annunzio as “a sensual dilettante,” and Flora elaborates this theme with many striking illustrations.

An announcement from London in a Sydney paper stated that Tom Burke, the famours tenor had asked Miss Margaret Ruthven, daughter of Lord Ruthven, to become his bride, and that the lady had promised to give her answer the following day. Mr. Burke is (or was) the husband of Marie Burke, who played in Auckland recently in “Frasquita.” If Tom Burke and Marie Burke have been divorced Marie knows nothing about it, or at least she did not when she was in Auckland. Tom Burke was formerly a miner. He leaped to fame in a single, night at Covent Garden in 1919 when he played Rudolph to Madame Melba’s Mimi in “La Boheme.’

“He drove so slowly that when we got to the party we’d lost our permanent waves.” “Father, there are times when you’re almost of me,” and “Father, you smell immoral,” as she sniffs the odour of violette on his lapel, are some of the trite sayings of the modern daughter in “The Best People,” the sparkling comedy of David Gray and Avery Hopwood’s, which is now touring New Zealand under the direction of E. J. Carroll. The foibles of a “best people” family, whose children choose mates beneath them —the daughter a chauffeur and the son a chorus girl—are admirably burlesqued in this play. “The Best People” is due in Auckland next Satur- i day evening.

“The Best People,” now touring New Zealand under the direction of E. J. Carroll, has been described as a laughing cocktail, the ingredients of which are, wit, clever situations and a mellow tolerance. But there is also the lemon sharpness of impertinence and the discretional dash of the bitters of truth, while the rim of the glass is ever so delicately sugared with sentiment. The authors of “The Best People,” David Gray and Avery Hopwood, are experts, with a delicate sense of quantity and quality that saves the cocktail from any suspicion of crudeness even when it becomes daring. The story deals with the parental control question in New York high society, in a delightfully humorous and refreshing manner. The players, mostly making their first

appearance in New Zealand, are distinguished and consummate artists. The producer for" the Little Theatre .. So . cletJ ' Mr. Kenneth Brampton, spent a busy evening recently interviewing ne *. members who are desirous and V'Jhng to take an active part in the forthcoming productions. An appeal for fresh players produced an excel - lent result, some 50 people presenting themselves. All of them had had experience in repertory institutions in all

Although no definite reply lias been received, the next production by the Auckland Little Theatre Society will probably be Lord Dunsay’s "If.” parts of the world. With such material available the society hopes to present bigger and better productions, but increased membership is essential before the plays can be offered in the ambitious manner the society hopes to achieve before the end of the year. * * * The subscribers’ list of the Little Theatre Society shows* an increase considerably in advance of previous years, but the producer, Mr. Kenneth Brampton, states that it must be remembered that the productions have been raised from two to four every year. Many new members were enrolled after the performance of “You Never Can Tell,” but the society wants still more. All those who are interested are asked to give their support and help to make the Auckland Little Theatre Society the most successful repertory movement in Australia.

Familiar faces are seen in the rest of the cast, writes a Sydney critic of “Frasquita,” which has been played in New Zealand. Herbert Browne is totally inadequate as a foil for the dazzling Marie Burke. He has a good voice, a rabbit-like manner, and no appearance. The comedians are Cecil Kelleway and R. Barrett-Lennard. Both are industrious and achieve some moments of simmering, if not volcanic, mirth. Thelma Burness fills a small role nicely, and Gaston Mervaie and Marie Eaton are also adequate to their task. Alan Chapman picks out a fat man in the background with delicate humour. “Frusquita” is just as colourful, as filled with peacock shawls, as tropical with coloured light and soft music, as its name suggests. The outstanding part of the whole performance is the pas de deux by Thurza Rogers and Robert Lascelles.

THE NEW ART

SHAKESPEARE WITHOUT SCENERY POETRY EXPRESSED IN LIGHT An exquisite new art was revealed at Oxford recently, when Theodore Komisarjevsky produced “King Lear” at the Oxford University Dramatic Society. It was Shakespeare without scenery, but Shakespeare with the poetry of passion expressed in light, Komisarjevsky is known in London by his production of “The Cherry Orchard,” but this is the first occasion on which he has produced Shakespeare in England. It is the realisation of a long-cherished dream to produce “King Lear,” and it was a triumph which startled Oxford, says the London “Daily Mail.” The opening scene showed no more than a backcloth and an arrangement of steps on the stage. The setting was unchanged throughout, and members of the audience were apparently afraid in the beginning that the lack of scenery was going to be detrimental. Then they saw what Komisarjevsky can do with light, and they watched the stage during the entire performance in rapt attention. As the emotions of the characters varied, so varied the background of colour, which changed from flaming crimson to sunset pink, from saffron to mystic silver like a London fog. Against the fugitive pageant of colour the dresses were silhouetted in gorgeous clearness. The storm scene, with which the fifth scene opened, was one of the most amazing ever seen on a stage. The tall figure of King Lear, his white hair tossed by the wind, was

shown against the storm, in which colours chased each other continually. The voice of the despised old man weeping over his daughters was heard above the murmur of thunder. Behind him flashes of lightning tore the sky, and a veil of black, like widow’s weeds, obscured at times the great spaces above and around him. It was a perfect setting for one of the greatest tragic figures of Shakespeare. Yet this art of light was used so delicately, and with such imagination, that it never became melodramatic. To many in the audience it expressed the soul and intention of the play as rwmpous and conventional scenery could never have done. It made scenery superfluous and suggested that in the Shakespearean production of the future light may take the place of scenery.

Radium valued at £1,500 disappeared from the operating theatre at Charing Cross Hospital recently, and after a search some of it was recovered from a heap of refuse at Harrow, Middlesex. An expert from the electroscopic research department of the Middlesex Hospital successfully searched the refuse, which had been removed to a farm at Harrow, with a radium detector, a remarkably sensitive apparatus, which indicates the presence of even the slightest particle of radium by a glow of light-