STAGELAND

Sun (Auckland), Volume 1, Issue 74, 18 June 1927, Page 22

STAGELAND

HIS MAJESTY’S THEATRE July 2-July 16. —“Lady Be Good.” July 19-July 27.—J. C. Williamson Vaudeville. July 28-August 18.—“ The Last off Mrs. Cheyney,” “Daddy Longlegs” and “Polly With a Past,” Renee Kelly. STRAND THEATRE Now Playing.—Humphrey Bishop Company. CONCERT CHAMBER Julv 12, 13, 14.—“ The Cassilis Engagements,” Little Theatre Society. COMING Alan Wilkie in Shakespeare. “Tell Me More.” “Rose Marie.” “La Mascotte,” Auckland Amateur Operatic Society. Athol Tier, Peggy Ross and Kerch el Henlere, all. of whom have been in New Zealand, were appearing at the London Pavilion when the left. Wish Wynne, who made a short stay in Auckland some time ago, is in the latest Edgar Wallace thriller, “Double Dan,” in London. * * * Field Fisher, owing to the “fat” of his part, practically carries off the acting honours in “Getting Gertie’s Garter,” at the Grand Opera House, Sydney. Frank Harvey, last here with “Seventh Heaven,” and “The Skin Game,” is playing in “The Transit of Venus” in London. The story concerns a woman who started a war, and is described as good melodrama. * * * Tom Walls, here as a comedian with “The Arcadians,” and other operas under the Meynell and Gunn regime, has just produced a clever farce called “On Approval” at the Opera House, Southport, England. * * * Here is a recent picture of Elsie Janis. who- may tour New Zealand

at the cc sion of her Australian engagement. Miss Janis is one of the highest paid vaud *- ville performers in America. During the war she played the lead in “Hello America” at the Palace. Theatre, London. Many New Zealanders will remember Miss Janis’s delightful

performanc es during the run of th it popular revue. June Roberts, American dancer here with Hugh J. Ward's musical comedy company in “The O’Brien Girl 13 thinking of returning to Australia.

Amy Rochelle has concluded a, two week's season at the Haymarket Theatre, Sydney. She intends shortly to leave for England, playing a season in South Africa on the way over. Miss Rochelle was here last on the Fuller circuit. t

Oscar Asche, in a wonderful makeup, bristling, black eyebrows, black imperial, and turned-up black moustachlos, speaking with a strange Ang.oPortuguese accent, made a highly successful appearance early last month at Golders Green in a new play called “What Shall it Profit a Man. . . .? He is Doldy, a superman, who has made his pile prospecting for gold in Australia, and has returned to England with Rosamund, the woman he loves. Oscar Asche’s very powerful performance carried this vivid melodramatic tale to success, and Dorothy Holmesdore, as Rosamund, was an admirable foil to him.

A remarkable scene occurred at the Little Theatre, London, one night early in March during the performance of the vampire play “Dracula.” At the end of the first act a woman went into hysterics iij the stalls and held up the performance. She was half an hour before she recovered. Four other women fainted during the performance. Owing to the number of these occurrences a doctor and trained nurse were kept at the theatre at each performance.

“There is nothing in the least ‘highbrow’ about Shakespeace,” was a statement made by Balliol Holloway at a dinner of the Gallesry First Nighters’ Club, London. There was a tendency, he said, to describe any play that contained a modicum of intelligence as “highbrow.” Poor old roast-beef-and-Yorkshire-pudding Shakespeare even had been so described. “If he had been alive to-day, his bosom pals would be the brothers Melville, and George Robey.”

Josie Collins, Lady Innes-Ker, who is staning in the sensational revue, “White Birds,” in London, backed Call Boy in the Derby. She won £IO,OOO. To celebrate the occasion, she failed to turn up at the revue on the first night. Critics are unkind to “White Birds.” on which tremendous sums were expended before it opened. The general verdict is that the sketches are dull and that most of the artists are swamped by the over-sumptuousness of the production. George Gee made the most of his limited opportunities and his appearance on the first night was greeted with many cooees.

Minnie Everett, who for many years has trained the ballets and arranged the dancers for the J. C. Williamson musical shows, has announced that she will open a school of dancing in Christchurch. One of Miss Everett's greatest successes was the production of the Gilbert and Sullivan operas, which played here quite recently.

(By COTHURNUS .) “Madame Pompadour,” with Beppy de Vries in the leading role, has been launched successfully in Sydney. Critics predict a long run. Arthur Stigant and Claud Holland are in the cast. * * * Mayne Linton contributes a great c'eal to the success of “The Ghost r JX‘rain” in Melbourne. He made his first appearance in Australia in that other my stery play, “The Bat.” Since the firW' night of “The Bat,” Linton has had manjr dramatic triumphs. He has becotue well known as a result of his association with Gertrude Elliot and variotas other J. C. Williamson attractions.

Like T ennyson’s brook, “Rose Marie” ripples QVi for ever. It is now in its second Australian year .at His Majesty’s Theatre, Melbourne, and there is not the ’slightest indication of it ever finishing- Harriet Bennet has a wonderful vc ice for wonderful music. Reginald Darxdy looks and sings well and Frederick Bently keeps everyone well amused.

When Nora raised her sweet voice in ths' solos of “Frasquita in Sydney recentf^ v the girls and boys of the company rallied together and presented her with o. huge box of cut flowers. Marie BurX'C sent a message to her dresser to make tea for her and see that she had everything she wanted. Nora has beeD Marie’s understudy for two years.

Apropos of J. C. WilV-amson’s new Intimate Theatre, shortly to be erected in Exhibition Street, opposite His Majesty’s Theatre, Melbourne, the building will be in brick and reinforced concrete, and a thousand pa%trons only will be provided for. The seating will be a unique feature of this taipuse. The main entrance will be from Exhibition Street, to which the site has a i’rontage of 100 ft. To Lonsdale Street there is 132 ft. The exterior design will be in the northern Italian style, the finish being in tapestry brick and cast i’tone. From the entrance lobby will lead stairs to a mezzanine floor with cloakrooms. The ventilation of the new house is receiving special attention from the architects.

Gladys Moncrieff, who was in a taxi which collided with a motor-car in London recently, while she was returning from a matinee performance of the “Blue Mazurka,” has recovered from the slight injuries, shock and head bruises she received. Miss Moncrieff was not able to appear the following night, her place being taken by an understudy. She declares she will not ride in taxi-cabs in future. Her mishap will not affect the “Australian night,”' when Sir Joseph Cook, the Agents-General, and other prominent Australians will witness a performance of the “Blue Mazurka.”

A frail little woman of 50, a former actress who for ten years played in Drury Lane melodramas, is making a plucky fight against poverty in London. She is Ethel Lennard, daughter of the late Horace Lennard, and 15 years ago had the reputation of being the most intrepid woman in the country. When risky scenes, calling for daring and a cool nerve, were being staged at Drury Lane, it was she who “doubled” for the stars while they looked on from the wings. Nightly, in the earthquake scene in “The Marriages of Mayfair,” she crossed a tottering bridge while the scenery collapsed round her. She plunged over precipices, and rode thrilling races, where a slip might have meant serious injury. But someone else got all the applause. Miss Lennard’s fight against privation is as plucky as some of the feats she used to perform on the stage. Forced, to give up* her career through illness and a weak heart, she has fought a losing battle, sometimes going without food for days, and sleeping out at night.

Action by Scotland Yard has led to two well-known dancers being prohibited from appearing at the Embassy Club, Bond Street, London. It is stated that this follows upon complaints made to Scotland Yard, but those associated with the management of the club say that they are at a loss to understand the reason for the police move. The dancers are Mile. Roseray and M. Capella, who have appeared in most of the capitals of the world. They were engaged for the Embassy by Albert de Courville, the theatrical producer at a fee approaching £I,OOO for three weeks. One evening an inspector from Vine Street Police Station called at the club and informed the manager, M. Luigi, that complaints had been lodged at Scotland Yard about the performance of the two dancers, and that steps must be taken immediately to put the matter right.

Reginald Berkeley’s play of the war, “The White Chateau,” originally written for broadcasting, enlarged for the films, and produced on the stage of the Everyman, came to rest awhile in the West End at St. Martin's Theatre, London. It is, in effect, the history of the biggest event of our times in six dramatic vignettes, set, with the help of dramatic license, in a homestead in the cockpit of Europe. One scene alone—a British attack at dawn—was magnificent in its realism. Though played in a dim light, it held the audience tense with emotion. It made us live again through those days of tears and blood and sacrifice. Many of the audiegee were deeply moved; women sobbed audibly, and men felt surreptitiously for their handkerchiefs. Most of the Everyman cast repeated their admirable performances, notably Norah Robinson and Lawrence Anderson. Austin Trevor succeeded Raymond Massey in one of the major parts; Ivor Barnard gave a little human study as one of the “Old Contemptibles.”

Gordon Bolitho, brother of Hector Bolitho, of Auckland, has found his way to London. A few months ago he was in the chorus of “Tell Me More” in Sydney; now he has obtained a part in a London production. He has added to his laurels by writing on a piece of Queen Mary's notepaper to a Melbourne chorus-ballet mistress.

General regret has been expressed in the South that so far “The Naughty Wife” and “Daddy Long-Legs” have not been included in the list of plays produced by the Renee Kelly Company. In the former Miss Kelly has already won golden opinions, and in the latter both she r d Mr. Allen (as Judy and “Daddy” respectively) have been acclaimed by London and New York critics as giving character impersonations of the very highest standard. It is to be hoped that “The Naughty Wife” will be produced, but “Daddy Long-Legs” will not be missed.

Madge Elliott and Cyril Richard are playing in “Lady Luck” at the new Carlton Theatre, London. Of the open-

ing performance the “Daily Chronicle” says: “Mr. Richard and Miss Elliott made one of the hits of the evening in (heir graceful dance ‘l’ve Learnt a Lot.” St. John Ervine writes of the production: Leslie Henson is very funny as a gentleman who inherits six million dollars

and six widows from his Mormon

uncle, but the rest of the cast are rather in the air. The piece, in short, is not very amusing, and nmny of the jokes are familiar. The music is neither here nor there, and the songs —except one called “Sex Appeal”—are not memorable. Mr. Laddie Cliff is illserved with material. So is Miss Phyllis Monkman. Miss Madge Elliott is moderately good.

Enid Adair, one of the specialty dancers in “Tip Toes,” at Her Majesty’s Theatre, Sydney, is the daughter of Harry Dearth, who will be remembered by Australians for his wonderful baritone voice and jovial personality. She also has a good voice, but it is as a dancer she is seen in “Tip Toes,” with her partner, Gerardo, who has appeared in nearly every big vaudeville theatre in England.

Marie Ney, the Wellington girl who h&'s done much good work in “intellectual” parts in London, receives high praise from James Agate, the “Sunday Tim es” critic. Writing of a stage society performance of a play from the Germ an ot Schonherr, “Der Weibsteufel,” Ixe says: “Miss Marie Ney gave a brilliant performance and really acted instead of looking like Francesca da Rimini and, as is the modern fashion, leaving .the audience to supply the acting in tta'.eir own minds. Miss Ney is an accomplished artist who can be and does not but half a score of things, and is .time she was given a real chance.” Lu Australia Miss Ney was with the Wilkie company, and afterwards ix* Williamson productions. Not long beftbre she left for England she appeared in one of the Emelie Polini seasons of “My Lady’s Dress,” playing the of the crippled cockney girl, w.ho sold her long fair hair to help the family. # * ♦

If you except “T-he Constant Nymph,” which is founded upon a book by a woman writer, is only one play running in London just now which is not the work of a mvm or the result of male collaboration. ’.The solitary piece is Ann Nichols’s “ Aide’s Irish Rose.” Why women should not have more success as playwrights is a puzzling thing. There seem tej be no sound reasons why women shcnuld not be able to write* plays just as wpll* as they are able to write novels, an d I can only suggest that they do not try as men do. If to see plays is one of the ways to discover how to write tluem —and it undoubtedly is—women shc*Uld have a pull over men, for women go to the theatre more than men do. Musical plays s,nd revues are entireVY in the hands of men, yet music is sameihing at which many women excel. VkYhy are there no women composers or lyrisSts? Charlie Chaplin has been dtffceved £750 a, week for 20 weeks to ap'i*aar on the London stage. The offer was contained in the following cable ae.ttt to him at Hollywood by Harry Dai’** M.P.: Can offer you a salary of £750 weekly for 20 weeks guarantee to create character of “Bunty” in a musical play entitled “The Mountaineers,’’ to be produced in London on September 5 next. Will have all scenes in which you appear in specially written and constructed to suit your particular line of comedy. Please cable reply. The play in question has been written by Clifford Grey and Greatorex Newman.