Marie Burke Says Farewell

Sun (Auckland), Volume I, Issue 128, 20 August 1927, Page 22

Marie Burke Says Farewell

Returning to England NO SUITABLE PLAYS OFFERING IN AUSTRALIA THERE will be general regret at Marie Burke’s announcement that she intends to return to England at the expiration crF her contract with J. C. Williamson, Ltd. b A most intelligent and artistic performer, Miss Burke would be welcomed in any part of the world. She played leading roles in musical productions in London and New York before coming to Australia and New Zealand, and she has been offered other engagements abroad since her arrival in Australia. Miss Burke has personality, and her work as a singer or an actress has polish. After a tour in the title role of “Frasquita,” at the Theatre Royal, she will return to Melbourne for farewell appearances in a series of revivals. “I intend to go to Englan'd first because I want to meet my sister whom I have not seen for seven years,” said Miss Burke, in setting out her plans. “I have had several letters from Charles B. Cochran, who has wanted me to return to England. I played under his management first in 1919. After returning from Italy, where I studied and appeared in opera, I sang at concerts, and was wondering what was going to happen next when Mr. Cochran said. ‘You are the person I want for “Afgar.” * My part was a fine one.” Miss Burke was engaged for America by J. J. Sliubert, and she says that after a certain time in England she will resume her association with the Shubert firm. In that country, Miss Burke played Mariana in “The Lady of the Rose,” and was with Eddie Cantor in revue. Returning to England, Miss Burke fulfilled some concert engagements with well-known singers. Then, being unable to obtain the stage work which she desired, the actress went into vaudeville, where she -was able to express her individuality. While engaged in this work, she was booked for Australia. Miss Burke is emphatic in her belief that an actor or an actress of recognised ability should be permitted to play a part as he or she conceives it. “A producer is very wrong, if, instead of giving consideration to one’s originality and intelligence, he insists on having everything carried out according to the lines adopted in the original production in England or America,” she declared. “There can bo differences in the portrayal of a part, just as there can be in the interpretation of music. All the readings may be equally interesting, but the case would be different if the various artists were obliged to interpret exactly the same way without giving expression to their personality. A player who is forced to portray a role differently from what he or she feels to be right, is naturally cramped and cannot be really successful. “I know what I am talking about because I had to undertake work in which I could not express my individuality. And I would have undertaken much more had I not seen that this was mere waste of time. Cinderella parts, for example, are no good to me. I am not the type, and am out of sympathy with them. But when I get a part that suits me I study it most carefully and find pleasure all the time I am working.” Miss Burke is leaving Australia because J. C. Williamson, Ltd. has no suitable pieces avialable for her at present. But she hopes to return some day, and the firm will be thankful for her services again. Mr. Frank Tait made this statement, and in his tribute to Miss Burke’s ability, said that she was one of the most sincere artists the firm had ever engaged.

TRUE REPERTORY SPIRIT Working quietly and unassumingly the Grafton Dramatic and Shakespearean Club is doing good work among the amateurs. It has been in existence for some time, but so far it has not sought the light of publicity, except among its own members. The club’s most recent production, reviewed in Wednesday’s SUN, was a creditable success, considering the difficulties of Harold Chapin’s play, “The New Morality.’’ There are some most promising players in the club, which has produced several plays of outstanding ability. These include “What Every Woman Ivnows” (Sir James Barrie), “A Bill of Divorcement” (Clemence Dane), “Tilly of Bloomsbury” (lan Hay), “Art and Opportunity” (Harold Chaplin), “Three Wise Fools” (W. Strong), "Mr. Pim Passes By,” “Ariadne,” “The Lucky One” (all by A. A. Milne), and several Shakespearean plays. The next production is to be Sutton Vane’s clever and controversial comedy, “Outward Bound.” Though the society cannot afford elaborate settings, its plays are always presented with conscientious effort and sincerity. Club evenings are also a feature, and new plays are discussed by everyone who is interested in the drama. Quite often repeat performances of the plays are given for the benefit of suburban literary and dramatic societies. The society owes much to the tireless efforts of Mr. Ernest Blair, the producer, who has worked strenuously m presenting the plays attractively ' and sincerely. The Grafton Dramatic Club has the true spiirt of repertory. It is presenting plays which would not be given on the commercial stage. May the club go ahead and prosper. William Pollock, in an English exchange, names several young actors and actresses who have never got the opportunity to show their worth. Here they are: “Margaret Campbell, whom I saw playing for June in ‘Mercenary Mary,’ and who, to my mind, has all the attributes required in a musical comedy star —looks, charm, dancing, and a sufficient voice. Jane Welsh, a young actress of personality, appearance, and very sympathetic manner, who only now and then is seen in London. Mercia Gregori, who has great intelligence and grip over audiences, and outstanding dramatic potentialities. Richard Cooper, who gave such a remarkable performance in ‘Outward Bound,’ but who has so far failed to become ‘fashionable.’ Hay Petrie, an exceptional comic actor, who has hardly had a part to suit him since he left the ‘Old Vic.’ Raymond Massey, a Canadian, whose very bright light is generally hidden under a bushel at the Everyman, Hampstead, or in some Sunday night play.”