TO DANCE IN “LA MASCOTTE”

Sun (Auckland), Volume I, Issue 146, 10 September 1927, Page 22 (Supplement)

TO DANCE IN “LA MASCOTT E”

There is a curious little theatre at Deal, England, called the Globe—-curi-ous because it is probably the only one entirely run by service men. The manager is an officer, and a sergeant his assistant. The whole staff consists of Royal Marines, including an efficient orchestra from the Royal Marine band. The theatre has a holding capacity of 570, and can effectively stage any show on tour.

“We had great fun in Xcw Zealand on our 'Lady Be Good’ tcur, and arrived in time to take part in the diamond jubilee of some of mother’s ‘grand relations,” said Elsie Prince on her return to Australia. “And we went to Rotorua. It took a bit of getting there, for first the car with Jimmy Godden and his half of the party got stuck in the mud, and we were two hours jacking them out. And then our car came in for the same mishap. But we had the Anzac week-end holiday there. “The Maoris gave a concert for us and we gave one for them. I made great friends with Ran A, the ‘girl guide,’ and we swopped clothes to have our photographs taken.” Elsie Prince's contract finishes in October, but she is not making plans yet. She has been on this side for two years, “and they have been lovely years," she says enthusiastically.

Pauline Frederick has achieved her second conquest in the North. Lancashire, where the people believe in value for money, have gone mad over Pauline and “Madame X” —so much so that the tragedienne of the film has been obliged to return to Manchester Palace for the second time in a week. And in Manchester this is something hitherto unheard of.

Lorna and Toots Pounds, the Australians, gave a really fine performance at the Palladium recently. Following a tuneful love song, there came some clever and amusing imitations by Lorna, who should really stick to broad comedy, and an extract from grand opera by Toots. The latter’s excellent voice has vastly improved of late.

Margaret Lawrence, the American star, who commenced her Australian season at the Criterion, Sydney, in “The Road to Rome,” recently is likely to interest herself in the repertory’ movement. She spoke to a correspondent of the continued success of the New York Theatre Guild, a repertory organisation which sets itself out to produce plays for art value, regarded as failures for the ordinary commercial theatre, and make them profitable. In this task it has succeeded so thoroughly that it is now in possession of its new theatre on Fifty-eighth Street. Moreover, it has leased the John Golden Theatre and is also producing plays at the Garrick.