Frank Harvey in Musical Comedy

Sun (Auckland), Volume I, Issue 158, 24 September 1927, Page 22 (Supplement)

Frank Harvey in Musical Comedy

Locke Novel Set to Music By An Australian The musical version of William J. Locke’s novel, “The Beloved Vagabond” was produced on September 2 at the Duke of

York’s Theatre, London. Dion Boucicault was the producer, and the cast included Frank Harvey, Frederick Ranalow, Lilian Davis, and Mabel Russell. The lastnamed recently occupied a seat in the House of Commons as Mrs. Philipson.

The critics praise Dudley Glass’s music, applauding the really beautiful song and haunting melodies of the piece. The “Daily Telegraph” says:—“Glass fortunately pins his faith to the light musical fashions of the past rather than to the present. He never offends the ear by vulgarity, or meaningless noise. He aims at refinement, and generally achieves it. Mr. Glass is an Australian. Mr. Harvey was last in New Zealand with “The Skin Game.” Dorothy Brunton, the Australian actress, achieved a personal triumph on her return to the London stage recently in the play “Climax,” with Guy Bates Post, who shared her success. A crowded audience in the Little Theatre enthusiastically welcomed Miss Brunton back, despite the cld-fashioned nature of the play. There were several curtains, and Miss Brunton responding to repeated calls, thanked those responsible for her return to the London stage. Senator Sir George Pearce, Sir Newton Moore, former Agent-General for W.A., and Sir William Beach Thomas, the famous war correspondent, were present. “The players’ endeavours were greeted with enthusiasm and an embarrassment of flowers, but they could not save the play,” says “The Times.” “It did not wish to be saved. It seemed to rejoice in its sweet disasters.” All the critics point out the play’s _ weaknesses, chiefly complaining of its sentimentalism. Most of them enthusiastically compliment the players. The “Daily News” refers to Miss Brunton’s sensitive and profoundlj l- true portrayal of her part, adding, “ And she can sing.” One critic describes it as a “one woman triumph.”

Clianning Pollock, the American dramatist who wrote ‘The Fool” and “The Sign on the Door,” has been a regular visitor to London for 30 years. Since he arrived on his last visit he has visited most of the West End theatres, and complained bitterly of the poor quality of current London plays. His chief praise goes to “The Fanatics.” “Where are the new playwrights, the successors to Pinero and Henry Arthur Jones?” he lamented. “You have only purveyors of light and frivolous stuff. New York is far in advance of London theatrically. You only import our rubbish,” said Mr. Pollock “We give eager hearing to ail the best work of Europe, but London ignores our plays of serious intellectual interest."

“Second-hand Brides,” Nellie Brainley’s new production, opened to a crowded house at the Grand Opera House, Sydney. The papers predict a successful season for the play, and acclaim Miss Bramley as one of the finest light comediennes in Australia. “Light” is hardly the correct word.