Behind the Scenes With Cyril Maude

Sun (Auckland), Volume I, Issue 236, 24 December 1927, Page 20

Behind the Scenes With Cyril Maude

Interesting Memoirs TREES LITTLE JOKE “No, I won*t disguise the fact that I am genuinely glad to escape from the thraldom of theatre life In these words Cyril Maude begins his book of memories, “Behind the Scenes With Cyril Maude,” published by John Murary in London recently. It is an unusual confession for so successful an actor to make. This is the reason he gives: “It is a very confined sort of existence. One’s outlook on life ran very much in a groove. One was continually meeting the same set of people every night, instead of people of varied interests.” This is a charming and kindly book, with its good stories and glimpses behind the scenes. Mr. Maude is descended, he tells us, from a murderer, for his ancestor was that Tracy who killed Thomas a Becket. One of the best stories is that of a butler who wAs unable to pronounce the name of a relative of Mr. Maude’s. Lord Magheramorne. The peer had only recently got his new title, having before been Sir James McGarel-Hogg. The butler had the duty of announcing him at a party, but, unable to grasp the new name, he compromised, and startled everyone by announcing In a loud voice: “The late Sir James Mc-Garel-'Ogg.” In October. 1898, Mr. Maude produced ' The Manoeuvres of Jane,” by H€?nry Arthur Jones, which was a great success. “How furious Henry Arthur Jones was with me for putting in what, 1 fear, was a lot of almost too farcical business. He used to gallop after me in the Row in Hyde Park, where I went for a ride every morning, and storm at me. And then I used to gallop away from him, and

he would pursue me again and resume his abuse. I had sort of spies in front of the house, who would report to me when he came into the theatre, and then I would modify my farcical business.” Charterhouse Pyjifmas It was in 1905 that Mr. Maude took a »9 years’ lease of the Avenue Theatre and christened it The Playhouse. It was the most daring adventure of his career, and in the very same year the roof of Charing Cross station fell on to the theatre and crushed it. When at last the theatre; was rebuilt and opened in the presence of a brilliant audience. Mr. Maude was able to produce a playlet by Bernard Shaw, called “The Interlude at the Playhouse,” the text of which is given. A few nights after this memorable opening almost the whole house was taken by Mr. Maude’s old school fellows at Charterhouse. He delighted them by appearing in a suit of made out of old Carthusian colours in “Toddles.” Sir Charles Wyndham insisted on bringing a little dog to every rehearsal of “Money,” given at a gala periormar.ee in honour of the Kaiser’s visit to London in 1911. “One day Tree. Irene Vanbrugh, and I were standing watching the little dog, and I said: “I suppose you know that little dog has been trained by Lady Wyndham to watch over Sir Charles, and in case he speaks longer to any particular lady than he ought the little dog gets hold of him by the ankle just to remind him of Lady Wyndham.” “They both laughed, and then Irene looked up sweetly into Sir Herbert’s face, and said: ‘And do tell me, Sir Herbert, has Lady Tree trained a little dog to watch over your goings-on?’ Tree gazed up at .cue rafters of Drury Lane Theatre,

Productions which are among the chief successes in London at present include the following, which will be staged in Australia by the J. C. Williamson, Ltd: —“Thark,” which is in the repertoire of the “Cuckoo in the Nest” Company, “The Desert Song,” which is said to be a worthy successor to “Rose Marie”; “On Approval”; “The Golden Calf,” in which Margaret Ban - nerman is starring; “The Girl Friend,” in which the London musical comedy star, Annie Croft, will soon make her debut in Australia; “Interference,” in which Leon Gordon will appear on his return to Australia early next year: “The High Road,’ 'which is in the repertoire of the Vanbrugh-Boucicault Company; “The Vagabond King,” said to be one of the fihest and most successful comic operas the London stage has ever known.

Five members of one family of comedians and dancers from England have arranged the presentation of the Princess pantomime, “Robinson Crusoe,” in Melbourne. They are Edgley and Da we and the Dick-Dorothy Trio. All, with their various acts and with such shows as the Midnight Frolics, have become well known in recent years in Australia and New Zealand. Several comedies and dramas seen at the Athenaeum Theatre have been presented by arrangement with Dick White and Eric Edgley.

The Christmas productions in London will include the annual revival of “Peter Pan,” with Jean ForbesRobertson as Peter and Mary Casson as Wendy; the pantomime “Robinson Crusoe,” at the Garrick for matinees; “The Queen of Hearts,” at the Lyceum; “Cinderella,” at the Palladium; “Hurapty Dumpty,” at the King’s, Hammersmith; and “Cinderella,” at Wimbledon. * # * The specially selected J. C. Williamson Gilbert and Sullivan Comic Opera Company has been so successful that the New Zealand tour has been extended. The Wellington return season will commence on Boxing Night, and Straus’s delightful musical comedy, “The Chocolate Soldier,” will hold the boards for six nights. Then will follow “Ruddigore,” “Pirates.” “Patience,” “LYeomen of the Guard,” “Patience,” “Yeomen of the Guard,” which Christchurch and Timaru will be visited. The success of this company has been most gratifying, and proves conclusively that the charm of the beautiful music of Sullivan and the merry quips and quaint fantasies of Gilbert are as attractive to-day as they were when they were written 40 years ago. Another Australian has made a hit in New York. This time it is Margot Lester, a little Melbourne girl, who has been three years in New York waiting for her big chance. It came recently when she was cast for the lead in Lord Dunsanay’s “If,” which was played at the Little Theatre, New York. Gladys Cooper played the lead in this show in London, and it is sufficient index to what others think of the job to point out that immediately after her appearance in “If” Margot was offered contracts by Winifred Ames and Frohmann.

and, stroking his locks, said: *Ah, it died from want of sleep/ ** School for Dramatists An interesting suggestion made by Mr. Maudo is a school for dramatists. He says: “Many of the ‘great unacted’ show very sterling qualities, and with some assistance would no doubt turn out notable work. We teach the elements of acting at our dramatic schools; why not teach the elements of play-writing. I have kept on from time to time trying to get a chair founded at Oxford or Cambridge, or both.” “In America,” he concludes, “I found they had exactly what 1 have always advocated/*

Sir James Barrie has captured Paris. Everybody is talking about "Une Vielle Maman,” the name given to Barrie’s “The Old Lady Shows Her Medals.” At the Generate everyone cried, even the most hardened of critics. Mile Bovy, who plays the old lady, has scored a tremendous triumph. “Whispering Wires” is an American mystery play, said to be without “course language or a bedroom scene.” Edyth Goodall, Dorothy Batley, and James Carew are among the company, who will appear in the Australian production. “Rose Marie,” who has at last arrived in the full glory of beautiful clothes, music and setting, will stay with us until January 14.

Miss Chrissie Royal is the fairy godmother of hundreds of Australian children. In Sydney she teaches tiny tots the most intricate steps and gxiides them along the path which leads to a life in the rosy glow of footlights. Some of Miss Royal’s clever children are at present in Auckland

entertaining patrons of the National Theatre. They are the Australia7i Sunbeams, some of the most talented children who have ever left Australia for a tour abroad.