STAGELAND

Sun (Auckland), Volume I, Issue 258, 21 January 1928, Page 22

STAGELAND

(By

COTHURNUS)

FIXTURES HIS MAJESTY'S THEATRE Feb. 1: J. C. Williamson CelebrityVaudeville. Feb. (indefinite): “The Ringer” and “The Terror”; Maurice Moseovitch. COMING “Archie” (Elsie Prince). “Madame Pompadour.” “Tell more.” “Tip Toes.” “Castles in the Air.’

Percy Hutchinson and his English Comedy Company will visit Australia soon, under the management of E. J. Carroll. “The Spider”. yill be included in the repertoire. Williamsons, Ltd., are negotiating with Robert Loraine, the English actormanager, for a tour of Australia and New Zealand with Bernard Shaw plays. He recently revived “Cyrano de Bergerac” in London. * * * Zillah Bateman, here with “Eliza Comes to Stay” and .other pieces, is to be a leading woman in films. She will appear in “Caught In the Net,” which will be directed by Vaughan Marshall for the Advance Films Syndicate, Australia. “The Soul of Nicholas Snyders” was: recently done at the Everyman, London. It is the work of the late Jsrome K. Jerome. lon Swinley, fresh from his long engagement in “The Fanatics/’* was seen in one of the chief parts with Josephine Wilson, Uno O’Connor and Wilfred Shine. Mr. Swinley said of the play: “The theme is an exchange of souls, treated fantastically and with all of Mr. Jerome’s literary delicacy. As the author left the period of the play to the discretion of the producer, they are choosing Franz Hals costumes and a 17th century setting.”

The Boucicaults are due at the Royal Theatre, Sydney, on January 21, and their opening piece will be “The Letter.” It is an Anglo-China drama, taking place in China with an English heroine .of not very high principles but a fascinating personality. It has some tense moments. * Somerset Maugham is the playwright. * * * Allan Wilkie, who hitherto has had eminently successful seasons at Hobart, has struck, a very bad patch on his eighth annual visit to Tasmania. An unavailing effort has been made to boom new lighting effects, but, after all, “the play’s the thing,” and, sorry to relate, good houses are few and far between. The crowds are not rushing the theatre and the season is extremely disappointing, the more so when one realises the phenomenal successes achieved by Alan Wilkie Mary MacGregor, who plays Ln important role (that of the little typiste) in “The Ringer,” the thrilling drama to be staged by Moseovitch and the specially selected J. C. Williamson Company at Auckland, confesses to a liking for very modern flapper roles. Like many artists who have reached the front ranks of the profession, she got her chhnce with a repertory theatre society, in which she displayed such conspicuous ability that she was brought under the notice of the heads. Then came her big opportunity when she was cast as Jill in “The Skin Game.” *

Wodehouse Play

English to the Core "GOOD MORNING BILL” P. G. Wodehouse has made at least two continents laugh with his books, lie made a London audience laugh with his play, "Good Morning, Bill!” which was produced at the Duke of York’s Theatre recently. The programme says that the piece is based on the Hungarian of Ladislaus Fodor. But there is far more Wodehouse than Hungary about the play. For the humour of Wodehouse is always distinctly individual. He has a way of his own. The story-r-no matter whether it comes from Hungary or from Dulwich College, where the author played cricket and football as a schoolboy—is characteristic of the Wodehouse of so many light-hearted novels and short stories. It is English to the core. . , There is a golf interest in «t, and all the scenes are laid in an English county. The plot does not matter to any extent. It is a prop for bright lines and amusing situations —that, and nothing more. Young men in love, several of them with the same woman—such is the foundation. And the title comes from the sudden arrival of a young man who had borrowed someone else’s umbrella years before and had come to return it. After that complications occur quickly. The piece was acted with swiftness and life and fire. Ernest Truex is always a personality —quiet, an American who does not over-act —and Lawrence Grossmlth has seldom played a good part with a better sense of characterisation. He is practically perfect as a young English lord, from his eyeglass to his boots. In addition there is Dorothy Minto. who, as a girl who is at once violent and vulgar, gets every ounce of character from her part; and Vera Lennox, charming as a lady doctor with whom most of the men fall—small wonder —in love. But especially there is Frank Cellier, who has a great deal to say, and who gives point to every line. Altogether “Good Morning, Bill!” is a bright entertainment —almost as bright as most of P. G. Wodehouse’s novels. When Mr. Truex came forward after many curtain calls, a shrill feminine voice shouted, "You’re wonderful. Ernest!” “Thank you. darling.” said the actor with a graceful bow. And his answer won one of the biggest laughs of an evening so full of laughs.

“Lumber Love,” a musical comedy after the style of “Rose Marie,” is likely to be produced in London shortly The music of the show was written by Bertie Adams, an Australian. * * * A dancing revue headed by the Gatanos—Adam, Amelia and Marta —is playing at the Sydney Tivoli. Others doing their bit in it are Hector St. Clair, Syd. Burchall and Davy Jamieson. The last-named is the stepfather of Yvonne Banvard, of “Rose Marie.” There is a rumour that Maurice Moseovitch is to retire after his forthcoming New Zealand tour. His bank roll must be big enough for it, and he has rolled out the globe and rolled it up again, so why not? But we seem to have heard the story before. Writing to a friend in Wellington, Mr. E. J. Gravestock, the; impressario, states that his visit to New York has been full of interest, so many and varied are the attractions in that great city. During his

walks abroad he met many theatrical friends, among them Gladys Moncrieff and her husband. Barry Lupino and his wife had apartments near his own. Barry was playing in “The Love Call” with the Schubert manage ment, a comparatively small

part in a piece that was not a wonderE. J. Gravestock ful success. He had also seen a lot of Mr. and Mrs. Harold Bowden (Mr. Bowden is representative for J. C. Williamson, Ltd., in New York). A few pianists in town when Mr. Gravestock wrote were Paderewski, Friedmann, Moisiewitsch, and many others. Heifetz had also arrived from the West the day before he wrote. Judith Anderson, recently in Australia, was about to open in a new play entitled, “Behold, the Bridegroom,” a play which had been tried out for a week or two in the provincial towns. *# ■ * Mystery plays make a strong appeal to the youthful nature that remains in every man. They recall to him the time when he crept away to his room or to the back garden to enjoy his private reading of Sexton Blake, Arsene Lupin, Sherlock Holmes and other detective stories. For popular taste, sliding panels, mysterious doors and sensational happenings are nowadays a necessity. “The Ringer,” however, has only one murder, but it does not lack thrills, for the sensational features of the thrills are more the crimes that are not committed than those that are. “The Ringer,” in the language of Scotland Yard, is the “killer.” He is called “The Ringer” because of his adeptness in ringing the changes on himself, but is not by any means an ordinary criminal, for he kills only those who deserve a worse fate. Moseovitch will produce “The Ringer” at Auckland on February 1.

If you would see how London leading ladies and juvenile leads carry out their work, don’t miss “The Girl Friend,” writes a Sydney critic. Annie Croft has the genuine London brand on her. When she sings she is as softthroated as morning dew on maidenhair fern. When she dances she is as lithe as a fairy skipping on a mopnbeam. Annie is not a musical comedy star who puts all her eggs in one basket. The charm of her is subtle, and her allurement grows as the piece, advances. Reginald Sharland is the 4 quiet fun-maker of the London stage. If they don’t appeal to you Well, save your money and stay at home, for it won’t be much use travelling all the way to Europe to . see their kind. Theirs is the method in vogue in Shaftesbury Avenue and the Strand.

Outspoken Peeress

Happy in America NEW PLAY PRODUCED • Lady Millicent Hawes, formerly the Duchess of Sutherland, is one of the literary lions of New York at present and will probably reside in America in future. She has written a new play which is to be presented in New York. She has been developing her literary talents seriously ever since her book, “That Fool of a Woman!” made a distinct impression. It was mercilessly frank, and written with many fresh and amusing embellishments. Descriptions of the “carryings on” of well-placed English women during the war were not well received in court and official circles, but “Millicent Duchess,” as she has always been called, is a law unto herself. Her biting candour and independent views are evidently popular in the United States. She is very contented with her artistic circle in New York now. The part she played as chatelaine of Stafford House, now the London Museum, is memorable. Her parties were the most brilliant of all the brilliant ones of the regime of King Edward. She was as if made for the role of hostess Her handsome appearance, her wit, her high spirits and her romantic charm made her like a figure, of fiction during those splendid, serene days. The tragic notes in this remarkable woman’s life were struck by her widowhood, the death of her adored second son, and her two recent unhappy marriages.

Sir John Martin-Harvey, Seymour Hicks and Sybil Thorndike are three of England’s stage celebrities who are preparing for overseas tours.

Dame May Whitty, who is 62 and has not played in musical comedy since she was a chorus girl in “Rip Van Winkle,” at the Comedy Theatre, London, more than 40 years ago, has a part in “Sylvia,” recently produced at the Vaudeville Theatre, London. Ben Webster, her husband, who is 63, will also have a part. Iris Hoey plays the name part, and others in the cast are Ivor Barnard, Ernest Thesiger and Margaret Yarde.

A notable J. C. Williamson Celebrity Vaudeville attraction is the Kwong Sing Wah troupe of Chinese players. Outrivalling all other acts of its kind that have visited New Zealand, this celebrated combination is complete with its Oriental mystery features, coupled with amazing acrobatic feats, delusions and all the rest of the fascination associated with acts from the East. The Kwong Sing W’ahs, ten in all, are due in Auckland shortly.

Among Annie Croft’s floral tributes on the first night of “The Girl Friend” in Sydney was one from Elsie Prince. These two young actresses have been together in five productions in England, and Elsie was very excited when she heard Annie was coming to Australia. “We were with the WylieTait management in ‘The Follies of 1919* and ‘The Follies of 1920/ and then in their ‘Brighter London/ when Annie was lead and I was the soubrette/* says Elsie. “But before that even, when we were quite youngsters, she played principal girl to my principal boy in two pantomimes. And now wjj are looking, forward to a good old yarn about London together.”

When “The Second Man” is produced at the Playhouse Theatre, Londdh, shortly, the Hon. Mrs. Maurice Brett (Zena Dare) will play the part of the best dressed woman in Northern Europe. So the feminine part of the audiences may look forward to a feast of wonderful clothes. Mrs. Brett has already started to assemble her wardrobe, and is painstaking about finding the ultra-fashionable dresses.

Looking Ahead

Kerry Kelly Plans ’ to Go to England Kerry Kelly, who will be one of Moscavitch’s company when he opens his New Zealand tour on February 1, is leaving for England at the end of the year. During her 20 months as a professional player this Melbourne girl has achieved something of a record.

She was one of the Repertory players in Barrie’s “Dear Brutus,” with w'hich the Athenaeum Theatre, Melbourne, was opened, and her strikingly good performance as Margaret, the Dream Child, in that production, led to an engagement on the professional stage. The actress is one of those optimistic young people who are convinced they are always lucky. Even in her first professional piece Fortune came her way. She was cast for a much better role than the one for which she was selected. Full of life and fun, Miss Kelly proved admirably suited to the role of the breezy daughter of the puritanical and austere old Amos Purdie in “The Sport of Kings.” But this young actress has proved herself possessed of a strong dramatic as well as a comedy sense, and is well equipped for a wide range of parts. As a Repertory player Miss Kelly was Hope in “If Four 'Walls Told,” and an old woman in Abraham Lincoln. Her biggest hit as an amateur was made in the role of Peggy in “AU-of-a-Sudden-Peggy.” In addition to the Athenaeum productions mentioned, Miss Kelly has appeared in “The Unfair Sex” and “The Last Warning.” Maurice Moscovitch was impressed with this actress’s work. She played the cockney waitress in “The Fake” with him here and in Sydney. In New Zealand the noted Russian actor entrusted her with the leading part. Though her experience has been brief, Miss Kelly has not escaped “East Lynne.” She was the French maid in Muriel Starr’s production at the Princess Theatre .this year.

“Revised” Hamlet

German Dramatist Challenges the World “ERROR” IN ORIGINAL TEXT A “revised” version of Shakespeare's “Hamlet” by Gerhart Hauptmann, Germany’s greatest dramatist, made theatrical history in Berlin recently. Critics and the public awaited with feverish interest what was said to b the most important event on the Euro nean stage for many years. Convinced that the accepted version is only a rudimentary and distorted form of the “Hamlet” which Shakespeare originally conceived, Hauptmann has given a completely new turn to the tragedy as usually Presented, and at the same time has embodied in poetic form ivhat he believes is _ the solution to “the eternal problem ol psychology of the immortal Dane. Brieflv the “revised” "Hamlet is based on the assumption that the tragedy as conceived by Shakespeare had for its background war and revolution. . . „ In this new view the culminating, scene, with its piling up of corpses of kings, princes and courtiers, was not the mere outcome of private vengeance, but a great dynastic catastrophe that Shakespeare intended to come about, not by way of poisoned wine and envenomed rapiers, but through revolution. The Plotters’ Plan

In Hauptmann’s revised version Hamlet allies himself with Fortinbras, Prince of in a plot to overthrow King Claudius. Fortinbras, with his armed forces, guarantees to Hamlet the throne of Denmark, and in return Hamlet promises to restore to Fortinbras the lost lands of Norway. The “mouse-trap” play which Hamlet stages to catch the conscience of the is only a ruse devised partly as an element of surprise and partly to divert suspicion from Hamlet’s really revolutionary plan. Fortinbras arrived in Norway, not seeking from the King permission to march his troops, through Danish territory to Poland, but in complot with Hamlet as the King’s enemy. But there has been a hitch; Fortinbras comes too late, and Hamlet can only deliver to him through Horatio a last message-—his dying words. In the accepted version, of course, it is Laertes who enters the palace as a rebel with the crowd outside shouting “Laertes shall be king.” The revised version discredits the whole of this episode. Anpient Error It is assumed 4Jhat the copiei-s of the original Shakespeare text —responsible for the famous quarto and folio editions of 1604 and 1623 respectively—failing properly to decipher Shakespeare’s often hastily scribbled pages, mistook the roles. In accordance with this theory the passages attributed to Laertes, especially those in which he proclaims his illegitimacy, are regarded as inexplicable nonsense having no relation to the course of the as pursued up to this point. In other words this scene as defying all dramatic rules presents a riddle. What, then, is the solution—the solution of the Shakespeare-Hauptmann version? Simply that the name “Hamlet” should be substituted for Laetres wherever the latter occurs in this passage. Viewed in this light it is suggested the apparent ravings of Laertes become the logical utterances of a man of firm and determined purpose. It is Hamlet who speaks these lines, it is Hamlet whom the crowd is hailing as rightful king. Hamlet’s rebellion and attempted seizure of the throne is in progress. It has brcken out at this moment, not arbitrarily or accidentally, as the accepted text would suggest, but because Hamlet knows that his ally, Fortinbras, is approaching. Man of Purpose Not less daring than this treatment of the action of the play is Hauptmann’s reading of the psychology of Hamlet—the problem that has intrigued the world for centuries. From 'the moment of the plot with Fortinbras, Hamlet is a man of fixed, determined purpose, the revolutionary hero. His apparent hesitation did not arise through fear of failure, but from the need for foresight and dissimulation, if his revolutionary plot is to prove successful. His vacillation and waverings are

the strategic simulations of the conspirator. True, the Himilet of the revised version is still “the doubting Dane,” but Hauptmann’s Hamlet doubts because doubt is the beginning of wisdom and because he is the philosophic hero of a sophisticated age born before his time into a rougher and less sophisticated world. That war, and revolution, composed the original background of the tragedy is largely inferred from the atmosphere and dialogue of the opening scenes on the battlements of Elsinore, and particularly from the question which Mareellus puts to Horatio. All this prologue, it is argued, opens a vista of inevitable war involving the fate of dynasties as well as individuals. Students of Shakespearean literature will recall that Goethe entertained the idea that the accepted Hamlet lacks th background that would give complete coherence to the tragedy, and suggested that war was the intention. Goethe’s View The solution at which Goethe hinted, but never himself developed, was that the intended procedure was for Hamlet to make war against Norway and, returning to Denmark at the head of a victorious army, overthrow King Claudius. Hauptmann‘s “solution,’ however, is much more revolutionary in two meanings of the word. It may be accepted that Hauptmann’s “revised version” will do no irreverence to its immortal original, and. as justification for his challenge to the tradition of 300 years, there is his belief that the accepted “Hamlet” contains hardly anything of one-half of the original Shakespeare’s “Hamlet,” and only a distorted and carelessly copied rendering of the other half.

“The Squall,” which was presented at the Globe Theatre, London, recently, is another importation from the United States. It has run for a year in New York, but, unlike so many American plays, it makes no reference to prohibition, bootlegging, or party politics. Neither has it any of the familiar Broadway slang. But it does contain a kind of super-vamp compared to whom Fata Morgana was a mere novice. On a night of storm there comes to a quiet rural home a young girl who has run away from a band of gipsies. She is dark and pretty, and suggests the vamp of stage and kinema with every movement. In turn she lures from the paths of virtue the head of the family, the son, and the manservant. Miss Rosalinde Fuller, very' dark and very slim, and very lissome, who moves like a snake and smiles like The Worst Woman in London plays the super-vamp. She speaks, for ‘ stage purposes, broken American, and those who mistake violence for power may hail her as a great actress. But while she is physically supple she is not artistically subtle. Yet sac is theatrically effective.

Bayard Veiller, the author of «*• plays which had exceptional 6 “ cces V “Withir. the Law” and “The Thirtee Chair” —has written “The Mary Dugan,” for which l* on will return to Australia. provides plays in the fashion moment, and sometimes he _ have set the fashion. “Within the did much for the vogue of drama, and “The Thirteenth was a mystery play of an variety; much better than cr blundering things which n* called mystery plays in the * * years, for the author was, an® dramatic craftsman. sons goers may not like the crime w which he treats, but he knows make plays that will hold an by ingenuity of treatment, wiui*-, Starr in the lead, **\' ithin th mi had long Australian seasons Half-a-dozen year* la * er 0* Wycherly (Mrs. Veiller) Gr an*» old fortune-teller Rosalie proven’ skilfully in the [duction of “The Thirteenth Ch*