Dodging Interviews

Sun (Auckland), Volume III, Issue 625, 30 March 1929, Page 20

Dodging Interviews

Maisie Gay Arrives for “This Year of Grace” FIRST IMPRESSIONS OF AUSTRALIA Maisie Gay, the celebrated London comedienne, who will play in “This Year of Grace” in Australia and New Zealand, arrived in Melbourne last w r eek. “I always try to dodge interviewers in London; I’m scared they will find out my proper age and something about my past life,” she told an Australian interviewer on her arrival. Miss Gay is a humorist on and off the stage. Her eyes dance with glee as she tells one story after another, mostly against herself. “Well, I’ve bought a taxi this morning,” she began. “You’ve bought a taxi?” “Well, it cost me 2s 6d to come from my hotel to the theatre, so I concluded the taxi automatically became my own personal property.” When it was explained that 2s 6d was the usual fare for such a journey in Melbourne, Miss Gay remarked: “It’s much cheaper in London. Perhaps they charge by weight here? If so, I may have got off lightly.” “Sex plays are dropping out,” she said, “and people are sick to death of jazz. There are signs of a return to popularity of the lilting music of former days. “There is also a revulsion of feeling against indecent books. The changed feeling is also reflected in house decorations. They are now more simple and not nearly so blatant. People are undoubtedly thinking more sanely. What, I think, was a form of neuroticism due to the war is passing. “From what X have heard of Australian audiences,” added Miss Gay, “I think they will like ‘This Year of Grace.’ It ran for 46 weeks at the London Pavilion.”

Gladys Moncrieff has been telling Australians of some of the “thrills” in a melodrama which she saw in New York. In the first act the villain tied the beautiful heroine to a railroad track fust as the Limited was due. In the second he lured her to an old house, locked her inside, and set fire to the building. In the third he strapped her under a buzz-saw and set the machinery in motion. In the fourth he tore down the planking from a bridge, so that her car should plunge to destruction. In the fifth act he made love to her, and asked, “Why do you fear me, Nellie?” Miss Moncrieff says that the play went with a “bang.” Alfred Sutro’s comedy, “Living Together,” was withdrawn from Wyndham’s Theatre, London, after a run of only nine days. “Living Together” leads the way for short runs this year, but 192 S was almost a record year in this respect.

One of the most charming members of “The Wrecker” company, which is appearing under the J. C. Williamson regime (and coming to New Zealand), is Josephine Wilson, leading lady in this talented combination. She has played in an infinite variety of characters, including the leading role in many big productions in England. Her first London production was in “Paddy, the Next Best Thing,” and she has also played leading parts in “A Doll’s House,” “Desire for Change,” “Soul of Nicholas Snyders,” "The Master Builders,” and other noted plays.

It is over two years since Ernest Blair played for the Little Theatre Society. Many members will remember his excellent performance in Bernard Shaw’s “You Never Can Tell.” In John Drinkwater’s “Bird in Hand,” there is the part of Ambrose Godolphin, K.C., a character that should be in every way suitable to Mr. Blair’s undoubted ability. He is a sound performer, whose work is always interest ing. “Bird in Hand” is a comedy, but it contains a great deal of thoughtful work. It will be presented by the Little Theatre Society at the coneert chamber, Town Hall, on April 10, 11, 12, 13. Ernest Blair’s performance will prove to be an exceedingly interesting one.

Mona Magnet, the English musical comedy actress now with “The Midnight Frolics,” is related to General Kelly-Kenny, who rose to fame during the Boer War. She has scored distinct successes with “The Peep Show” and “The Show Boat.” She was for some time associated with Doris Keane, of “Romance” fame, has played in Ibsen and Shakespearian repertoires, toured not so long ago with Carl Brisson in “The Apache,” and was at Daly’s Theatre, London, when it was under the management of the late James White, who died so tragically in 1927.

After a preliminary season last November, members of the Tributary Theatre, in Melbourne, now intend wholeheartedly to go on with the work of “contributing in all sincerity to the ever-demanding stream of drama.” The new season's plays will be chosen from Shaw’s “Arms and the Man,” Clemence Dane’s “Granite,” Sean O’Casey’s “Juno and the Paycock,” Eden Philpotts's “YellowSands,” and Sydney Hammond’s “The Silver Cord.” The next presentation, Drinkwater’s “The Bird in Hand,” will be produced by Mr. Eric Donald at the [ end of February.