STAGELAND

Sun (Auckland), Volume III, Issue 822, 16 November 1929, Page 24

STAGELAND

By

COTHURNUS

FIXTURES HIS MAJESTY’S THEATRE November 20, December 5: “The Desert Song,” Lance Fairfax. COMING "Lombardi, Limited*’ (Leo Carillo). ST. JAMES THEATRE Now Playing: Jim Gerald Revue Company. COMING Hector St. Clair Revue Company. “Lido Lady.” CONCERT CHAMBER December 4,5, 6 and 7.—Auckland Little Theatre Society, triple bill.

English players are becoming popular in Paris. When the last mail left “Journey’s End.” “Street Scene,” and “The Hairy Ape” were all playing. Each play had been translated into French. Jennie Hartley is playing principal boy iii pantomime for African Theatres. Ltd. Hetty King, male impersonator. is now in America. Athol Tier and Peggy Ross were in Paris when the last mail left. The Little Theatre’s first attempt at a thriller will be “The Monkey’s Paw,”

by W. W. Jacobs. Ir is an excellent one-act. full of tense situations ! and eerie atmosphere. Jacobs is well known for his amusing stories of ships and sailors, but he can write a thriller of the best kind. Zante Woo d. pictured

here by Tornquist, will play in “The Monkey’s Paw” when it is done by the society next month at the Concert Chamber. Max Darewski, the pianist and composer, who died from pneumonia at the age of 24. was buried at the Jewish cemetery at Willesden, London. His widow—Ruby Miller, the actress, whom he married only last April—sent a wreath with the following inscription:—“Au revoir, my beloved husband. May God let us meet very soon and mend our broken melody. Until then, my heart’s warmest devotion. —Your wife, Ruby.”

MARIE BREMNER TO PLAY IN “DESERT SONG” Auckland is to see Marie Bremner in “The Desert Song.” She will arrive by the Aorangi on Monday. Miss Bremner played the lead in the Australia production of this magnificent musical show, but when the company was sent to the Dominion she was kept behind to play in “Rose Marie.” Now that “Rose Marie” has been withdrawn, Miss Bremner is coming to New Zealand. During her stay in Auckland she will rehearse a new musical comedy. “The New Moon.” which is to be presented to Australian audiences at the conclusion of the Auckland season of “The Desert Song.”

Five members of the big J. C. Williamson company appearing in “The Desert Song” are new to New Zealand. These are Herbert Mundin, the London comedian, who plays the role of Benjamin Kidd, society correspondent of the Paris “Daily Mail”; Maud Zimbla, the statuesque Spanish “vamp” Clementina; Ronald Pomeroy (Lieuetnant La Vergne), Maud Pomeroy (Ncri). and John Ronald (Hadji). “The Desert Song” will open at Ilis Majesty’s Theatre on Wednesday evening.

Little Theatre Tries a Thriller The Monkey's Paw INTERESTING TRIPLE BILL The Auckland Little Theatre Society’s next production, a triple bill, should be the most interesting, judging by the varied plays which are to be presented. “The Monkey’s Paw,” by W. \v. Jacobs; “God and Mrs. Henderson,” by Harold Chapin; and “The Twelve Pound Look,” by Sir James Barrie, seem to us an admirable selection. “God and Mrs. Henderson” is described as “the best Cockney comedy of our day.” and was written by that master writer of one-act plays, Harold Chapin. What will prove of great interest in this production is the fact that a popular player, Mr. Allan McElwain, will take the lead. Ir is doubtful whether

a better performance than Mr. ,1. D. Swan’s Kenneth Downie in Barrie’s “The Old Lady Shows Her Medals” has ever been offered by the society, and it will be interesting to see him as the pompous knight in Sir James Barrie’s “The Twelve Pound Look.”

For the first time in its history, tlie Little Theatre Society will offer its supporters a tragedy of the Grand Guignol order. W. W. Jacobs’s famous work, "The Monkey’s Paw,” has been chosen. On several occasions Mr. Kenneth Brampton, the producer, has endeavoured to present this play, but up to the present moment, he has been unable to get together an adequate cast. The present players, judging by their rehearsals, will be fully equal to the undoubted difficulty the author has prepared for them.

Brains Necessary for Stage Work Film Star’s Confessions Lya de Putti, the film star, is in London determined to make the same reputation on the stage as on (he flints, and will shortly take the lead in a West End play. She considers flint work comparatively easy, but. that the legitimate theatre requires brains. Curled up on a sofa, smoking a cigarette, and sipping a whisky-and-soda —for champagne or beer give her a headache—she discussed with the representative of a London paper every subject under the sun from marriage to silk stockings. After her American experiences, she is in despair about English stockings, which she considers exceedingly expensive and difficult to get mended. Marriage to her is sacred. “I have been married twice,” she said. “I wouldn’t marry anyone except for ' love, and then not for two or three years. No, when I marry again it will be for ever, and I should marry to have children. Marriage without children is not. good—ever.” Kenneth Duffield is in Sydney negotiating with .1. C. Williamson, Ltd., to bring Dion Titheradge out from England to produce the revues written , by them in collaboration. The last time Dion Titheradge was in Australia was as a member of the Lewis Waller Company, in which his sister, Madge, played lead. Since those days he, helped by Kenneth Duffield, has become a most successful playwright.

Talk Films Help the Stage BIG SUMS PAID FOR PLAYS AND PLAYERS EVERYBODY IN CLOVER Two of our foremost producers, Basil Dean and "William Mollison, are back from America, writes William Pollock in the “Daily Mail." "Bitter Sweet,” with Geoffrey Gwyther now engaged for the leading man’s part “opposite” Evelyn Lave, is

to be one of the many English piec es on the New York stage this autumn, and Mr. Mollison is enthusiastic about its chances, particularly as a sound film. “ These rights should fetch an enormous sum,” he said.

Wholesale Play-Buying Mr. Mollison is full of how the sound films are helping stage players and writers. “Actors and actresses, musicians and authors are in clover,” he told me. "Plays are being bought up wholesale. £6,000 is quite an ordinary sum for the sound film rights of an ordinary sort of play. One talk-film firm has announced that its profits in the last nine months were 16,000,000 dollars; and one theatre in New York is playing—with all-day performances —to £45,000 a year.” I hear that within the next week or two one of the best-known American film companies proposes to comb out the London stage for sound-film artists. ‘‘There is no limit to the number who may be offered engagements and, within reason, no limit to the additional salary list,” I was told by a man who will be concerned in the "sweep.” Turns Coming Back William Mollison said that, apart from the presentation of English plays in the United States, a striking feature of the New York autumn season is likely to be a shortage of new musical plays. "Usually at this time of year there are about ten new musical shows in preparation for New York. When I left there were, I think, only three on the stocks. The reason is the sound films—most of the authors and composers are in Hollywood.” In contradiction, Harry Marlow, organising secretary of the Variety Artistes’ Benevolent Fund, told me that variety artists are getting more work because short talk-films have been tried and found wanting in a good many music-halls and film theatres. Three Music Shows I The shortage of new musical shows ! is not so acute here, although there i is no glut of them, i Clayton and Waller have two in ' hand; Jack Hulbert and Cecily CourtI neidge are trying a new revue, "The | House that Jack Built,” in the provinces: and "Follow Through," with j Leslie Henson, ivy Tresmand, .Elsie Randolph and Mark Lester, comes from Southampton to open the new Dominion Theatre. “A Yankee at the Court of King Arthur” is in rehearsal for Daly’s. £I,OOO a Week in Cabaret One result of the lack of new musical pieces is that artists are going into variety and cabaret.

The Palladium this week has Jack Buchanan and Mai'ie Burke; George Graves and Anita Elson and Roy Roy st ou are at the Alhambra; and Margaret Bannerman and Austin Melford at the Coliseum.

Colonel Elwy Jones, who is one of London’s cabaret authorities —he has just become associated in the management of the Kit-Cat, the Cafe Anglais, and the Cafe de Paris, .at Bray—told me that four musical comedy people recently asked him for £I,OOO a. week for their combined services at night; that a well-known comedian wanted £4OO a week to appear in cabaret; and that generally artists expect more money for cabaret work than they do for stage engagements.

Jennie Lee Writes from London REMEMBERS OLD-TIMERS IN AUSTRALIA AND N.Z. The name of Jennie Lee brings , i pleasant memories to many of the \ | older Australian and New Zealand rplaygoers. It is long since she appeared in either country, but one still hears recollections of her bright and skilful work. A part in which she became celebrated in many countries was the boy Jo. in an adaptation of Dickens's • Bleak House,” which was made by her husband, J. P. Burnett. She first played this as long ago as 1576. As recently as 1921 she took the same character in a scene from the play at a London matinee in aid of the Charles Dickens Memorial House. Miss Lee’s name is recalled by a letter in which she desires to be remembered to any of her old friends. She is living in retirement in London, and her address for correspondence is care of the Westminster Bank, Baker Street branch, London W. From ISSO to ISSS Miss Lee was in Australia and New Zealand, and there were later visits. A pantomime in which she appeared in the “nineties” was “Red Riding Hood” at the Princess. when she played Boy Blue to I the Red Riding Hood of Violet Varley. ! "The Grasshopper” was a favourite I among her other plays. Courtneidge, I who afterward became a successful | London manager, was the dame of ! “Red Riding Hood.” Miss Lee is the j daughter of Edwin George Lee, an ! artist. She began stage work in IS7O I in comic opera and musical burlesque, often playing boy parts. Many appearances in comedy and drama followed in the United States, London and Australia, and in other countries on world tours. | LUXURIOUS CLUB ! Historic Mansion for Plays and Players One of the most luxurious clubs in London, with its own theatre, is to be opened shortly at a cost of £IOO,OOO in a historic Mayfair manI sion In Bruton Street, next door to | the former, home of the Duke and Duchess of York, the birthplace of | Princess Elizabeth. j It is to be a club for playgoers, and owes its origin largely to the leaders m the national Playgoers Club. Lord Abel-dare, Earl Howe, Commander Bellairs, Mr. John Drinkwater. Mr. Selfridge, Lady Evelyn Mason, J Lady Jane Gathorne-Hardy, Miss | Marie Lohr and many leading players and playgoers are associated with the enterprise. The theatre will have seating capacity for 550, and a stage as large as any of the older theatres in London, with the most modern equipment for I lighting and effects. The works of new dramatists wall be tried out, and established playwrights will be free to attempt new experiments In dramatic form impossible in a. theatre run on commercial lines. There will also be an art studio, an exhibition gallery, a concert hall and a roof garden. The directors of production will be Raymond Massey, Nicholas Hannen and Leslie Banks, three well-known ' London actors. There are 53 rooms in this historic mansion, which was once the home of 1 Lady Evelyn Mason. The magnificent ! oak panelling of the dining room dates I back to 1645, the main hall, with almost priceless Mauraille ceiling paintings, has been celebrated for generaLons, and the ballroom suite, where i Royalty has often danced, will accom- ! modate about SOO guests

Mata Hari, Famous Spy LIFE STORY IN \ ST\GF PLAY ' closure, so fled in haste from , br * writes Sydney w. Ca I ; London "Daily Telegraph." *** I Her.- in Brussels then •- • , h moment little of theatrn a! niterest' but I could not resist a .ng .. £ j quaintanco ter the first time, at th* ' Gaite. of I-a Ikinscuse Hourc." sj I had heard interest ins accounts of r this sensational Frenc! l : Charles Henry Hirsh, but never before had 1 the privilege of seeing it p, r ’ j formed. Ido not regret the experi 'Ir ,u ,v The ' . brilliant, was competent The Sio n , | erv and furniture were a trifle disI tractiPg, and many points in the pro! ’ duction might lie objected to with 1, good reason; but 1 coul l not nuMa lof being bored. I had my money’, . worth in full—an evening of interest _ excitement and amusement—of a criti ' cal kind. The story of “La Danscuse Rouse” is flu* tale of Mata Hari. the notorious 1 and beautiful spy. shot at Vincennes » 1917 by tlie Fremh on a charge of i having betrayed French secrets and . soldiers to the Germans. The am hoi has chosen to represetf • the central character in the most sym- > pathetic and human light; almost to • • make a martyr of her lie ha? defied well-known facts in her life history, j and depict ed her as t • vict mof J 1 man's terrible passions and errorc J ; rather than as the mercenary and un- ? scrupulous adventuress she undoubt. ' edlv was. His literary style seems to lend ’ itself'to his manner of presenting his ’ ! theme. If we can accept his French ~ | military court as behaving with sr> . ! much emotion and lack of control, if 5 j we overlook the manufactured note jin the dramatic situations aud the i utilisation of coincidences obviously j theatrical and unreal, we cannot help 1 but be impressed by the sincerity and depth of feeling exhibited by the j dramatist from start to finish, j There is obviously splendid material j for a tirst-class drama in this narrai tive. I think it ought to be attacked i from a different angle. Too much time is spent upon the. trial scenes, 1 and not enough upon the more inter- > esting period before Mata Hari wa? - brought to justice. The final scene • seems to me to lack strength and » dignity. 1 believe the exhibition of I cowardice or fear of death shown by [ tlie spy in this version to be entirely I false. M Fascinating F.gure J j Gomez Carillo, in his striking com- ; meats upon the play, describe s it a!a superb literary effort. The effect ? I of it, however, is for him both cruel ’ j and unjust, because all through her ’ i life this enchanting creature bowed \ i a courage and a pride of the most uncommon sort. In the fate of death she remained impassive. Hirsh shows , her as an hysterical and frightened female, stressing her superstitions and ! her fear of consequences. That is surely wrong. Certain it is that the question of . her complete guilt is sufficiently open to argument to provide material for tragedy of intensity. The Spanish Senator Junoy declared his belief in her innocence. He was one of her best friends. “You will see,” he wrote one day, “it may be four or five years, that France, the only country that has a national conscience, will come to demand the revision of the proceedings against this poor dancer, just as they did in the case of Dreyfus.” There can be no ground though, I i fear, for making a martyr of Mata Hari. As an intensely fascinating figure of the theatre, as one of the greatest courtesans of modern times, i as one of the most daring and splendid ■ of spies, her life offers magnificent chances to the dramatist.