Late-Comers to the Theatre

Sun (Auckland), Volume III, Issue 828, 23 November 1929, Page 24

Late-Comers to the Theatre

Ignorant ami Noisy A LONDON COMPLAINT It must bo an ever-harassing problem to decide when to pull up the curtain on first nights, writes Alan Parsons in “The Daily Mail.” The usual thing nowadays is. I suppose, about 10 to 15 minutes after the advertised time (usually announced as 8 or $.15 sharp), by which time those unfortunate people who, like myself. are cursed with the virtue of punctuality (and also the pit and gallery, who have had quite enough o? waiting) are beginning to get bad humoured and kicking themselves for having left tlieir dinner without coffee. The alternative is to start at the advertised time. The other night 1 was at a play which started almost on time. Immediately in front of my stall was a gangway. Down this narrow passage there passed a continual stream of late-eomers, the last pair taking tlieir seats near me with the maximum of unnecessary noise at 5.50. Each couple was escorted by the programme girls (T saw much more of them than of the opening of the play) and each couple, after loud clinking of money, was informed that there was no charge that night. There were also sundry inquiries as to whether refreshments would be required during the fast-approaching interval. Two of the latest to arrive sat down near me and spent the rest of the act, to the tune of much giggling, reconstructing- what they imagined had happened on the stage while they sat at dinner. Meanwhile the man sitting directly behind me kicked my stall incessantly in tune with some air which was running in his head. A backward look of fury would only hold up the drumming for a period of two minutes; then it would begin again with redoubled vigour. I am not referring, of course, to t lie real, genuine first-nighters like Mr. Gordon Selfridge, Mr. Edward Marsh, Mrs. Higson, or Mrs. Enthoven and other wholehearted enthusiasts, but to that strange little band who seem as ignorant as they are noisy.

Plays Criticised on the Air Managers Angry SITUATION IN LONDON An interesting situation has risen in j London over the criticism of the plays broadcast by the British Broadcasting Company. For some time James Agate, the i well-known London critic, has been i employed by the company to go on j the air with his opinions of plays! which he witnesses in his capacity as ! dramatic critic for a Sunday newspaper Some time ago the theatre managers I protested to the British Broadcasting 1 Company against this procedure, receiving the reply that the radio company would not broadcast such adverse opinions as might do serious harm to any theatrical production. However Agate recently made it clear to his listeners that he did not like Flying Fool,” a melodrama, which had its premiere last month. This elicited sharp protests from the play’s producer, Bertie Meyer, complaining that as he never had invited the ' British Broadcasting Company to send a critic to his production he would be obliged if they would wait until they were asked before broadcasting anybody’s opinions ot his plays. The company’s official answer was: “While our critic refrains from commenting oil any production he thinks deserving of merely adverse criticism he would not be performing his duties of critic if he gave indiscriminate praise where in his opinion it was not due." While as a statement of policy this is admirable, it obviously does not meet the producer’s contention that the British Broadcasting Company has no right to say anything good or bad ! about plays unless such criticism is \ invited, and West End theatrical man- : agers have called a special meeting to discuss the matter. While in one sense this appears to be merely an extension of the age-old quarrel between producers and hostile critics, the question assumes an additional interest because the British Broadcasting Company is a semipublic company, and also because it enjoys an absolute monopoly in its particular field.

“Law of the Amateur Stage” A Useful Publication The recent publication o£ a book : entitled, “The Law of the Amateur Stage,” by Mr. D. S. Page, draws at- 1 tention to the importance of amateur stage workers knowing “where they stand” with the law. The theatre is very subject to legal attentions. This handbook answers many of the legal queries propounded by amateurs A perusal also reminds us that many of our most innocent actions may not be in strict accordance with rules and regulations. It j is important for amateurs to watch their position on such points as the I following, all dealt with very lucidly | in Mr. Page’s book: | Buildings intended for the public | performance of plays must be ; | licensed. Application should be made | t° the county council having authorj ity over the area. Sunday performances, where the public is admitted on pavment are il- ; legal. Copyright in plays or music extends to parts of works as well as to the j whole work, so amateurs cannot give ! excerpts for special purposes without paying royalty This is a very common demand from amateurs. Societies employing people in anv I 3tage ut their productions render themselves liable in the event of accident lo a workman's compensation mmn. Insurance here is advisable. ! Special conditions govern the eu ! < ‘ h,l ‘ ,rc " Hla » c produc- ! tions in licensed buildings.