Who was Who in Old-time Shows

Radio Record, Volume VII, Issue 8, 1 September 1933, Page 12

Who was Who

in Old-time Shows

LAST week we announced Mr. F. G. E. Broad, of North Auckland, as one of the winners of the musical comedy section of the "Radio Record’s" programme planning competition. Included in Mr. Broad’s entry was an interesting article on early musical comedies-a precis of which appears below. Mr. Broad certainly knows his theatrefrom both in front of the footlights and behind them.

RE THOSE gay old pre-war days when musical comedies were musical comedies, when a row of sprightly girls kicked a discreet ankle across the footlights, when the pit roared its approval-or the reverse, when the shows were held up while a popular song was encored, and encored again-happy days and happy memories, that will stay with me till the "final curtain." Somewhere around September, © 1908, I had arrived in London after working my passage on the tramp steamer Star of New Zealand, and as I had the proceeds of a voyage’s work in my pocket (and was at optimistic youngster of 22) I thought I would like to see what I could of the old town while I had the cash: The first thing, naturally, that I.looked to was the theatres, being always drawn thither, but as yet not one of the profession. I discovered, much to my joy, that running at Daly’s Theatre was the musical comedy which the Press claimed great things forand it was well worth the long wait to see and hear Lily Elsie play the part of the Merry Widow-for such was the name. of the show. Since that night, 25 years ago, I have seen the piece all over the world, played a small part in it myself in a musical comedy company in Australia, but my first impressions were the most vivid. To a young man on the threshold of adventure that first night in London meant everything. How many have danced to the entrancing strains of the "Merry Widow" waltzI have danced to it played by a famous Hungarain band before the war; I have tripped the light fantastic to it played by a fiddle and an accordion on a back-country station in New South Wales; and, last, but not least, I have heard its strains played on a "mouf organ" by a wounded Tommy in hospital in Alexandria-’way back in 1915--when this famous tune was the player’s star piece. Ss Another great favourite of mine in the musical comedy line is that pretty little Japanese opera, "The. Geisha," by Sidney Jones. Huntly Wright in the role’ of Wun Hi was delightful. It may seem strange to gome readers who may have seen the stately Marie)

Tempest when. she toured New Zealand the last time, to associate her with the part of Mimosa San in "The Geisha," but, strangely enough, she played the part and made a very petite Mimosa, too. [ HAVE seen "Ploradora" more times than I can remember, from both the front of the house and behind; and I have seen some very fine people in the cast at different times. "Our Miss pei? aaadd easily pear revival, and if such were

ow aew the case I for one would rush to see It age’. The last time I saw it dainty little Blanche Browne played the part of Mary, and made a most charming Miss Gibbs. I fancy that fine old actor, W. S. Percy, took the part of her Yorkshire cousin, and I particilarly remember their pretty little number, "It’s a Nice Little Farm." One of the most attractive numbers in the piece, I think, is "I Feel So Silly When the Moon Comes Out." It always put the audience in a good mood, and soon all London was whistling or singing it. Of the musical comedies of 30 years ago-in my boyhood days-I do not remember much, but there was one show, "The Girl from Kays," of which I can still remember a lot of musical numbers. Then there was "The Circus Girl," with its catchy music. I don’t think it has ever been played in New Zealand. I suppose the very first musical comedy to be written was "The Gaiety Girl," and I think that was produced in London in the first year of the ‘nineties. Another old friend was "The Shop Girl," with Edmund -Payne playing the comedy role. By the way, Marie Studholme, of picture-postcard fame, played the title role in "The Circus Girl." "An Artist’s Model" was perhaps one of the very earliest musical comedies, and contained some bright music, such as "Sunshine Above," which went something like this: Then come, my lady fair, come back again, I sought thee everywhere, but sought in vain. With longing heart I wait and worship thee, Oh, do not hesitate, but come to me. Going back to "The Circus Girl" for just a minute, who, having once seen the show, could forget Connie Ediss singing her little song: Though I never cared to make a fuss, Unless a thing is positively shady, When you've run to catch a bus And you've had to stand, you know, W ell it’s not the proper way to treat a ladyl

Then again there was "The Toreador," composed by that prolific writer, Lionel Monckton. It’s an opera that we don’t often hear nowadays, and it contains. several pretty little songs, one of which is "Keep Off the Grass." "The Belle of New York" had a great run in London, and George Edwardes, the famous producer, must have made a small fortune from this opera alone, as he had half a dozen touring companies in the provinces all playing to capacity houses. It was in this show that Edna May achieved her triumph, while Frank Lawton (father of the successful young English actor) played the part of Blinky Bill-a wonderful characterisation. Both the Wellington and Dunedin amateurs have recently enjoyed successful seasons with their productions of "Miss Hook of Holland," an opera which was a huge success at Home 25 years ago. And now an excursion into the realm of military musical comedy -"The Chocolate Soldier." When Strauss gave us this opera he paved the way for the Viennese type of musical comedy which came along renewed after the break caused by the war. "The Chocolate Soldier" gave this country a chance of hearing one of New Zealand’s own daughters in the title role, Amy Murphy, who toured with J. C. Williamson’s. Miss Murphy was certainly a success in the part, but she faded from view and has never been heard of again. The soprano song, "My Hero," in this opera is a great favourite with budding sopranos on account, no doubt of its great range. ; Now we come down the years to "The Maid of the Mountains," which was one of the biggest successes that Daly’s had ever known. Josie Collins packed the ,house night after night, and was as warm a favourite with her public as was her clever mother, Lottie Collins, of

music hall tame. This is the opera that- had a whole team of composers behind it, and it was produced by Oscar Asche of "Chu Chin Chow." This last named show could almost have been called a

musical comedy, al- ANT though the title of extravaganza seemed to describe it better. Nevertheless it was the outstanding success in London in those far-off war days. ; "Lilac Time," a story based on Schubert’s was a charming opera, and the Australian cast had as one of its most outstanding members, John Ralston, who died in Sydney the other day. I suppose one of the greatest successes seen at Drury Lane (with the possible exception of "Rosie Marie") was Romberg’s "Desert Song," the musical comedy which served to introduce to New Zealanders that clever Wellington actor, Lance Fairfax, who has since made a successful English talkie, "The Beggar Student." . It is a greatly that lovers of really good music do not get more opportunity of hearing and seeing some of the old favourites I have just described. Take, for instance, "Dorothy"’-where could you find prettier music or a better libretto than that provided by Collier's tuneful opera? This production, by the way, is the ‘only one, I think, which calls for a pack of

hounds on the stage -and what a beau-. tiful scene that is--the huntsman in his pink coat and the chorus of followers. That prince of matinee idols, Hadyn Coffin, played the leading role in this opera, and his great singing role was the beautiful. "Queen of My Heart" song with which he nightly brought down the house. Lurcher, the comedy role, was played by Edmund Payne. ‘The Little Michus" was a musical comedy I remember seeing in the English pro-

vinces many years ago, but I do not reniember even hearing of its production in either Australia of New Zealand. "San Toy" had a great run at Home, and is after the style of "The Geisha"-it has some pretty numbers, including "Rhoda and her Pagoda. . . . With his one little, two little, three little, four little wives." "A Chinese Honeymoon" was a riot when taken through the provinces, and was a surefire drawing card for any suburban en, eT

ooORRERRRRSDREORERER SETTERS theatre, but 1 done think it was much of a success in London. I wonder if any reader can recall a musical comedy which was a huge success in the ’nineties — George Grossmith’s great show, "Gentleman Toe"? That was

a show, if you like, and how the audience would roar every night at the quips and songs of Gentleman Joe. A later show and a warm favourite of mine was "The Waltz Dream," a musical comedy which showed what a really fine actor Leslie Holland was. His duet with another character in the show-‘Pic-pic-piccolo" was one of its brighest gems. "Veronique" is a lively little work, after the dainty French pattern, and when it was first produced in London 30 -years ago Ruth Vincent played the title role. It was revived recently when Derek Oldham and Winnie Melville played the leading roles and made the most of that famous duet, "Trot Here and There." | Well, I could go on reminiscencing forever (and if I started on Gilbert and Sullivan I'd be filling the whole paper), but I will conclude by expressing the hope that the time is not far distant when the Dominion will again be having regular visits from musical comedy companies, ,

~MEMORIES OF THE MERRY WIDOW _ ~MARIE TEMPEST IN THE GEISHA- ~I FEEL SO SILLY WHEN THE MOON COMES OUT" _THE BELLE OF NEW YORK WITH EDNA MAY Ta= THE MAID OF THE MOUN- TAINS.