LIKE CHICKS IN AN INCUBATOR

Radio Record, Volume XIII, Issue 11, 21 August 1939, Unnumbered Page

LIKE CHICKS IN AN INCUBATOR

"Rose Marie" Cost Auckland Amateurs A Lot To Produce, But It’s Packing In Big Audiences ("RECORD’S" AUCKLAND CORRESPONDENT.)

© Perhaps the most lavish of all the lavish productions yet presented by the enterprising and energetic Auckland Amateur Operatic Society is "Rose Marie", at present packing local audiences in like chicks in an incubator. @ Whatever ome’s personal opinions as to the value of the musical comedy, it is ebyious that the society has put on a show with all the requisite pep and colour to eppeal to the mass of theatregoers. And, in addition, who does not know Frimi’s tunes? © Of course, a show of this kind demands frequent dips into the treasury. Year by year, as the society has expanded and developed its scope, production costs have been steadily risiiig. This year marks a new high. It is estimated that

"Rose Marie" will finally cost not less than £2500. ARIOUS factors contribute to this mighty expenditure, Chief is that Australian and

New Zealand Theatres holds the Australian and New Zealand right for ‘‘Rose Marie."’ The society will have to pay handsomely for permission to produce the show. To be exact, royalties amount to 12} per cent. of the gross takings!’ In addition, a charge of £50 per broadcast was imposed, so listeners will wait in vain for the usual radio snippets. The impressive red-coated outfits of the Mounties, and the bright-hued animalian garb of the Totem Ballet were also acquired from Australian and New Zealand Theatres, for an extra -consideration. Apart from these, all costumes were made in Auckland. Perhaps the cheapest of the major items was the scenery, which is a credit to the local artists concerned, and especially to Mr. W. Baker, who supervised the work. Moreover, every care has been taken to make the atmosphere as authentic as possible. Rehearsals began way back in April under the direction of Colin Muston. This expericneed conductor has lost none of his vitality, and plunged into ‘*Rose Marie’’ with typical enthusiasm. About eight weeks later, when the cast of 140-odd had settled down to a steady routine, Stan Lawson and Rosetta Powell arrived from the south. An effective combination, these two. Both experienced. both honest workers, they had the two most important parts in the show-one the producer, the other the ballet mistress. They are now a firmlyestablished partnership, and make the rounds of the operatic socicties. Before coming to Auekland, they gave Dunedin a fair sample of their co-opera-tive skill with a successful presentation of ‘‘New Moon.’’ Dress Rehearsal THEN, like the dawn, came the dress. rehearsal, attended by a group of newspaper-

men and executives huddled blackly in the dress circle, and much apprehension. If you had seen Bettina Edwards. pacing nervously, frantie lest she should forget her lines or her routine, you would have understood. However, she, at’any rate, had no cause for fear. Her performances then, and on the first night, were above reproach. Everything went off. according to plan, though, of course, there were a few of the usual slight hitches. _ For example... there was ironic applause for a whiteclad electrician who slunk on to the stage during a temporary lull in the proceedings to adjust some small lighting defect, He replied with a graceful bow and a coy fling of the head...a couple of Mounties, with typical resourcefulness, leapt forward just in time to prevent the falling curtain from sweeping the ‘‘camp-fire’’ into the empty stalls... Brian Robson, the comedian, a newcomer from Christchurch, executed a neat save when he grabbed the tail of Tony Martinengo’s coat as she came perilously near to tumbling into the orchestra during the fishing scene...

Brian Fisher-Betts and Norman Stokes indulged in a mimic game of golf-billiards while waiting for the entry of Bettina Edwards, who eventually made a somewhat delayed appearance with a startled, ‘‘Oh, I’m sorry!"’ Two days later, the curtain rose on an expectant first-night audience. As a matter of fact, the same curtain displayed ag little temperament later on. As to the performers them. selves, it would be difficult to single out any one for particular praise, but mention should be made of the choruses and ballets. The Dancers ND praise is due to the solo dancers, Bettina Edwards and Rowena Jackson. Ravenhaired, lithe and sinuous, Bettina Edwards walked straight into the part of Wanda, the half-breed Indian squaw who causes all the complications in the plot. As for Rowena Jackson, she demonstrated emphatically the talent which earned her Dolin’s high praise during the visit of the Covent Garden Russian Ballet. The sueecess of ‘‘Rose Marie is well merited.