AMUSEMENTS.

Gisborne Times, Volume XXVII, Issue 2622, 2 October 1909, Page 3 (Supplement)

AMUSEMENTS.

HIS MAJESTY’S. LOCAL FIXTURES. To-night—Arnst’g Boat Race Picture. October 13, 14. —People’s Biograph. Show Week.—Hugh Ward Comedy Co. IS THEATRICAL TASTE IMPROVING. There are few theatrical artiste of the present time more keenly observant or better fitted to express an opinion on matters theatrical than Miss Grace Palotta. During a chat with a ‘Press’ reporter recently, she wajs asked whether, from her observations during her recent travels to various lands, she was of opinion that the taste of theatrical audiences generally was on the upward grade. “It is a strange thing,” said Miss Palotta, in reply, “that in my country—Austria—the blatant melodrama which you sometimes see in Australasia, is practically unknown. We have not one single, theatre in Vienna where- melodrama

is produced. This, however, is by the way. In answer to your question whether I think the taste of theatrical audiences is improving I say decidedly? yes. Let me quote two points to support my opinion. When the Oscar Asche—Brayton visit to Australia was first mooted, those wise in theatrical matters predicted dire failure. The expense of bringing ,a complete company was stated to be far too great and then it was said, looting to the fact that the repertoire was Shakespearean, ‘Oh, Shakespeare is dead.’ These dismal forebodings were intensified when it was known that the ‘Taming of the Shrew’ was to be the opening piece. Many said, ‘Oh! we have just had the piece played here; it will never go. Besides the taste of the public does not run in the direction of Shakespearean plays.’ But all this was entirely wrong. Not only has the Shakespearean season been the most brilliant ever played in Australia, but the financial results have been enormous. Beyond this, again—and this is what I want to emphasise—it was the ordinary playgoers that crowded the theatres in Melbourne and Sydney—the gallery and family circle people, not alone the dress circle patrons and the educated classes, who might be expected to go as Shakespeare lovers. This showed that there is setting in a wholesome and much to be applauded elevation in the standard of taste of the mass of playgoers. Time was, and not so long ago, when ‘The Face at the Window’ and cognate melodramatic horrors would draw audiences, whilst good plays were neglected. But this is not so now, as far as Australia is concerned, as has been proved during the Asche-Brayton season. What

is the case in New Zealand, I cannot say. but knowing the high standard of audiences here, I should think that, given equal opportunities to those in Australia, Shakespearean plays would be a great success here. Of course it all turns upon the we- it is produced. Mr. Asche is a manager who believes in giving his audience everything of the best. Hence his wise determination to bring all his own company. Now, for my second point. In England and in France, during my recent visit. I was perfectly astonished to mark the marvellous improvement in the taste of the music hall audiences. Time was when music hall performances were looked upon as being the lower rung of the professional ladder. Not so now, however. In London the finest artists in the profession are appearing on the music hall stage in comediettas, playlets, and sketches. There is a refinement and an appeal to educated taste in these performances that mark a marvellous improvement in the appreciation of audiences. Moreover, it is not only the more refined class of playgoers that patronise the music halls. They are crowded night after night by the people, the masses. This shows, I thin'k, that, given the higher class of entertainments. the people will patronise them, and therefore I am certain that in theatrical taste there is a set in the swing of the pendulum towards the higher and better class of plays. Also in France. When I was in Paris recently the gory melodrama had almost disappeared, and at vaudeville houses like the Folios Bergeres the class of entertainment was decidedly of a higher character. So I think I can answer the question as to whether theatrical taste is improving decidedly in the affirmative.’ ’ Miss Palotta plays in Gisborne during show week, with the Hugh Ward Comedy Company.

Sir Herbert Tree will present a repertoire that is distinctly worth while when he tours, for three months, the big cities of the Eastern States in the course of a few - weeks. Among Shakes pearean productions “The Merry Wires of Windsor,” “The Merchant of Venice,” “The Tempest,” and “Twelfth Night” will be played, and the other roles to be enacted by Mr Tree will include Sir Peter in “The School for Scandal,” Fagin the Jew in “Oliver Twist,’’ Colonel Newcome in “The Newcomes,” and Svengali in “Trilby.”

Revivals seem to have been resorted to in London a good deal this season, the more important having brought forward Mr George Alexander in “Old Heidelberg,” whilst “Brewster’s Millions” has been running at Wyndham's On the musical side, however, many new' pieces are nearly ready, notably “The Bell Founder,” intended for the Prince of Wales’ Theatre. Mr Paul Rubens has written both music and book, and has similarlv confined the action to one country (Denmark), just as he did in the case of his two last pieces, “Miss Hook of Holland” and “My Mimosa Maid.”

We hear, from time to time stories of huge salaries being paid to music hall artists on the American side of the Atlantic. As a rule, the sums named are so fabulous as to give rise to doubts in the minds of those who read and hear. It is. therefore, of special interest to have an authority enlighten us on the subject of music hall remuneration. Mr. Percy G. Williams, one of the greatest of the American managers, in the course of an article in a magazine, states that “vaudeville salaries range from £2O to £600 ! a week. The average is about £SO. I suppose the highestpriced vaudeville artiste in the world is Vesta Tilley, •whom I recently brought over for a six vodks’ engagement at a weekly salary of £(300. Why do I pay her so much? Simply because she is alone in her class. It is like paintersthere is only one Moissonier,* despite the fact that many artists paint soldiers, Other highly-priced vaudeville artists arc, Vesta Victoria, and Harry Lauder. Each gets £SOO a week.