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The J. C. Williamson management has set a definite date (July 4) for the opening of "The Gipsy Princess" at the Theatre Royal. Thus, in spite of the success which Is attend

ing "Three Men on a Horse," that amusing I show must pack up its properties after the performance on July 1, in order that Brisbane may see the actors on the following Satur-


Two of these actors, Mr. Jonathan Hole and Miss Gay Seabrook, said on Thursday that they were delighted with the response which Sydney audiences are making to their work. They find the public here quick to seize on every point, and ready to take the play at its true value, as a merry piece of nonsense which embodies some excellent character-study. Mel- bourne, on the other hand, failed to under- stand fully the typical Americanisms. Which goes to show, once more, how steadily and surely the general tone and outlook of the two cities are diverging. The case of "Any- thing Goes" might be brought forward as contrary evidence; for this play was a failure in Sydney, yet succeeded in Melbourne. But the public here found fault with the produc- tion rather than the subject-matter of "Any- thing Goes," and, by the time the American comedy reached Melbourne, the standard in this respect is said to have perceptibly Im- proved. At any rate, the vicissitudes of recent American offerings have set the Williamson management wondering whether the New York theatre is a suitable source of material for Australia after all. That is why such obviously hilarious contemporary plays as Lawrence Riley's "Personal Appearance" and Sam and Bella Spewack's "Boy Meets Girl" are being looked on askance. The "Three Men on a Horse" company will probably be fitted out with a second vehicle if the options of the American visitors arc taken up, and they go to New Zealand. But at present no one has the faintest idea what that vehicle will be.

It was interesting on Thursday to hear the opposing views expressed by Mr. Hole and Miss Seabrook on the subject of stage versus screen. Mr. Hole dislikes film work, because he feels the necessity for a personal response from an audience. Miss Seabrook, on the other hand, prefers the film studios. An actor, she says, can give complete freshness and emotional depth to a part only for a limited number of performances. After that, dur- ing the long runs which the modern theatre demands, the whole thing becomes mechani- cal, and, from the player's point of view, bor- ing. Incidentally, Miss Seabrook does not use her "Minnie the Mouse" voice for ordinary conversation. In fact, she wants to get out of the kind of parts where she has to employ it on the stage. But, somehow or other, in spite of her ' manifest intelligence, managers always seem to place her in the roles of colos sally stupid young women. "Three Men on a Horse" suggests that she plays these parts far too well for things to be otherwise.


Mr. Richard White and Miss Jocelyn Yeo have decided to form a ballet club, on the lines of the one which Marie Rambert- and Ashley Dukes founded in London some years ago. The club, and the movement of which It forms the focal point, will be open to "all those who have the interest of the dance at heart." Members will meet every Monday even- ing, and as often as possible they will pro- duce new ballets. At present, there is, talk of founding one of these ballets on an Aus- tralian poem. Representatives of literature, music, and pictorial art will be invited to join the committee as advisers.

In London, the Ballet Club began its career of public appearances in exceedingly modest fashion. One evening, Ashley Dukes, on being acquainted with the fact that there were 15 people in the audience, remarked, "Not at all bad. A decided improvement." Then the club became fashionable, and people were turned away at the doors. The principal significance oi the Ballet Club has been that it forms a recruiting ground for young Eng- lish dancers of genuine achievement. It has also produced a choreographer of decided and original talent in Frederick Ashton.


Mr. Howard Jacobs and his dance band have been broadcasting from Melbourne for some weeks now. But Sydney will be the scene of their first Australian appearance on the concert platform. More than this, the Broad- casting Commission announces that the recital on June 29 will be "the first occasion in Australia on which a full-length programme of specially arranged numbers for modern rhythm orchestra has been presented in pub- lic." Abroad, such "rhythm orchestra" lead- ers as Paul Whiteman and Jack Hylton often give concert performances. The local essay In this sphere will be decorated by such al- lurements to the eye as a specially-designed proscenium and up-to-date music desks fitted with concealed lighting. Mr. Jacobs will show his prowess as an exponent of the saxophone, and Mr. Cecil Norman will appear as piano soloist, in such enterprises as the Gershwin "Rhapsody in Blue." Also, Miss Gladys Mon- crieff will sing, to an accompaniment pro-

vided by the band.


The Conservatorium Opera School, which recently won high praise for its presentation of the Mozartlan opera, "The Magic Flute," announces for its next season Smetana's "The Bartered Bride." This tuneful light opera is one of the masterpieces of the nineteenth century Bohemian school; and has founded a nourishing tradition in Middle Europe. It gives admirable scope for bright folk costumes and settings. In regard to these, Dr. Kveton, the Consul for Czechoslovakia, has promised

every assistance.

Miss Doris Fitton and her Independent Theatre have decided to launch into one of James Bridie's plays as their next offering at tile Savoy. This comedy, entitled "The Black Eye," shows the Scottish dramatist in frivol- ous mood. The plot is so slight as to be al- most non-existent; and everything depends on the light touch in dealing with dialogue. Lon- don first saw the play in October of last year, with a cast which included Stephen Haggard, Jill Esmond, Catherine Lacey, and Jean


The work which Irene Vera Young did here in the sphere of the dance has been carried on, since her departure, by her daughter Miss Barbara Young, and by Miss Patricia Klem. These two have decided to give a dance recital on June 23, assisted by the Irene Vera Young Motion Choir. The pro- gramme Includes Chinese and Japanese dances and dances to the music of negro spirituals. Another set of movements has been based on Alice Corbln's poem, "A Negro Folk Med- ley," which Miss Young and Miss Klein will recite while they dance. This recalls a per- formance of Vachell Lindsay's verses, "Congo," which Irene Vera Young gave at her first Syd- ney recital, accompanied by a verse-speaking choir under the direction of Miss Ilma Barnes.

Under the auspices of the Queen Victoria Club, a young pianist from Newcastle is to make his first appearance in Sydney on Mon- day. He is Mr. John Hanell. His mothor. Mrs. J. A. Hanell, has been well known in Newcastle for many years as a pianist, and the boy obtained from her his first tuition. At the age of 14 he went to Leipsig. He spent six years there as a pupil of Teichmuller, and played at several public concerts. He has given a recital in Newcastle since his return re-


The Queen Victoria Club holds a musicale once a month, and assists promising local artists by bringing them into public notice. It has already extended its patronage to the young 'cellist, Mr. Osrie Fyfe, to Miss Susan Davies, the violinist, and to others. On July 20, it will hold a testimonial concert for the three Hailing children, who will leave for London four days later in order to carry on further studies. It was at the Queen Vic- toria Club that Lady Gowrie first heard Miss Joan Hammond, who recently went to Vienna, and became interested in the young soprano's


Mr. Wilfrid Thomas, writing to his former teacher, Madame Emily Marks, gives details of his activities abroad. He has recently made a concert and oratorio tour of the English provinces, Germany, France, Italy, and Bel- gium. He continues his association with the British Broadcasting Corporation. For ex- ample, he was to make stage appearances with the "Alr-Do-Wells," which the B.B.C. ha$ sponsored. He has also sung with success in programmes at the London Palladium and

at the Wigmore Hail.

Digitisation generously supported by
Vincent Fairfax Family Foundation
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