Preparations continued for the Australian premiere of the American musical comedy High Jinks, which was scheduled to open at Her Majesty’s Theatre, Sydney on 6 February 1915 at the conclusion of J.C. Williamson’s New English Musical Comedy Company season of The Girl on the Film and JCW’s Press Agents ensured that the theatre-going public were kept well informed of its upcoming production.
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Music and Drama
“High Jinks,” which is to be staged for the first time in Australia by the J. C. Williamson management on Saturday next, at Her Majesty’s, is the light lyric order of entertainment. It was presented over a year ago in New York by Mr. Arthur Hammerstein, son of Mr. Oscar Hammerstein, of grand opera fame, and it had a run lasting right through the summer. As a rule most of the American theatres close during the summer, and it requires a very bright attraction to withstand the hot season; but Mr. Hugh J. Ward found “High Jinks” equal to the test when he was in New York last year. It was one of the few shows running, and as he remarked, “the only musical one at that.” In fact, he considers it a very amusing entertainment, farcical, and with ingenious complications. While he was at the theatre he met three Sydney men in the foyer, who spoke of the musical play with enthusiasm. The J.C. Williamson management has secured a cast eminently suited to the piece, and one which, it is believed, will compare favourably with the one Mr. Ward saw at the Lyric Theatre, New York. The fun in “High Jinks” is admittedly evolved from an absurd idea, arising out of the discovery by a Dr. Wayne of a perfume, which, upon being inhaled, bring out a man’s social instincts, which, however, have to be more or less restrained, owing to convention. The producer of “High Jinks” Is Mr. Harry Burcher, from the London Gaiety Theatre, with Mr. Ward, who is actively interesting himself in the rehearsals.
Next Saturday will be “Actors’ Day.” Annually the members of the profession in Sydney give a day to the Actors’ Association of Australasia, whose funds go to the benefit of the less fortunate of the craft, and the event is generally anticipated as a very pleasant reunion. The White City will again be the venue of an entertainment, which will last from 1 to 5 p.m. Mr. Fred. Niblo, Miss Josephine Cohan. Miss Ethel Dane, Miss Dorothy Brunton, and a host of others will have charge of the stalls and side-shows; and, as a number of society ladies are also giving their services in looking after the refreshment rooms, there will be no stint of free and loving service in a worthy cause.
All the White City attractions will be open to enhance the success of “the day,” and Mr. T.H. Eslick and his staff are throwing themselves with enthusiasm into the work of preparing for the entertainment.
Sydney Morning Herald (NSW), Saturday, 30 January 1915, p.8, http://nla.gov.au/nla.news-article15564072
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The opening of High Jinks coincided with Actors’ Day at the Sydney amusement park, The White City, based at Rushcutters’ Bay, which had been designed and built by the English civil engineer and architect, T.H. Eslick (who had also been responsible for the design and construction of Melbourne’s Luna Park) and had first opened on 3 December 1913. Amongst the members of the theatrical profession taking part in the festivities for the charity event was American actor (and future film director) Fred Niblo, then in the final year of a 3 year theatrical tour of Australasia with by his wife, Josephine Cohan for J.C. Williamson Ltd., which included seasons of plays by his brother-in-law, George M. Cohan. Others in attendance included leading players, Julius Knight and Irene Browne, comedian, Jack Cannot, pantomime star, Daisy Jerome and JCW Managing Director, Hugh J. Ward. The event also received the patronage of the New South Wales Governor, Sir Gerald Strickland. The New English Musical Comedy Company was represented by the chorus girls, who sold programs and its leading lady, Dorothy Brunton, who sold flowers and was also the subject of an anecdote published in that day’s World’s News.
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What Did the Actress Do?
At Her Majesty’s, Sydney, Miss Dorothy Brunton, who is to play Sylvia Dale this Saturday in “High Jinks,” sings a recruiting song in “The Girl on the Film.” This is Paul Ruben’s number, “Your King and Country Want You.” It is a woman’s appeal to the manhood of the nation to enlist. In the refrain occur the lines:
Oh, we don’t want to lose you,
But we think you ought to go
For your King and your country
Both need you so.
We shall want you and miss you,
And with all our might and main,
We shall love you, hug you, kiss you —
When you come back again!
One night during the week Miss Brunton found two young soldiers waiting at the stage door for her. “May we speak to you, Miss Brunton?” one asked. “Yes,” she replied. “What is it?” “Well,” said the spokesman, “I am going to the front with the next lot of Australians. My friend, Billo, here, has just came back from Rabaul. We heard you sing to-night that you would kiss us when we came back again. Now what are you going to do about it? Billo, here, is back. He’s all right for his kiss. I was wondering if I could get mine in advance!”
World’s News (Sydney), Saturday, 6 February 1915, p.5, http://nla.gov.au/nla.news-article131503078
The premiere of High Jinks proved to be a great success with Sydney audiences, as reported by the theatre critics in the Sunday newspapers and their counterparts in the following Monday’s press. However, just as the German origins of The Girl on the Film had been obfuscated, so, too, were the names of High Jinks’ Hungarian-born librettist, Leo Ditrichstein, American-born (of Danish descent) lyricist/co-librettist, Otto Hauerbach (later known as Harbach) and Bohemian (Czech)-born composer, Rudolf Friml conspicuous by their absence, both from the theatre programme distributed at Her Majesty’s and the subsequent reviews of the production, lest the war-conscious audience be put off from attending by the mere mention of such Germanic-sounding names.
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LAST NIGHT AT SYDNEY’S THEATRES
A GENIAL ENLIVENER
NON-STOP LAUGHTER PLAY
HILARITY AT HER MAJESTY'S
“High Jinks” certainly sums it up. Few plays are fitted by their title like the unusual enlivener that burst upon the big audience at Her Majesty’s last night.
The story is quite equal to the strain of supporting the succession of bright numbers that rattle through the three hours of lively stage traffic. Sometimes there is a suggestion of congestion but the road to gaiety is never impassable. A full thoroughfare, too, is always brisker and brighter than one in which a thin stream of people meander. That is the difference between Melbourne and Sydney streets. In Melbourne the streets are too wide for the traffic; in Sydney you have to hop about to avoid being hit by something.
Last night the rush on the stage of Her Majesty’s kept the audience hopping. At times the music caught their feet with the merry jingle of bright movement—syncopated for the most part—and there was plenty of color to hold the eye.
The color scheme. of “High Jinks” is pitched in a brilliant key. All the dresses are vivid. So is the story, by the way. This tells of a young doctor who discovers a perfume, the particular virtue of which is to send the sniffer thereof into a transport of joy. He begins to bubble with life and assume a roving eye. Anything that is in sight he is after. Violet Lorraine used to sing in one of the pantomimes:
Why do those things with trousers on
Follow those things with blouses on
Something in the seaside air!
To the seaside air of Beauville, where all the characters in “High Jinks” spend the second and third acts, there is added the perfume, already mentioned. It is most potent as an inducer of the mood irresponsible—or should we say that it produces the indicative mood, indicative of being out for a good time?
How the characters get to the seaside is a story in itself. Dr. Thorne, an American physician practising in Paris, is besought by an inflammable Frenchman to take a safety pin out of his wife's throat. The patient is so grateful for the relief thus granted, that she embraces and kisses the doctor. The Frenchman is so incensed by observing this demonstration that he challenges the doctor to a duel. As an alternative he asks to be presented to Mrs. Thorne so that he might kiss her. To avoid this insult to his wife—also the Frenchman is fascinating and likely to make headway—the doctor gets Sylvia Dale, a young actress, to impersonate Mrs. Thorne. Together with Miss Dale’s chaperone, the doctor and Sylvia go to the seaside. They are registered as man and wife, though they occupy separate apartments.
Complications ensue when the inventor of the perfume, who is engaged to Sylvia, and Mrs. Thorne arrive, severally, not jointly, at Beauville. An apparently inextricable tangle is continued. This is added to by the arrival of J.J. Jeffreys —no relation to the champion—and his finding out that Sylvia's chaperone is his long lost wife. To be exact, she has been lost twenty-three years. Sylvia is supposed to be her daughter, but J.J. Jeffreys is dismayed when Sylvia tells him her age is twenty-one.
The turns and twists in the fun-making are very amusing to observe. They would, however, give one a headache if he essayed to elucidate them. Indeed, the only lucid intervals in the evening are—the intervals.
Taken at a lively pace, one has to keep mentally alert to keep up with the author. There is no breathing space in the numbers either—they are breathless. In fact, one comes away from the theatre with a feeling that one has laughed himself into a high state of good humor, and visions of delightful girls “dancing the blues away.” If one could only get a week-end ticket to Beauville and a phial of the “High Jinks” perfume, the tourist traffic would be enormous. Everyone at Her Majesty’s last night would be booking berths to-morrow and looking up the fares to-day.
To the producing staffs great credit is due. The pace never stops, and a master hand may be discerned in this very fact. Mr. Harry Burcher was the producer, Miss Minnie Hooper the ballet mistress, Mr. Andrew MacCunn the musical director, and the whole was supervised by Mr. Hugh J. Ward.
“High Jinks” has an admirable company. Miss Dorothy Brunton as Sylvia Dale was charming. Her number with Mr. Paul Plunket, as the inflammable Frenchman, was a sheer delight. It is entitled “Not now, but Later.” Mr. Plunket decidedly voted in favor of “Now.” Miss Brunton has a dainty waltz refrain, “Is this love at last?” All her work is finished, clever and attractive. Mr. Workman shares one or two numbers with the golden-haired little Australian. Their voices blend harmoniously, and the skilful acting of the English actor makes his performance a notable one. Mr. Field Fisher “eccentricises” the part of Dr. Thome, and gets plenty of genuine laughs. So does Mr. Alfred Frith as a quaint, elderly beau, Colonel Slaughter. A lumber king is the role assigned to Mr. W.H. Rawlins, and the “High Jinks” perfume has a wonderful influence upon him. Miss Vie (as the chaperone). Miss Gertrude Glyn (as a naughty actress posing as a nurse), Miss Marie Eaton (as Mrs. Thorne) and Miss Eileen Cottey are all “in the picture.” A graceful dance is given by Mlle. Novotna and M. Lauschmann in the Cabaret scene of the third act.
One of the hits of the evening was the ragging of the prison scene from ”Faust.” The cast was Mr. Workman, Mephistopheles; Miss Eaton, Marguerite; and Mr. Maguire, Valentine. It is a knockout number, and the audience would be listening to it yet if the singers were agreeable.
The well painted scenes were by Mr. Leslie Board and W. Little. The Cabaret set, with the English Channel in the background, was particularly effective.
The first matinee will be on Wednesday.
Sunday Times (Sydney), Sunday, 7 February 1915, p.6, http://nla.gov.au/nla.news-article120792475
Meanwhile The Sun’s critique was a virtual love letter to lead comedienne, Florence Vie!
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Light, Bright, And Gay.
FLORENCE VIE IN THE VEIN.
NEW COMEDY CATCHES ON.
Thank you, Miss Vie. When the producer asks it, few people can in such a rollicking spirit as you slap the old fellows on their bald heads and say, “Oh, go hon.” You did a lot of it in the third act, when your business was to turn the supper scene into one of those devil-may-care restaurant sprees; and the audience liked it so much that no matter how puffed you were, they wanted you to keep going for another quarter-hour. But you had to say no. You are getting like Hamlet, you know; embonpoint and short in the wind. You show wonderful vitality and love of fun. “I don’t know how you do it, but you do.”
But in addition to this jollity, Miss Vie, you can manage quieter effects, as you did in the first act, and part of the second. The formal thanks of the first paragraph are tendered to you because of all the individuals concerned In the musical comedy, you were the one who supplied the greatest propelling force for the general gaiety.
(We must interrupt these few remarks to you, Miss Vie, in order to inform the public that the musical comedy High Jinks, an American extravaganza, was produced at Her Majesty’s Theatre by Harry B. Burcher, yourself, and others last night.)
Of course you don’t imagine, Miss Vie, that we think you the only good thing in the piece. The piece is generally pleasing, and promises to hit the public taste better than any musical comedy from America since The Belle of New York. It contains lots of ragtime, of which some people grow tired: but others are just beginning to feel enthusiastic about it. Your own songs are raggy. To tell the truth, you don't sing them as well as you could when you were the end girl in the Midnight Raiders; but you weren't engaged for your singing.
Forgetting yourself for a moment, Miss Vie, what do you think of Marie Eaton? It is a fine thing that this dashing singer should be so well placed. Give her something bold in the way of dress and something florid in the way of music, and she will do better in the role than anyone else now in Australia could. It is a pity that that black-and-white square-cut garment hung so awkwardly in the second act. Her other costumes were The Thing, and she stormed the trenches as usual with her singing.
You must share the general opinion, Miss Vie, concerning the finale of the first act— that it was striking both in its musical arrangement and in its setting. Let us mention also that your legs were easily recognisable in the quaint recall given after the first act. That was a clever trick. After the curtain rose to the recall, the whole company pranced across the stage; then danced across in close file; then showed only their legs beneath a hardly-raised curtain. Little quiffs like that add to the popularity of a show.
Be good-natured, Miss Vie, as we know you are; join with us in congratulating Dorothy Brunton on a decided success, but you needn’t take responsibility for the statement that her voice was thin in singing. She acted with great daintiness and charm.
Alfred Frith, as Colonel Slaughter, was a good study all the time; and when he sat drinking beside you at the supper-table, he was just full enough to be funny. He got drunk like a gentleman; a silly, old gentleman; and you and he together provided some great comedy of the broad sort.
Of course, Florence (we use the Christian name as the night advances), you have often seen Field Fisher’s real face. It isn’t often seen by audiences, but was revealed last night when he played Dr. Thorne. It is a funny face, isn’t it? And he's a funny comedian, a first-rate laugh-maker. He shares your success.
Perhaps, Flo, you admire C.H. Workman more than we do. He always seems to us so darned matter-of-fact in his alleged comedy. His singing passes muster. But there you are; he’s the lead—so why criticise him?
That was a bad failure of a Frenchman you put into the show, Florrle. Paul Plunket playing Jacques Rabelais. If he came into the lines at Soissons talking with that heavy, accent and barking his final “Ha” and “H’m” like that, he would be shot as a spy. His usual complement, Gertrude Glyn, was tacked on to the rest of the cast as a dancer Chi-Chi, who flirted indiscriminately. She was gentle, amiable, and undistinguished; as is her habit.
Ah, Florence, don’t you wish you could pirouette like Vlasta Novotna? She and Victor Lauschmann don’t put much striking originality into recent dances; but the spirit and movement of life are in them.
W.H. Rawlins as the Lumber King turns out to be your long-lost husband. He does you proud, if it was you who taught him to act; for his performance was a specially good piece of heavy comedy.
The show is a good one; but honestly, Flo, it’s a bit naughty in parts, isn’t it? Men employing casual wives “scientifically,” and booking up double rooms in hotels—though there is of course never a hint that they occupy them. And bits of the dialogue here and there . . . but blue is a color which doesn’t displease Sydney audiences.
You understand, Miss Vie, that the reason why the notice is written in this way is in order to get your name into every paragraph; because the writer thinks that your share in the success deserves that amount of mention.
Space fails. There is room only to say that the comedy is smart, and fairly consecutive in spite of so many loosely-strung numbers; the setting is handsome, the dressing bright, if not extravagant, and the songs better than usual. The waltz refrain, Love at Last (Dorothy Brunton) will be popular. The burlesque of Faust in rag-time goes well with those who like rag-time burlesque—and apparently 99 of the 100 do.
First matinee next Wednesday.
The Sun (Sydney), Sunday, 7 February 1915, p.4, http://nla.gov.au/nla.news-article229323706
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“High Jinks,” the new “musical follity” at Her Majesty’s Theatre, is a gorgeously-dressed piece of hilarious nonsense, for the most part noisily scored to suit the uproarious high spirits of a bustling crowd on a well-filled stage. At the same time it boasts two fascinating melodies which delight the general ear. The scent-theme is heard as often as Dick Wayne (C.H. Workman) waves the magic “High Jinks” perfume beneath the nose of one of his victims, with the result that “the veriest icicle glows with the warmth of spring, and the prude becomes a daredevil.”
In this way the sight of various people gliding and springing like puppets whenever the string was pulled to the sparkling orchestral piece that emphasised the comic situation never failed to put the audience in high good humour. The second theme on which the popularity of the musical farce will be founded is a charming “valse lente” in the Viennese style, first introduced in song-form by Miss Dorothy Brunton, with plangent harp and flowery reed-phrases in the dainty scoring, and afterwards taken up as a chorus, and happily repeated whenever the action threatened to flag. The irresponsible merriment of “High Jinks” revealed tedious places here and there in the earlier scenes, but really clever acting by all concerned triumphed and the advantage of a capital last act in which Mr. W.H. Rawlins and Miss Florence Vie carried all before them, so prized-up the entertainment as a whole, that it may be confidently “tipped” for a good run.
Mr. Rawlins makes leisurely headway before he becomes prominently “in the running” for first honours, his part being that of a ponderous. elderly American timber king. This stout old way-back, one J.J. Jeffreys, cherishes sentimental recollections of Adelaide Fontaine (Florence Vie), an actress who deserted him 23 years before, and a year after their separation mendaciously announced that he was the father of a lovely baby-girl. The reconciliation between the two, their duet “Come Hither,” Mr. Rawlins’ prosy supper-speech, and the joyous surprise of handsprings from an elderly actor of high tonnage, were amongst the uproarious delights of the evening. Miss Vie’s quietly humorous aplomb as a woman capable of enjoying a champagne lunch with undiminished zest no matter what perilous complications may develop, and her calm indifference to the fact that Sylvia Dale was not her daughter at all, as “papa” must quickly find out, kept up the interest of the plot. Rag-time was evidently all the rage when the musical comedy was written and Miss Vie’s comic numbers were mostly in that idiom, which, with chorus and brass effects, almost invariably leads to sheer noise. The blue of her costume in “Jim” clashed horribly with the hostile tone of the blue blazers of her attendant Swains—and at eight to one the lady should give way!
The principal figure in the story was Mr. Field Fisher, as an American specialist in Paris, a Dr. Thorne, who struck only occasional sparks of humour from dull dialogue, but looked the part, and comically expressed in dance the joys of “High Jinks.” Besides her well-rendered valse-song, Miss Brunton as Sylvia Dale, played her rapturous little love-passages prettily, and though the enunciation of her first song was quite indistinct, she hit the mark in “By the Sea.” Herein a roguish-looking bevy of bathing-girls threw themselves in easy attitudes upon an imaginary shore whilst the rhythmic “swish” of a shingly beach was suggested from the wings as on additional accompaniment. Miss Marie Eaton (Mrs. Thorne) was twice encored, in association with Messrs. Workman and Fred Maguire, for a ragtime burlesque upon the prison-trio from “Faust.” Mr. Workman did not reveal new points as an actor, but his tuneful voice was well used in various duets, including “Chi-Chi,” with Gertrude Glyn. This latter artist’s best effort was the tender song “Bubbles,” the idea of which was further illustrated by coloured puff-balls launched upon the bosom of the air. Laughter was caused by Mr. Paul Plunket's amusing, through weird, caricature of Jacques Rabelais. Mr. Alfred Frith’s soundly-drawn portrait of Colonel Slaughter, a military boarding-house buck, proved of immense service in the supper-scene. Beauville, with the purple shadows of night suffusing a breath of turquoise sea, formed the central tableau by Leslie Board. Here, also, Vlasta Novotna won applause by her dazzling pirouettes within the embrace of Victor Lauschmann. Mr. Harry B. Burcher directed this successful production, Mr. Andrew MacCunn conducted the music, and Miss Minnie Hooper the dances, and all were included in the recalls of enthusiasm at the close.
Sydney Morning Herald (NSW), Monday, 8 February 1915, p.4, http://nla.gov.au/nla.news-article15549955
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MUSICAL JOLLITY AT HER MAJESTY’S.
There is a good deal of smart comedy in “High Jinks,” which was produced by the Williamson management at Her Majesty’s Theatre on Saturday night. The development of the story, with its numerous absurd complications, is far more coherent than the majority of pieces of the class, and was undoubtedly well thought out. One can quite imagine an author getting rather mixed himself in working through this scheme, in which wives and pretended wives pay such important roles.
It emanates from the act of a doctor (Robert Thorne) being caught by a truculent Frenchman (M. Jacques Rabelais) kissing his (the Frenchman’s) wife. Rabelais wants either a duel with the doctor or to kiss the other’s wife. Thorne, under the advice of Dick Wayne, supplies another wife for the kissing, and away everybody goes from the doctor’s sanatorium near Paris to Beauville, a French bathing-place, where the scenes—particularly that at a supper in the Hotel de Pavilion—are extremely gay. Leslie Board’s picture of this bathing resort is decidedly a success. The idea of Dick Wayne’s perfume that acts as a kind of rejuvenator, though not entirely new, is responsible for fine wholesome fun. In parts the comedy gets close to the danger line, but people seem to like that.
As for the music, much of it will appeal to those who like ragtime, and Sydney’s taste is certainly inclined that way nowadays more than ever, perhaps for lack of higher musical encouragement. There is a kind of ragtime burlesque on “Faust” (sung by Miss Marie Eaton, Mr. C.H. Workman, and Mr. Fred Maguire), over which the audience went fairly wild. But everything was like that in the uproarious supper scene.
Mr. Field Fisher’s performance of the part of Dr. Robert Thorne was cleverly humorous, especially while he was under the influence of the “High Jinks” perfume, invented by Dick Wayne (a part smartly played by Mr. C.H. Workman). Excellent humor was exhibited by Mr. W.H. Rawlins, as an American lumber king, who had lost his wife for over 29 years, and discovers her at last in Adelaide Fontaine (a character played on broad lines by Miss Florence Vie), and Mr. Alfred Frith, who made everybody laugh at the supper table, as Colonel Slaughter. Mr. Paul Plunkett’s Rabelais was eccentric, but not convincing. Miss Dorothy Brunton (Sylvia Dale), Miss Gertrude Glyn (Mlle. Chi-Chi). Miss Marie Eaton (the real Mrs. Thorne), and Miss Nellie Hobson (Madame Rabelais) each had her admirers.
Evening News (Sydney), Monday, 8 February 1915, p.8, http://nla.gov.au/nla.news-article115825612
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AMERICAN COMEDY AT HER MAJESTY’S.
Ever since a few peculiarly seductive bars of waltz music made “The Merry Widow” one of the successes of its period, composers in two continents have been striving to find some other peculiarly seductive bars, so as to make some other musical comedy the success of some other season. They have not succeeded overwell, but In “High Jinks,” produced at Her Majesty’s on Saturday night, there Is a frequently recurring little melody, which in a month’s time will be whistled by every messenger boy in Sydney. “High Jinks” is the name given to a new liquid, the taste—even the aroma—of which possesses remarkable properties. Under its influence “the icicle glows with warmth of spring, and the prude becomes a devil,” and the change is announced by a lilting little strain, which sets everybody's feet a-dancing. They dance through three acts of comedy, from the more or less sedateness of a specialist’s surgery to the balcony of a Beauvllle hotel, where the jinks are, in truth very high.
But “High Jinks” has come to stay. Being American, its music is syncopated fairly well, out of compliment to the prevailing musical fashion, though a little bit of syncopation is not unpleasant, if only by way of variety. Yet the purely musical side of “High Jinks” is clever. Mr. Workman’s first song sets a high standard, both for soloists and chorus. Half a dozen numbers, which come within the legitimate scope of the play—notably a waltz song, “Is This Love at Last,” by Dorothy Brunton-—are far removed from the commonplace. One interpolated, number—“Faust” in ragtime—whilst standing out as an offence against everything associated with the memory of Gounod, a horrible travesty upon one of the world’s masterpieces, is so clever, as to make it almost the musical success of the evening. The final trio of “Faust”—Mephistopheles, Faust, and Marguerite—singing the triumphant “Holy Angel in Heaven Blest,” is actually produced and sung in horrible ragtime by Miss Marie Eaton, Mr. C.H. Workman, and Mr. Fred Maguire. The parody is a piece of gigantic American impudence, but its cleverness is undoubted. There is similar cleverness throughout the whole performance, which, produced on a substantially lavish scale, may be quoted as one of the best things of its kind that America has produced in recent years. And the few bars of real live melody give promise of providing a sound foundation for a successful career.
Dr. Robert Thorne, an American specialist in Paris, is a very grave, austere, scientific person, interested only in patients and in science. He is the despair of his wife, until Dick Wayne comes along with the liquid discovered outback somewhere, which has the curious effect on the nerves already referred to. He submits it to Thorne as a property with millions in it. Thorne is a scoffer and will not listen to Wayne. In order to prove its potency, however, Wayne smuggles some into the doctor's drink. At once the little melody is heard coming up from the first violins, the flutes take it up, then the clarinets, then the full orchestra—and the metamorphosis is complete. The staid scientific icicle is infected with the warmth of a human spring. He suffers a grateful Parisienne to kiss him just as her husband happens to be looking on, and the Frenchman insists on either a duel or the privilege of kissing the doctor's wife by way of compensation. The rest is comparatively easy. The Frenchman may kiss anybody so long as it is not the doctor’s wife, and in order to secure this end various impersonations have to take place.
One of the doctor’s patients is Mr. J.J. Jeffreys, an American lumber king, who lost his wife 23 years ago. Adelaide Fontaine happens to be the wife, and circumstances draw her to Beauville at the time her husband is there undergoing a cure. She has a protege, Sylvia Dale, who is to be introduced as the doctor’s wife. Jeffreys has a particularly pretty dancer attending him as a nurse, and the mix up leads to a great finale. Through it all runs Colonel Slaughter in the role of more or less idiotic commentator.
There are quite a number of situations which progress as far as they legitimately can, but a whiff of “High Jinks” sets the fiddles going, the fiddles infect the flute, the flute the clarinets, and the parties concerned dance themselves out of all the difficulties that seem to be looming ahead.
Three characters stood but conspicuously—Mr. W.H. Rawlins as the American lumber king; Mr. Field Fisher as Dr. Thorne; and Miss Florence Vie as Adelaide Fontaine. The first named was always clever. His speech at the supper table, into which he tried to introduce a few local references when he had better have adhered to the “book,” was the only flaw in an otherwise great performance. Mr. Fisher was an immediate success. His smile, developing breadth with the accompanying music, was irresistible. Miss Vie, in a part which in more or less readymade, also came through with flying colours. One misses the twang which would have put the perfecting touch to the extravagant and loud Americaine, and the critic has not to say too much of Miss Vie’s singing; but the lady, nevertheless, took a big share in the honors of the evening. Mr. Workman has not much scope in the more or less stodgy part of Dick Wayne, whose chief business seems to be singing, and to spread the aroma which sets everybody else on the move; but Mr. Frith’s Colonel Slaughter was another of the successes of the night. Mr. Paul Plunket was the Frenchman—earnest, but not French; just as Miss Gertrude Glyn, in her part of Mdlle. Chi Chi, a dancer from the Folies Bergeres, was very interesting—but not Parisian. Her “bubble” song near the end deserved a recall.
The musical honors were shared between Miss Marie Eaton as Mrs. Thorne, and Miss Dorothy Brunton as Sylvia Dale, both of whom were fortunate in having to sing songs that were suitable to their style of voice, and in the various numbers in which they were joined by Mr. Workman (who carried all the male vocalisation) all did well. The chorus work was excellent. The dancing was clever, the dresses pretty, and the staging lavish, and there is everything in the production to warrant extended popularity. There will be a matinee on Wednesday.
Daily Telegraph (Sydney, NSW), Monday, 8 February 1915, p.8, http://nla.gov.au/nla.news-article238847276
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The musical aspects of High Jinks were also given their due by JCW’s respected Sydney-based Musical Director, Andrew MacCunn and the interpolated Act III trio “Faust in Ragtime” (not in the original New York production) even received comment (and grudging praise) from the “serious” music critic of The Daily Telegraph, echoing that of the paper’s drama critic.
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THE PROBLEM IT PRESENTS.
The musical director of High Jinks had innumerable rehearsals with the orchestra and principals before the production at Her Majesty’s last night of the piece.
“There are people,” Mr. MacCunn says, “who imagine that there is no art in light tunes. There is. How many composers of grand opera have tried to ‘dash off’ a musical comedy and dismally failed? The gift of melody is as decided a gift as, say, the gift for writing graceful verse. There is also some special talent required for presenting it. I have rehearsed and conducted grand opera; in fact, I did nothing but that for some years. And it is easier work than musical comedy. Opera, so far as the best works of great composers is concerned, is musical gold. Musical comedy is glitter, without being gold. Therefore it has to be made to seem like it, to be polished until it sparkles brilliantly. There is a whole box of tricks one has to master before he can get the brilliance from the scores. One has to got the vocal brightness from the choruses, the orchestra, and the principals, who in every case are not perfect musicians. Even with such skilled readers of music as Mr. Workman, Mr. Maguire, and Miss Eaton, we have had endless rehearsals for the Faust ragtime trio. The harmonies, the syncopation, and the tricky vocal acrobatics all have to be got with such a degree of certainty and ease that no effort Is apparent. The average person in an audience imagines that lack of effort in an artist denotes that a thing is easy. Few realise the time that artist expends in perfecting a number so that effort is concealed. Many stage aspirants are misled into thinking a thing easy through it looking that way. It is one of those stage paradoxes that the easier a man’s job seems the more difficult it actually is! That is how it is with the music of High Jinks, for instance.”
The Sun (Sydney), Sunday, 7 February 1915, p.13, http://nla.gov.au/nla.news-article229323678
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“High Jinks” perpetrates an extremely clever “paraphrase” of the prison scene in Gounod’s “Faust.” It is a polyphonic tangle of sound for three voices, accompanied by the orchestra, that must have demanded unremitting rehearsal. Old contrapuntal Bach would be filled with envy if he could hear it. So clever is it that the “parody” is lost sight of, a fortunate circumstance for those who have enshrined Gounod’s masterpiece in their hearts. But where will these musically irreverent liberties end? Perhaps we shall hear the Austral Quartet engaged to play ragtime at Bridge parties, and the stately Philharmonic chorus chanting cake-walk variations on Handelian themes. Seriously, though, no music-lovers would like to see overmuch of this trifling, however clever, and however well executed. The sublime is so near the ridiculous, it is said, that when next we see Goethe’s hapless Marguerite, her tragic distress will not touch us, remembering its humorous travesty in “High Jinks.” In a way, no doubt, the burlesque can show good cause; the trail of the artificial is spread over such scenes as the one in question. The new version of the “Faust” prison scene is but a modern commentary upon the older operatic conventions. It is obviously put forward as an item in the business of relieving much-tried humanity from the monotony of everyday existence; as such it is to be accepted in the same spirit as it is placed before the public.
The Daily Telegraph (Sydney, NSW), Saturday, 13 February 1915, p.6, http://nla.gov.au/nla.news-article238844951
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Meanwhile the weekly Bulletin’s critique of the show was in typical flippant fashion, accompanied by Harry Julius’s comical caricatures.
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“High Jinks,” the latest JCW light musical show, now kicking cheerfully at Her Majesty’s, Sydney, is the usual French comedy with its fangs drawn. There is just enough left in it to suggest that, in its original state, it must have been a death-adder. There is, for instance, the passage-at-arms between the pretty actress-nurse and the elderly rich American, who has been sent away in her charge by a doctor made frivolous by a whiff of the wonder-working “High Jinks” perfume. Finding that she has registered as his wife at two hotels (they have just been politely moved on from the first), he strikes a virtuous attitude and asks her what she means by it. “Why!” she drawls amazedly, “I thought it was expected of me!” The plot is quite simple and conduces to hilarity. After one whiff of the “High Jinks” raffing gas, everybody becomes uproarious and morally irresponsible and runs away with the other party. It is the sort of central idea that would become boresome if done to slow, yearning music by a lot of staid, easy-going principals with the fat of middle-age thick upon them. Fortunately the music—of which there is a good supply—is nearly all lively and tuneful, and the few Jinkers who are not young and handsome have some other advantages.
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Dorothy Brunton is the usual fluffy vision in a cream-puff part and a couple of songs, one of which, a remembersome waltz, is sung with taking ease. Her careful voice-production is in delicate contrast to Marie Eaton’s method of using her high soprano, which is forced unpleasantly, especially in a superfluous Faust burlesque several yards too long. However, Miss Eaton's acting is uniformly good, and so is cheerful Florence Vie’s. The fair and willowy Gertrude Glyn as usual looms up in one or two gowns that stun the stalls; but a wide, sunny smile disarms criticism. She almost succeeds in being pathetic with a song in which large rubber balloons are referred to as soap bubbles. Field Fisher, C.H. Workman and W.H. Rawlins, the chief comedians, put up a remarkably good plain-clothes performance. Rawlins is the best off for “fat,” as the moral American invalid mentioned above. Chris Wren (French waiter) and Alfred Frith (burlesque Colonel) form a good comedy second-line. Paul Plunket succeeds in being the sort of infatuated stage Frenchman that numberless other actors have failed to be; and the dainty little Vlasta Novotna whirls gracefully with partner Victor Lauschmann in a smart third-act specialty. The mounting and dresses are good, and the chorus and orchestra do their duty; but the Iron Crosses and other decorations must be handed to the 14 capable principals.
The Bulletin (Sydney), 11 February 1915, p.8
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With the increased perils faced by commercial shipping from the UK and the Continent, which were subject to possible attack by German battleships and U-boats, the importation of overseas artists for theatrical engagements by J.C. Williamson’s was severely hampered and consequently Australian actresses were promoted to leading roles in its productions – a situation that was remarked upon and celebrated by the Sydney Sunday Times.
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THE NIGHT OF THE AUSTRALIAN
THREE NATIVE-BORN GIRLS AS STARS
Three critics of the “Sunday Times” held a hasty consultation last night, resulting in a collaboration upon three Williamson attractions. Each critic was struck by the prominence achieved by Australian artists at the principal Sydney theatres. Australians were conspicuously represented at Her Majesty’s, the Theatre Royal, and the Criterion. It is noteworthy that the three leading actresses at each performance were native-born.
At Her Majesty’s, Miss Dorothy Brunton appears as Sylvia Dale, the sympathetic role of “High Jinks” on the feminine side. Miss Brunton gives a performance worthy of any light musical offering of any theatre in the world. She has in addition to many small graces that go to make up charm, admirable acting assets. Her technique is certain, and reflects the mind of a thorough student of dramatic art. Although a mere girl, she brings to her performance the wide experience of a carefully trained vocalist and actress. It is a sheer delight to watch her in the various numbers of the score that are allotted to her. One of these in particular, “Not Now, But Later,” represents the perfection of stage effect. Not only is she skilful in her singing of this, but the dance she shares with Mr. Paul Plunket, is neat and cleverly rhythmical to a degree seldom witnessed on the lyric stage. There is little doubt that if Miss Brunton had come to us from abroad she would be recognised as the most successful engagement of years.
In the same theatre there is an artist of exceptional merit in Miss Marie Eaton. Miss Eaton is another Australian who shows a true sense of the theatre. All her work is ably considered and her effects wonderfully sure. She has also singing abilities away ahead of what might be expected in the class of attraction in which she figures. Her vocalism is brilliant and theatrically effective. In the Faust trio she displays a gift of syncopation that is extraordinary outside the native American. Contrasted with this, is her spirited rendering of “When Sammy Sang The Marseillaise,” a number that would be a hit in pantomime.
There are two other young Australians who show promise in this bright show—Miss Cecil Bradley, who speaks the lines of a French boy in buttons with remarkable verisimilitude, and Miss Eileen Cottey, who appears as the demure Red Cross nurse of Dr. Thorne.
Then there must be mentioned the excellent work of Miss Minnie Hooper, the Australian ballet mistress of the Williamson management. All the chorus elaborations are hers, and they would do credit to the most ingenious inventor of enlivening and hustling stage movements of the New York productions. Miss Hooper is also to be congratulated upon the splendid material she has to her hand in the beautiful and intelligent chorus girls who are such a feature in “High Jinks.”
Touching on the dramatic side of the Williamson forces, the company at the Theatre Royal [in “The Sign of the Cross”] exhibits several Australians of conspicuous merit. Outstanding among these is Miss Lizette Parkes, who plays Mercia to the Marcus Superbus of Mr. Julius Knight. Miss Parkes got something out of this character last night that is new to Australian playgoers. She interpreted Wilson Barrett's heroine on lines of originality that show her to be no mere copyist or slavish follower of tradition. Miss Parkes made Mercia spiritual, and brought to the role a simple dignity that exercised a powerful emotional appeal. Heretofore we have seen statuesque and sometimes cold impersonators of the Christian girl whose faith is equal to the test of martyrdom. For the first time one realised the true inwardness of the character, and it remained for an Australian to bring it home to us in its full force.
Sunday Times (Sydney), Sunday, 14 February 1915, p.6, http://nla.gov.au/nla.news-article120797610
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In support of the war effort (and also as a good public relations exercise) J.C. Williamson’s was at the forefront in organising extracurricular promotional activities for it company members.
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Mr. Hugh Ward, the Sydney director of J.C. Williamson, Ltd., is interesting himself a good deal in connection with the police and firemen’s carnival next Saturday, and he instructed Mr. Matheson, the manager of Her Majesty’s Theatre, and Mr. Rock Phillips, the property master, on Saturday to have dress rehearsals of the tableau of Britannia at the theatre yesterday.
About 20 members of the “High Jinks” Company were in attendance, and the morning was spent in arranging the tableau, which will be most effective, and will lead the parade.
Two other members of JCW companies are to be in the procession as Joan of Arc and the Statue of Liberty. Mr. Ward will decide this morning who will fill the parts mentioned.
Members of the Australian Vaudeville Artists’ Federation were also engaged yesterday in rehearsal for the carnival. They are to have tableaux of Australia and Montenegro, and, judging from the displays, their efforts towards making the procession a spectacular one are certain of success.
The members of the Stagehands’ Society, under Mr. Rock Phillips, have received permission from Mr. Ward to wear pantomime costumes in the procession.
The brigades of ladles who are to appear in different national costumes and represent the allied countries have been busily engaged with the organisers, making final plans for the carnival, and they are having costume rehearsals early this week.
At the Showground the theatricals who appear in the procession will also take part in the afternoon's program.
Sydney Morning Herald (NSW), Monday, 22 February 1915, p.7, http://nla.gov.au/nla.news-article15562972
The arrangements for the Police and Firemen’s Patriotic Carnival on Saturday have been completed. Over 20,000 tickets have been sold.
The procession is to leave the Domain at 10.20 o’clock In the morning, but the processionists will be in the Domain at 9.30 o’clock. The parade will be nearly two miles long, and the displays are considered to be the finest of their kind yet shown in Sydney. Miss Alma Phillips, of the Julius Knight Company, as Joan of Arc, will lead the French section. In the preparation of her armour and headgear, her father, Mr. Rock Phillips, property master for J.C. Williamson, Ltd., has used some chain-mail which was fixed to the crown worn by the late Mr. George Rignold when he first appeared at the Drury Lane Theatre, London, in “Henry VIII.” The British Empire tableau, with Miss Hope Hunter, of the “High Jinks” Company, as Britannia, and Miss Dolan, of the Julius Knight Company, posing as the Statue of Liberty in the French section, will be features. In fact, all the sections will be well represented. A fireman, Mr. Ephraim Stoneham, head of the mechanical department at Fire Headquarters, will be dressed as John Bull. The Canadian representatives have a splendidly arranged tableau, and Mr. A. Gordon Wesche, superintendent of the P. and O. Company in Australia, has given permission for 100 Indians now in Sydney to march in the Indian section. There will be Maoris on parade, and vaudeville artists and baseballers have arranged tableaux, while the naval, military, police, and fire brigade forces will each be in strong force.
Sydney Morning Herald (NSW), Thursday, 25 February 1915, p.7, http://nla.gov.au/nla.news-article28113947
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Charles Workman, too, played his part in providing “copy” for the relentless publicity machine put into motion to promote J.C. Williamson productions.
A HORRIBLE SITUATION.
CHARLES WORKMAN'S STORY.
Many extraordinary experiences have been encountered by Charles Workman, the infectiously humorous comedian, who, as Dick Wayne in High Jinks, is high priest in chief of that rollicking musical farce. When engaged at the Savoy Theatre, London, in the regime of Gilbert and Sullivan it was the custom to play at least one afternoon a week, and the opera chosen for the day show was invariably different to that on the evening bill, On this particular occasion Mr. Workman had been playing Jack Point in The Yeoman of the Guard during the afternoon, and having got rid of the trials and tribulations of the pathetic jester, went to his lodgings for a rest previous to the night performance.
At the usual time Mr. Workman proceeded to dress for the evening’s entertainment. Presently a red-headed youth called, “Mr. Workman, on the stage, please,” and the favorite comedian at once made his way towards the stage and took his stand in the wings. Suddenly his hair began to rise on end, his backbone became frozen, he shivered as in a palsy, and his tongue clove to the roof of his mouth. He heard the chorus in full blast singing as they bowed and kow-towed towards the wings where he was standing, “Defer, defer, to the Lord High Executioner.”
Heavens, The Mikado, and he dressed for The Yeoman of the Guard! There was no help for it. He had to go on. Consternation was depicted on the faces of the people on the stage. Presently it gave way to merriment. First they giggled, then guffawed, and finally roared. The audience, taking up the general laughter, stamped and yelled. With one wild look Mr, Workman flew from the stage, tearing off the fateful garments as he ran, reached his dressing-room, and with a despairing shriek threw himself from a third-story window on to the paved courtyard beneath. Then he woke up, and found that he had tumbled out of bed, having torn to ribbons a new pair of pyjamas.
The Sun (Sydney, NSW), Sunday, 28 February 1915, p.13, http://nla.gov.au/nla.news-page24526170
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British comedienne, Florence Vie also contributed her fair share to the theatrical gossip columns.
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BEAUVILLE AND COOGEE.
FLORENCE VIE COMPARES THEM
“Nobody has asked me for a pattern of the bathing gown I wear in High Jinks,” said Florence Vie with, comic ruefulness, after mentioning the fact that the chorus members were receiving requests as to who made theirs.
“You see, my purpose is to be grotesque. All my effects in the clothes way in this production are bizarre … I am a humorous vulgarian. If the character is not accepted in that spirit, then there is ‘nothing to it,’ as the Americans say.
“I am referred to as 'a little September morn.’ Really I feel more like summer afternoon—at Coogee. There, however, I would probably be wearing a floppy cottonette Canadian, judging from observation of the beach. I have noticed that the surf beach garbs of the ocean bathing places about Sydney are utilitarian rather than aesthetic. I wonder what would be said if our Beauvllle girls in their dainty costumes invaded Coogee one Sunday morning. The press agent ought to try it. I think there would be a sensation. But in Australia the surf is an enjoyment. Girls go in and splash about. Looks are their last concern. At the French watering places they don’t go near the water. You see them parading in beautiful bathing gowns, and most of them don't get any more wet than the chorus in High Jinks could get in the painted ocean.
“All things considered, I think the Coogee way is better. There you can feel nice. At Beauvllle you can only look nice—‘By the sea, by the sea, by the beautiful sea!’”
The Sun (Sydney, NSW) Sunday, 14 February 1915, p.13, http://nla.gov.au/nla.news-page24526030
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As the Sydney season of High Jinks drew to a satisfactory close after a run of six weeks of dispensing fun and frivolity to its war-weary audiences, its esteemed Musical Director found himself on the receiving end of some unscripted high jinks perpetrated by the company members, as related in the Personal columns of the next day’s newspapers.
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Mr. Andrew MacCunn, who has for some years now successfully conducted the J.C. Williamson orchestras, experienced the surprise of his life at the close of “High Jinks” at Her Majesty's Theatre last night. Raising his baton with confidence for the National Anthem, his orchestra responded with an exuberant rendering of the “Wedding March,” whilst a crowd of front-stall patrons joined the artists in pelting the embarrassed musician with confetti. Mr. MacCunn’s secret was a secret no more! He is to marry Miss Forester to-day.
The Sydney Morning Herald (NSW) Thursday, 18 March 1915, p.8
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Following the Wednesday evening performance, Hugh J. Ward presented MacCunn with a silver salver from J.C. Williamson, Ltd., a cabinet of cutlery from the company, and entree dishes from the orchestra.
Andrew MacCunn was duly married to Adelaide-born musician, Miss Laura Forrester at St. Stephen’s Presbyterian Church, Phillip Street, Sydney by the Rev. John Ferguson on 18 March. The bride was given away by Mr. E.J. Tait, who at that time was the General Manager of the Sydney branch of J.C. Williamson Ltd. Her Majesty’s Theatre Orchestra attended the church and played musical selections.
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CLOSE OF “HIGH JINKS”
“High Jinks,” which has crowded Her Majesty’s Theatre throughout its run, came to an end last night amidst scenes of enthusiasm and floral presentations. Indeed, there can be no doubt that, but for the interruption of Easter, the American “musical jollity” would have held its place for weeks to come. The musical comedy provided plenty of good parts, and Messrs. Fisher, Workman, Rawlins, Plunket, Misses Brunton, Glynn, Eaton, and Vie were all seen to advantage in it. The J.C. Williamson Company will introduce this piece in Melbourne next Saturday as the Easter attraction.
The Sydney Morning Herald (NSW), Saturday, 20 March 1915, p.21
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As JCW’s New English Musical Comedy Company wended its way Southwards via train to open at Her Majesty’s Theatre, Melbourne on Easter Saturday, 27 March 1915, its Sydney counterpart prepared to pay host to the pantomime Cinderella, which had entertained Melbourne audiences for a good 8 week season over the Christmas–New Year period, followed by a stopover in Brisbane during early March.
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High Jinks (A Musical Jollity in Three Acts). Book by Leo Ditrichstein and Otto Hauerbach [Harbach]. Based on Leo Ditrichstein's farce Before and After, (adapted from the French farce Les Dragées d'Hercule by Maurice Hennequin and Paul Bilhaud). Music by Rudolf Friml. Lyrics by Otto Hauerbach [Harbach]. Produced by Arthur Hammerstein. Opened 10 December 1913 at the Lyric Theatre, moved 12 January 1914 to the Casino Theatre, and closed 13 June 1914 after 213 performances.
High Jinks midi files, featuring the full score of the musical, may be heard online at: https://www.gsarchive.net/AMT/highjinks/index.html
The vocal score for High Jinks published by G. Schirmer: New York in 1913 may be read (and downloaded) from the Internet Archive at https://archive.org/details/highjinksmusicalf00friml/mode/2up
The orchestra parts for High Jinks extant in the ‘J.C. Williamson collection of performance materials’ at the National Library of Australia (reference: https://trove.nla.gov.au/work/34454117) reveal that the musical was scored for leader; 1st violin; 2nd violin; viola; cello; bass; bassoon; clarinet; flute; oboe; cornets; horns; trumpets; trombone; drums and harp.
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AN ILLUSTRATED INTERVIEW.
THERE were signs of “a certain liveliness” in Mr. Monte Luke’s studio when the writer called. One star of great magnitude was in possession of the chair, some lesser lights were examining prints; an assistant was hard at work coloring transparencies for the front of the theatre.
The studio at the back of the Theatre Royal, Sydney, is a small one, without trimmings. Subjects don’t need to be cajoled into it, nor flattered while there with comfortable lounges and luxurious carpets. On the way to it the outsider gets some fascinating glimpses of the big JCW property room, and perhaps of some members of a company practising a dance in another room.
Mr. Luke, with the curly hair, the smile that won’t come off, and a cigarette, adjourns to the three by two darkroom to develop plates and answer questions.
“Yes, there have been a good many theatrical celebrities in front of my camera. There were Oscar Asche and Lily Brayton. I was particularly interested in taking Mr. Asche, as I was born a few doors away from his birthplace in Geelong. There were Lewis Waller and Madge Titheradge, the principals of the Quinlan Opera Co., Graham Moffat and the ‘Bunty’ company, and a good many others, including those now playing in Australia—the Julius Knight, Fred Niblo, Muriel Starr companies, and the new English Comedy Co.
“I don’t remember any particular incidents. They all know their business and pose without any trouble. I press the bulb, and the camera does the rest. It’s very easy.
“Did you see the cinema pictures in ‘Come Over Here?’ Jack Cannot, Johnnie Osborne and some others in a car raced along the road and dashed across the railway line in front of a train. That was a thrilling moment for me as a spectator at the camera. People thought it was a fake. It wasn’t. The pictures were taken at National Park. The engine-driver knew nothing about it beforehand. I guess he was a bit startled to see the car cross in the nick of time.
“We have done some fairly good fake pictures. That was some years ago, before this business had extended so much and we were not so busy. On one occasion, there were no pictures of the pantomime animals, and I suggested a wild beast chase in Centennial Park. A camp of hunters was made up, and property lions, giraffes, etc., taken out. We got photographs of a man treed by a lion, men stalking a giraffe, and things of that sort. Another time an actor was mistaken for a burglar and arrested. We got a super dressed up as a policeman, had the scene re-enacted and photographed it.”
By this time the plates were finished with temporarily, some prints had had a bath and we were out in the studio again.
“Of course, speed is an important matter in this business. I remember when Florence Young came over from Melbourne for ‘The Girl in the Train’ performance. I went up to Strathfield to meet her and take a snap-shot of her in the train. The station-master obligingly pushed the train out of the dark underground platform for me, and I got the picture at a quarter to eleven. At twelve noon the print was in the newspaper offices and appeared the same afternoon.
“I valued very much Mr. Graham Moffat’s praise of some work I did for him. He had been a photographer for many years before he became a playwright and actor. Before he opened here with ‘Bunty’ he called in one day at four-fifteen, and at five o'clock his photographs were in the newspaper offices. He said they were amongst the best pictures of himself that he had seen.
“Madame Genee started photography out here. She was getting pictures every week from her husband, who was a fairly good amateur, and she thought she would like to send him as good or better. I went round with her frequently to take snapshots in the Gardens and elsewhere. She picked up the game quickly. A very charming lady was Genee.”
“Do you find the ladies more anxious than the men to have their photographs published?” Mr. Luke was asked.
“I don’t find actresses in a hurry to have their photographs taken, as a rule. Perhaps I should say that their anxiety varies inversely with their experience. There is a stage in the career of an actor when he doesn't want any more photographs taken—at any rate, not until his hair turns white all over.
“At first it is interesting, I suppose, to see one's face all over the place. They become almost as familiar to the public as the King’s head, but he has the pull of an exclusive circulation on coins and postage stamps. But it’s a thing one gets used to, like the job of taking ’em.”
“You were once an actor yourself, weren’t you?”
“Yes, and my knowledge of acting has helped me some here. I was for a number of years in Julius Knight’s company, and with Edwin Geach, Clarke and Meynell, and Philip Lytton. I went into the country and played most of Harcourt Beatty’s parts, and I was understudy to Stephen Ewart in the Ethel Irving Co. It was Mr. Knight who advised me to take up photography. Some of my early pictures pleased him, and I kept at it. On returning from New Zealand with the Ethel Irving Co. I found there was nothing doing for me for a few weeks until ‘Ben Hur’ opened; so I took some photographs on my own account and brought along some suggestions to the management. Not long after I was engaged permanently and provided with this studio and dark room.”
“Did you start with those frames of tinted beauties who might very well pass for angels in the dusk with the light behind them?”
“Not exactly. I used to take pictures of the performers in their make-up on matinee day, and put a set of them in a frame. Coloring came later. Mr. Hugh Ward suggested the transparencies. And then we got the set of powerful arc lamps which enable us to take pictures in the day time without the hard starey expression of photographs taken with a flashlight. To-morrow I’ll be taking a lot of scenes in ‘High Jinks.’ Come along to Her Majesty’s and see it done.”
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The stage was lit for the occasion with white light. The full strength of the company was present as for a full dress rehearsal. The stage manager called out “Take your places, please, for the opening scene,” and the company arranged itself. The camera had been placed on a trestle up the central aisle of the stalls. In a couple of minutes everybody had posed correctly. Mr. Luke focussed the group and with bulb in hand called out, “That’s it; now hold it, hold it, hold it—right!”—click, and the deed was done in less than five minutes. Then groups and single figures appearing in scenes in the first act were taken, the opening of the second act, other groups and individual performers; the camera being removed to the stage for the smaller groups.
“Mr. Workman, will you lean a little nearer to Miss Brunton, please?”
“Now, Mr. Rawlins, if you’ll throw your head back and laugh. I’m ready for you. That’s it. Thanks.”
“Miss—will you pull your foot back, please, it’s in the way.”
It was entertaining to the solitary idle spectator to see a well-known actor or actress in costume and make-up putting on a fatuous grin or pretending to rock with wild laughter. It reminded him of that well-known stage direction on the post card:—“Smile, damn you, smile!” and made him laugh more than a regular performance. Apparently the make-up on the actress's face is not a necessity when photographs are taken with the new lights. Miss Glyn came in a little late and without any make-up, and the photographs taken of her were as good as any. The camera fiend went on, perspiring but imperturbable, until over 150 negatives had been taken. He had started at a quarter past eleven, was interrupted by the rehearsal of a ballet, and had finished at a quarter to two. The whole of the photographs were finished and ready for inspection at a few minutes past five o’clock.
“How many photographs do you turn out in a week?”
“Some weeks, two or three hundred. That would be when a new play opens here. The prints are sent from Sydney to all the other Australian cities and to New Zealand and South Africa. When a new play opens in Melbourne, I run over there in time for Friday’s dress rehearsal and the prints are in front of the theatre on Saturday.”
Every passer-by sees these pictures and apparently likes to see them. The public never gets tired of the faces of the pretty women and the clever men who provide its principal entertainment. That is to say that the public is at least as much interested in the personality of the actor as in his words or songs or even acting. While that is so the photographer who makes as good photographs as Mr. Luke does of theatrical stars is a public benefactor, for he helps to scatter their radiance far beyond the footlights.
The Lone Hand, 1 April 1915, pp.315–317
- The White City Designer, T.H. Eslick, The Sunday Times (Sydney, NSW), Sunday, 21 December 1913, p.10, http://nla.gov.au/nla.news-article126317958
- The White City opening, The Evening News (Sydney, NSW), Thursday, 4 December 1913, p.3, http://nla.gov.au/nla.news-article117952437
- White City attractions, The Daily Telegraph (Sydney, NSW), Saturday, 29 November 1913, p.15, http://nla.gov.au/nla.news-page25736325
- Actors’ Day at The White City newspaper reports, The Sun (Sydney, NSW), Sunday, 31 January 1915, p.18, http://nla.gov.au/nla.news-article229321968
- The Sunday Times (Sydney, NSW), Sunday, 7 February 1915, p.9, http://nla.gov.au/nla.news-article120792668
- The Sun (Sydney, NSW), Sunday, 7 February 1915, p.5, http://nla.gov.au/nla.news-article229323765
- The Sydney Morning Herald (NSW), Monday, 8 February 1915, p.4, http://nla.gov.au/nla.news-article15549797
- Monte Luke photographs from High Jinks, The Critic (Adelaide, SA), Wednesday, 19 May 1915, p.15, http://nla.gov.au/nla.news-article212160564
- MacCunn, Forrester marriage, Sunday Times (Sydney, NSW), Sunday, 21 March 1915, p.5, http://nla.gov.au/nla.news-article120795331
- Richard C. Norton, A Chronology of American Musical Theater, Vol. 2 [Oxford: Oxford University Press 2002]
- JCW Prompt Scrapbook 8, Vol. 2, National Library of Australia, Canberra, https://nla.gov.au/nla.obj-1250848164/