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SAVAGES MOVE TO NEW CLUB
Panel Of Famous Signatures
REMOVED INTACT BY TWO MEN
London, March 23. The dining-room of the Savage Club was crowded on Saturday night, writes a correspondent, Two hundred members-almost a reccrd-attended the last dinner neld at the club's old home in the Adelphi-terrace.
For nearly half 3 century "Saturday Nights" have been en- joyed by Savages and their guests, but they will never be quite the same again. Yesterday the me- lancholy business of moving to their new lieme in Carlton House terrace, began
i
Yesterday I stood in the club's hall, usually so cosy with its bright | fire crackling in the hearth, and gazing about
murmured, me. "Ichabod!"
PLASTER WALL UNDER GUARD
On the outside of the office was. pinned a typewritten notice ad- vising members to apply for "Un- "furnished permanent bedrooms at
No. 1, Carlton House-terrace." Climbing the stairs to dining-room, I was just in time to see the plaster section of wall, on which the signatures of the Royal and distinguished visitors
were written in artists' charcoal, bodily removed and carefully laid on a table.
HONG KONG DAILY PRESS
THURSDAY, APRIL 9. 1936.
THREE SAVED THE “VOICE” OF
FROM CROCODILES
British Girl In River Rescue Thrill
London, March 31,
Two film actresses and a young British girl had a desperate strug- thegle for their lives in a river in- rested with crocodiles, snakes and other reptiles in a Malayan jungle when the rail of a bridge on which they were standing collapsed und threw them into the water. "
It is to be taken intact, I was told, to the Savages' new home, delicate as is the wonderfully Adam mantelpiece, and the "In hall, Memoriam" plaque in the which bears the names of Savages who fell in the Great War.
I wan. rooni.
the
THE QUEEN MARY
First Radio Signal Of 80,773-Ton Liner
London, March 23.
A new wireless signal was picked up on
the alr to-day,
It was "GBTT calling . . . . With that the "voice" of the giant liner Queen Mary was heard for the first time.
She was making à test broad- cast with her new signal on a wavelength of 67.8 metres, before she leaves Clydebank to-morrow for Greenock.
Engineers and technicians of the International Marine Radio Company saw the ship "on the air." Then they handed over to
They were rescued by prompt action of two men.
Miss Helga Moray and Miss Jeannette Loff, both actresses, and Miss Betty Clifton James, a British girl who lives in Singapore, were bridge watching a black on the water-snake swimming beneath the B,B.C
Reception them, records Reuter.
made at the International Telephone Exchange in London.
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LIFE OF SIR WILLIAM GILBERT
Conclusion Of Address By Father Ryan
Many "humourous incidents, in the life of Sir William Gilbert were related by Father Ryan S.J. when he ad- dressed members of the English Association in the Helena May. Institute on Tuesday night.
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The remainder of Father Ryan's address, the earlier part was published yesterday, is given below. When Gilbert laid out a tennis, with Gilbert, Sullivan's weakness court in his house and found that of character is apparent, and he could not serve inside the Une be lengthened the court. Later: when he was a magistrate in his country place in Middlesex, motor- ing was in its infancy and there were heavy penalties for speeding. Gilbert on the bench inflicted them to the full, so that motorists copiousness For the last time in their fami-
They leaned over the rail to see
avoided the roads of the district. liar dining-room, the panels of From the dining room
the snake pass under the bridge.
But when a short time, afterwards whose walls bore the signatures dered into the North-west
Their combined weight was too
he became a motorist himself it of the late King, the present King. I heard the rending of wood as
and part of the rail gave į
And to-day for the first time was the pedestrians who avoided the Duke of York, and the ex- the partition of the bar was being much,
way, All three fell-into the the gross tonnage of the liner was the roads. But even then he was plorers Nansen and Scott. Savages removed. On the panels of this
revealed. water and on top of the snake.
It was officially an- not satisfied with the speed of his clever heard the "ghosts" of departed; partition are several very
The three women at once-start- | nounced as 80,773 tons:
car and he wrote to the makers i The exuberance of his nature Savages who had entertained drawings by artistic Savages," and
broke out. Once for The gross tonnage of the French that "It Rolls but it won't Rorce" sometimes desperate fight against the them in days of yors.
their value may well be more than ed a
estimated in whole of "the swift current of the stream, but liner Normandie 1g
The rigidity of the "business" Instance. with Grove-that builder From loud-speaker high on sentimental. The
Lloyd's Register as 80,000 tons, which is so essential a part of the of lighthouses who compiled the the wall came the measured tones Interior decoration of this room is the current was too strong.
An official of the French Line Savoy tradition is due not merely | Musical Dictionary which is such of famous old Odell, the persua-being transported intact. for it is
stated in London to-day that since to Gilbert's terrorism, but also to a stand-by for musical critics-le sive lit of Albert Chevaller's voice a place of strong associations with
structural alterations the the fact that he was enforcing a went to Vienna to hunt up some her singing "My Old Dutch." These the past.
Normandie's, tonnage had been in- new technique on his company. creased to 82,000.
No producer ever had a greater idea of the need of unity in pro- treasure duction than he had. He regard- Carltoned the players as the performers in a ballet-every movement 8.4 well as every word had to be con- sidered in relation to the scene.
were relayed from gramophone As I left this room, I saw two records played in another room. workmen in shirt sleeves carrying Subsequently, present members the section of plaster from the which the gave imitations of other famous dining room wall, on Savages of the past, through the great names were written, slowly same medium.
and with the greatest care down
stairs. Very gingerly the priceless section of plaster was laid on top of a small motor vehicle, that had no other loan.
furniture removers The two
the little van, and sat china; then guard and boarded. holding the wall-section as care- moved gently offe fully as though it were egg-shell House-terrace.
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VERY SATIRICAL This element of Gilbert's hum- our is the one that wears least well. It does not appeal to our generation, and it would make us call his plots threadbare were it not for the fact that in compari- son with those of most other mu- sical plays his plots are simply abounding in what he might have called verisimliitude and, intellec- tuality.
The next element that we find is satire. It is biting and amazing- ly clever. Its scope la, however, usually restricted to very general topics, and Gilbert did not hesitate to return again and again to poll- tics, the army, the navy, the bar and the stage as the target for his shafts.
though he had many faults and foibles. I should not like to leave the impression that he was any
Before each new opera thing else than a great musician and a most lovable character. was produced everybody in high Probably no other English com- places shook in his shoes lest he might be pillaried. Everyone gasp- puser came nearer to Schubert in
ed at first, and then gurgled with ΟΙ inspiration and fertility of ideas, and there was delight, when a recently-appointed humour in his nature to inspire First Lord of the Admiralty was his light music, and rigid self-con-openly burlesqued in Finafore. This Was W. S. Smith, the publisher, trol to discipline that quality of
a familiar humour which is so dangerous in whose name is still
sight on English railway platforms, a musician.
GÜbert that office by Disraeli. professed to believe that nobody would notice, the portrait, but few weeks the Prime within Minister was talking about "Fina- fore Smith." Once in Germany Sullivan was greatly embarrassed when in a gathering at which he was present the future Kalser Wil- helm II insisted on singing an English song, and chose the First Lord's song from Pinafore. "The Ruler of the Queen's Navy."
missing music manuscripts. When they found them they copied them till two tri the morning and then showed their joy by indulging in a game of leap-frong.
Without, a sufficiency of self- control Sullivan Would almost in- evitably have attempted to express
•
It was worse when "The Pirates of Penzance" was produced, with He spent hours arranging every-humour in his Savoy music, or off-the House of Lords made the sub- thing on a dummy stage before he set Gilbert's parodies by parodies ject of joke, though even this was came to the theatre, and there he of his own-such as he tried once nothing to what was said of the insisted on getting what he want- in the operatic parody which he peers in "Iolanthe" and "Utopia Limited. Towards the end of ed. It was largely for this reason fitted to the "Kissing Song" in
"Iolanthe," one lord says: that he would have no "stars" in "The Mikado"-but in his art no his company, and wrote his loret-less than in his lie Sullivan was "Now that the peers are to be re- tis in such a way that there was capable of heroic self-control,cruited entirely from persons of no place for them. He picked his The man who wrestled with pain-intelligence, I really don't see chorus from the music schools tul illness all his life, and some- what we are doing down here," and his principals very largely times when conducting could not and from the amateur stage-because see the music through the tears he could train them more easily, which agonising pain was forcing he said; because he could bully from his eyes, was not one who thera more freely, others said. would debase his art for cheap ap- George Grossmith had been only plause. The sustained high quality a drawing room entertainer when of the music and the unending he was given the chief role in succession of haunting melodies The Sorcerer." and Rutland Bar- are Sullivan's chief contribution to rington, who, had a poor voice and the success of the Savoy operas." no ear and no experience" as an
But we are more concerned with
actor, was chosen because, as Gil-Gilbert's contribution. Gilbert's bert said, "He's a staid, stolid swine, and that's what I want."
SENSITIVE SULLIVAN
humour was of a type of its own- we call it Gilbertian because even who the painstaking classifiers
CLEVER REPARTEE
The effect on Sullivan of wit-write about language and style nessing constantly, from close were unable to fix a category for quarters, this triumphant eff it. ciency and this bludgeoning was to bring him completely under the
The latest biographer of Gubert spell of Gubert. He was a sensi- and Sullivan, Hesketh Pearson, tive artist but with a lot of funda- whose book was published serially mental weakness, and it needed the force of greater mastery than he had at his own command to draw his best from him. He al-
then they are all provided with wings to go off to fairyland. This is the tone of the play.
under
LASHED POLITICS Party government came his lash many a time, as when the First Lord sings in "Pinafore:"
"I always voted at my party's call And never thought of thinking
for myself at all
I thought so little they re-
warded me
ני
By making me the Ruler of the Queen's Navy." or when the sentry outside the Houses of Parliament sings in "olan- the:" "When in that "House M.P. *
divide
If they've a brain and cere-
bellum too.
They've got to leave that brain
Outside
And vote Just as their leaders
tell 'era te
in an American magazine, called upon Freud to produce a pinch- beck Lytton Strachey volume, and
Needless to say, these criticisms attributes the oddity of Gilbert's were not welcomed in high quar- most always rose to his best when humour to a conflict between histers, and when "The Gondoliers“ he was under the influence of Gil-innate revolt against humbug and
was honoured by a command per- bert, perhaps to some extent pe- the necessity of his compliance formance before Queen Victoria cause he feared him, and feared with the conventions of his age. at Windsor Castle, Cibert's name that he too would come under his There is possibly a foundation of was omitted from the programme. lash if he did not give what Gl-truth in this, though there is no It was a subtle mark of disappru- bert wanted. He was very con- evidence to show that Gubert felt val, but Gilbert's riposte was more scious of the fact that Gilbert any great inclination to violate direct. In the next opera "Uto- the dny conventions or felt any hesi-pla Limited," he withdrew all res- composer as well as from the station about attacking anything traint from his satire, ridiculing that he thought a at subject for the City, the army and navy, the On one noteworthy occasion ne attack. The analysis of humour is
parliament, and reaching a climax appealed to Gilbert for help in generally a 'hopeless task, and an with the burlesque of a Court composing. He had the words of investigation of the causes of
knew what he wanted from
tors.
drawingroom. No one was sur-
a song to which he could not fit whimsicality is not likely to be prised that it was not until Sul- the right music. He felt that it more successful. It is enough to livan was dead and Gilbert's pen deserved a good setting, but after see what Gilbert's humour is with-
was at rest that he received his working for a fortnight he had to out asking whence it comes Or knighthood, twenty-four years. admit failure. Gilbert offered to why.
and said:
SATIRE OF WILDE
ago at a re-
recast the words but Sullivan said Gilbert's plots and his comic after Bullivan got his. they were too good to alter. At situations are based on the same last in despair he went to Gilbert almost unvarying formula:' press-" One piece of satire which was ing an absurd idea to a logical outside the ordinary scope of Gil- "You often have some tune in conclusion, or treating literally bert's ridicule was "Patience," your head that suggests the metre something that is not intended to which was a devastating parody -if you had any when you wrote
be taken in that way. This was of the aesthetic movement. I was this try to hum it for me."
the basis of much of his verbal sitting some years
hearsal of an amateur humour in ordinary life..
perfor- mance of "Patience" when, during some scene in which Buntbome was posing on the stage. I heard a friend beside me muttering "It's too hard." At the interval I ask- jed him if he thought the part above the capacity of the actor.
"Oh, it's not that," he answer-
Gilbert was not a musical man. It was he who said that he knew two tunes; one was "God Save The Queen" and the other wasn't and his answer to Sullivan was: "Only a rash man asks me to hum."
It happened however that the rhythm of this particular song was suggested by a shanty that the sailors on his yacht used sometimes sing, and he tried to hum it. After a few bars Sullivan cried out to him to stop, and Gil- bert, humble for önce, thought that
"Call me a cab," a man одсе asked him outside a theatre, mis- taking him for an attendant.
"Certainly." said Gilbert, "You're a four-wheller."
"What do you mean?" said the other angrtly.
Gilbert replied: "You asked me to call you a cab, and I couldn'ted, "I was thinking of poor Wilde." call you "bansom.""
Then I remembered that he had
We have constantly, in the Savoy told me how he had been a friend operas infants belog mixed up. of Wild many years before, when and then interchanged in their their two families were nelgh- it was a musician's cry of pain at respective positions when the mis- bours, and once he had gone into. his attempt, but Bullivan assured take la discovered many years a London" "restaurant with him, him he had given him what he later. This forms the basis of when Wilde gave as his order to wanted. He went straightway and "Pinafore," "fiuddigore", "and other the waiter. “A llly.” wrote the music of perhaps the plays. Similarly we have all kinde The “greenery-yallery, Grosven-, most perfect song in the whole of riduculous situations created or or Gallery delighted London, but Savoy series: "I have a Bong to straighted out by giving a more the piece seemed in danger of Sing, O."
logical interpretation to some law, falling in New York, where there UNDER CONTROL
or by anding that the words of was no Grosvenor Gallery and the Another reason why the colla- an act or a will did not express pre-Raphaelites and their decad- boration, was so perfect was that the sense intended. This occurs chit descendants were unknown. Bullivan was a genius who war again and again, as, for instance, Failure in America would have able to keep his talents under per- in Iolanthe" "The Grand Duke" fect control. Though, in contrast and "The Pirates of Penzance."
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