THE THEATRES.

Sun (Christchurch), Volume I, Issue 243, 17 November 1914, Page 9

THE THEATRES.

"THE SIGN OF THE CROSS." That venerable melodrama, "The Sign of the Cross," which Wilson Barrett first introduced to these islands, was re-introduced to' a Christehurcb audience by the Julius Knight Company last evening. There was a large audience to witness it at the Theatre Royal, and it was evident that; this caricature of Roman history, this burlesque of Roman character, no longer has the same appeal to audiences which it exerted 16 years ago. It is impossible to quarrel with the setting—it is as well arranged, as well designed, as the scene painters employed by the J.C.W. firm could coj> • trive. The scenes are- effective, even though their "realism" is mostly a matter of imagination. Such ultramodernists as Gordon Craig and his school would probably violently disapprove of them, but then there are so few ultra-modernists amongst the theatre-goers of New Zealand. The J.C.W. firm translating the Crippen

Case into terms of musical comedy would set its semes as goik.eoi;sly, and with the same plenitude of limelight. As for the play, and "the play's the thing," it makes humour for modern minds. Sinee Wilson Barrett first produced this, his masterpiece, the world has movod on. The veriest inanities of Bernard Shaw are now more acceptable. These outworn histrionics do well enough for the audiences which the large cities of Australia are able to provide, enough even for the "smalls" of New Zealand, but there was ample evidence last night that the audience treated the histrionics of '' The Sign of the Cross" as humour —the play has unaccountably survived into a period which fails to recognise it as serious drama. Yet, granted that it is melodrama of the crudest, there arc degrees of acting, even in a. poor play, and the palm of last night's performance must again be given to Miss Lizette Parkes. She, who did not altogether succeed in such quiet comedy as "Lovers' Lane" and "Nobody's Daughter," is nevertheless a shining light amongst the stilted artificiality of such a play as "The Sign of the Cross." As Mercia she was dignified,

graceful, and, as far as the conventions of the piece would allow, almost natural. She compared well with Lillah McCarthy and Maud Jeffries. Julius Knight played Marcus, as before, and the same as before. He has often been associated with this part to the detriment of his real ability, yet, seeing him as the buskined, stiff, artificial Roman noble which the play demands, one must admit that the part is as well done as circumstances permit—even Wilson Barrett himself, with his gilt buskins and high-heeled shoes, did not do the part better. But it is an impossible part, even though, it appears, the actor himself likes it, "Quod sit, esse velit, nihilque malit." He was acceptable, and not out of the picture nevertheless. Mr Eardley Turner as the debauched "comic relief," Glabrio, was also a bright spot. It seems that Eardley Turner is cast for debauched old men these years, and, being so cast, lie has made xip his mind to do them as well as may be. Miss Irene Browne played Berenice, a part which demands histrionic hysterics, and Miss Browne gave them. She was exaltedly passionate. Miss Emma Temple was cast as Poppea, a part very unlike her style, but she

fulfilled it well enough, though, having seen her do much better work in much better stuff, one regretted her acting in this voluptuary's part. The play is really the triumph of the stage manager and the scenic artist, even as "Ben Hur" was. But there are thousands of people who prefer such plays because they are picturesque and demand no thought, and to these "The Sign of the Cross" is to be recommended as a piece of good staging, as a spectacular drama; but for the inconsiderable few it can be said that the play provides no opportunity for anything so delicate as fine acting. COLOSSEUM. A powerful and highly sensational Eussian drama, entitled "War's Heart Blood," was the star attraction of an excellent programme presented for the first time at the Colosseum last evening. The story of the film concerns two brothers,' Ivan and Gregori, who are rivals for the hand of a peasant girl, Katjuscha.. Gregori is successful, and on the wedding day Ivan swears vengeance. When the father hears of the wedding he disinherits his son, and Gregori goes to live with Katjuscha and her people. The Russians declare war, and although Ivan answers the call and goes away as a captain, Gregori remains behind until seized by the press gang. He is captured by the enemy's picket, who in turn are captured by the Russians. Ivan condemns Gregori as a spy, and just as the latter is shot by the firing party, the enemy commences an attack, in which Ivan himself is mortally wounded. Katjuscha, who has been searching for Gregori, finds his dead body with Ivan lying alongside. In his dying moments Ivan pleads for forgiveness, but Katjuscha refuses, and the two brothers are buried in the same grave. The supporting pictures, which are a splendid series in every way, comprise "Gaumont Graphic," which gives some most interesting scenes from the front; "Life Beneath the Sea," an educational and fascinating submarine study; "The Awakening of Barbara Dare," a powerful story of broken hearts and lives, and the dawning of a new love; "Bird Life in Springtime,"- a Pathe nature series; and "Bill Squares it with the Boss," and "While Auntie Bounced," two screamingly funny comedies. The pictures, which were accompanied in a most able manner by Fuller's Premier Orchestra, will be screened again this evening, when the public of Christchurch will have another opportunity to witness a programme of real merit. HIS MAJESTY'S THEATRE. The long procession of war films still continues, the latest bulletin showing at His Majesty's including views of the ruins of Belgium, recruits - from various parts of England, and trainloads of German ammunition traversing the Continent. The most prominent picture on the programme is an adaptation of W. W. Jacobs's "Beauty and the Barge." An added interest is lent to the picture by the fact that Mr Cyril Maude appears in the leading role. The story shows that Major Smedley announces to his daughter, Ethel, that Herbert Manners is returning from abroad, and will call to renew his engagement with Ethel. She has meanwhile met Lieutenant Seton, R.N., whom she likes much more. She promptly runs to tell him her bad news, but the major orders her to her room. Ethel escapes by a ladder which the gardener, Dibbs, brings her, and at the foot of the ladder meets Captain Barley, the master of the barge''' Heart in Hand.'' Captain Barley is an amorous sea-dog, who has only that morning proposed to Mrs Baldwin. Nevertheless, at sight of Ethel he becomes eloquent, and she finally coaxes him to allow her to make a jqflrney to London in his barge. |At the "'Old Ship" the captain finds his affections veer to the landlady, Mrs Porter. In the interval, Dibbs has carried an offering of flowers to Mrs Baldwin, who haughtily refuses them, drawing attention to Captain Barley's ring on her finger. Dibbs promptly tells her that in all probability Captain Barley is at that very moment making love to Mrs Porter at'tho "Old Ship." Mrs Baldwin believes him just sufficiently to go and investigate. Lieutenant Seton arranges with one of the hands of the barge to be taken violently ill in the i bar. At the proper moment Seton, | dressed in nautical rig, offers his ser- j vices in place of the sick seaman, and I is at once engaged. Mrs Baldwin con- j eeals herself in the hold, and later Ethel's presence stirs the captain to his j best and most loverlike behaviour, while even the sailors succumb to her influence, so much so that they appear on deck in ludicrous and highly uncomfortable dress. Finally, the outraged Mrs Baldwin can bear the scene no longer. Trembling with passion, she emerges from her hiding-place, and the captain I promptly seeks safety in flight. A pretty I little love story is unravelled in " The j Toy Shop.'' Some of the other pictures I are '' The Boy Scout's Farm in Sussex '' (Pathe-colour), "Across the Burn-

ing Trestle" (drama), and "Bill Takes a Lady out to Lunch" (comedy). GLOBE "THEATRE. In the current programme at the Globe Theatre, "A Modern Jekyll and Hyde" is the star-attraction. This is a drama on the lines of the well-known story, and it contains numerous exciting episodes. The special war studies include views of Louvain, showing the devastation caused by the German guns. "The Lovely Senorita" is a splendid, supporting comedy dealing with a burlesque love story. Other studies comprise "The Secret Lode," drama; "Through Bosnia and Dalmatia," scenic; "The Australian Gazette," topical; and "Father's Hat Band," comedy. The programme will be presented again this evening and throughout to-morrow.

SYDENHAM PICTURES. The Sydenham Picture Theatre was well filled last evening, when a new programme was presented. "Beauty and the Barge" Avas the star feature, showing Mr Cyril Maude in the title role of aW. W. Jacobs's comedy. Supporting pictures comprised "The Gaumont Graphic," topical; "Our Mutual Girl," drama; "Boy Scout Farm in Sussex," scenic; "The Toy Shop," drama; "Across the Burning Trestle," drama; and "Setting the 1 Style," and "Bill Takes a Lad.y out to Lunch," comedies. The programme will be presented again this evening.