COMEDY BILL.

Press, Volume LXIV, Issue 19502, 26 December 1928, Page 5

COMEDY BILL.

AT CRYSTAL PALACE. "HEART TROUBLE" AJfl) "A RENO DIVORCE." Harry Langdon, dry and droll, has the lead in the principal feature of the now bill which opened at fhe Crystal Palace Theatre on Monday night, "Heart Trouble.' 1 This particular ailment is one from which many unhappy humans suffer, but the quaint comedian goes through his paces to such effect that ipstead of being an ailment, heart trouble is tho means to a merry time. Everything be does seems idiotic, and yet has a purpose. He bungles everything, so that the comedy, originally very humorous, turns intOs& sparkling farcfe that is as thrilling as it is amusing. Alwayß of doleful countenance, Langdon exploits this form of comedy to a greater extent than ever, and makes an excellent job of it. His role is that of a young man hedged in with trials and troubles, all from the ono source —a woman, and a very pretty one. The story is laid between the years 191-1 and 1919, when the sight of khaki was sufficient to set up a pleasurable flatter in every maiden's heart. But the late war does not come into tho story at all. the purpose of implanting himself with ness in tho good graces of tho. lady, the young hero, who bears the queer name of Harry von Housen, seeks military honours, and announces that he is prepared to bear a blood-thirsty sword in defence of anything at all. But he is not to be given the warnor s chance, being rejected for many physical imperfections. He graduates accidentally, however, into another branch of military service, and becomes a spy. He stumbles upon some remarkable secrets that would fall to the lot of none other than an Edgar Wallace hero, and is astonished when he awakes o°® fine morning .to discover another secret-—that he is a hero. From now on, instead of being a laughing stock, the young man is the recipient of smiles and caresses from tbe lady, and, being a hero, he conducts himseit towards her in a most suitable manner. Langdon is supported by Lionel Belmore and a strong caßt. The picture is excellently produced and full of rich humour of unusual type. It abounds in situations that are at the same time thrilling and packed witn comedy. The scene the explosion of the enemy munition dump is particularly well done. ... . . . "A Reno Divorce" is the second feature, and is drawn from the story by Ralph Graves. Graves, by the way, plays the male leaa, and directs the picture at the same time. The story is a fine comedy-drama, searching out all the sidelights in the notable Reno divorces of America, and all that they entail. Also one sees a young artist rise to fame. It is full of unusual situations, and snows up a peculiar marital code in a glaring lignt. Human interest—that muck-hackneyed P hr «° ■—is the' actual motif, and is used to an nn* usual degree. The other twp stars aro May McAvoy and Hedda Hopper, and with Ra ph Graves they present vivid and convincing portrayals of their parts. The Symphony Orchestra, under Mr A. J. Bunz, is ° advantage in the following numbers :-<)verture "True Friends" (Blankenburg), Leoliore" (Beethoven), "Ludmilla "Shadow Sketches" (Tours), 'Jho Pink Lady" (Caryll), "Serenatella C®'!; "Darby and Joan" (Leslie), Lu H,nlj_ (Besly), "Constantinople' (Carlton), nulla'' (Wayne), "0 Come All Ye Faithful," and "Christians Awake." The box plans are at The Bristol Piano Company, where seats may be reserved. ' .