ENTERTAINMENTS

Dominion, Volume 16, Issue 35, 4 November 1922, Page 10

ENTERTAINMENTS

NELLIE BRAWLEY. Commencing to-night, and to he repeated on Monday and Tuesday nights, Wellington theatregoers only have three opportunities of witnessing ; J J Lucky Durham.” “Lucky Durham” is the only English drama to be preI sonted during tho present season, and i its author is the well-known English actor, Wilson Barrett, who starred in this country in “The Silver King.” It is described as a problem play with the persistence of a Pinero. It is claimed that it does not obsess, doos

not weary or irritate, and that the I problem isgnot out of the perspective—it does riot glare and stare eternally to_the foreground. The play is nicely proportioned, and the result is a clever drjma, with character and situations well balanced. Miss Bramley will appear as Helion Vallerton, the girl wno loves the social outcast. It I .was “Lucky Durham” that terminated ; the phenomenal Auckland season when over 3000 intending patrons had to , 'bo turned away owing to tho limited capacity of His Majesty’s Theatre. On Wednesday night “Within the Law’ k will be revived for one night only, and tho same thing applies to “Sunday” and “Bought and Paid For,” which pieces will occupy the theatre on Thursday and Friday > “Leah Kleshna” will bo presented on Satur- ! day night next, and will continue up ; to tho following Friday, wliicK will i be the final night of tho season. KING’S THEATRE. 1 ... Thirty years ago an entertainment Was hardly complete unless someone recited “Kissing Crip’s Race,” a racing poem which ran neck-and-neck in ’ favour with its'companion piece, “How We Beat the Favourite.” With tho passage of time both pieces have been overlooked, but their dramatic tang and really good sporting stories ore eminently adapted for translation to the screen. This was proved last evening when “Kissing Cup’s Race” was screened at the King’s Theatre before an audience which was held interested throughout. Moreover the photo-play has the savour and air of the best typo of English players, and there was y nothing falsa in their conveyance of tho author’s, intention, which is not infrequently the case when the Americans handle a purely English theme. “Kissing Cup’s Race” is the one that saves Lord Hilhoxton from' ruin and disgrace. Though a very fine fellow and a thorough sport this young sprig of the nobility has inherited the family craze, for gambling, and, taunted into it by his rival, Lord Rattlington, ho plunges madly until tho loss of tho horpo or his ancestors is threatened. Indeed, ho is only persuaded to post- ■ pone tho sale until after Kissing Cup’s race by tho cajolment of his heartbroken fiancee, who, remembering a ’ wager Hilhoxton' had made with RatI tlington two years \ before, buys tho hors© herself, and gets bld John Wood, ; z a trusty trainer, to take the youngster in hancl and give him the preparation needed for tho United Kingdom Foal Stakes. Immediately Rattlington hears that Hilhoxton is selling his horses and ..stables ■ he tries to buy Kissing Cup, but finds that someone has got ! in ahead, of him. It is Lady Consfiance, who is now determined to save

her lover at all cost. The morning of the great race comes.. For Hilhoxton it means absolute ruin and disgrace, and the loss of tho most charming girl in England for a wife; for her it means misery and heartbreak should 'Kissing Cup lose. The hour of the race comes. Lady Constance, with her mother and Hilhoxton are the centre/ of attraction. White-faced, with something like terror in her eyes. Lady Constance watches the preliminaries, realising that all life holds is dependent upon the result _of the race. “They’re Off!” There is ft hoarse shout frOVi the crowd as the horses, thunder bv with Rattlington’s horse in tho lead, but gradually, through mistv eyes, she sees the Hilhoxton chocolate and blue gaining on the leader. There is a final tussle in the straight, when-Bob Doone, on Kissing Cup. makes a supreme > effort, and lands his mount home a winner——by a head. This fine picture is admirably acted. La'dv Constance is superbly played by Miss Violet Hopson, whilst the role of her mother. Lady Corring-. ton. was well played by Adelino Haydu Coffic, Avife of tho famous baritone of a quarter of a century ago. Hilhoxton is .vitally enacted by Mr. Gregory Scott, and the role of Bob Doone. the jockey, is/especially well done by Joe Plant (the well-known English jockev). The scenes at Newmarket, with the seething crowds, are from life. During the evening Camnbell Rae-Brown’s poem. “Kissing Cun’s Race” was forcefully recited by Mr. Fraser Thomson. The comedy picture is the wildly, humorous knockabout farce “Get Out nnd Get TTnd“r.” .in which the volatile Harold Llovd is featured. The artistic playing of tho King’s orchestra is always well worth attending this theatre for without any other attraction. EVERYBODY’S THEATRE. When Jack London wrote his “Sea Wolf” he chose Death Larsen as one of the buccaneer characters. The man who conceived “Shadows of the Sea” chose Dick Carsen as his pirate. The similarity of the two plots suggests that the stirring adventures aboard the Sea Wolf’s vessel gave the inspiration for the latter story, which winds, itself round a strange medley of circum.stances, in which a girl is, kidnapped on the high seas and passes through some severe trials before .tho man who poses as thj? brute (Conwav Tearle) ■ finds that she is- innocent, of a supposed crime; then everything moves along a pleasant and happy groove. The star film is “The Infidel,” which portrays Katherine MacDonald in a dramatic setting in the . South Seas, where a raging tornado is effectively filmed by the camera, and forms one of the most thrilling scenes. that the kinema has ever associated with a dramatic •production. It is tho story of a girl who sets out to wreck a man through his love. The 'bombardment of, a native village by an American cruiser is another of the long chain of stirring events that go to make up the scenes of this'gripping drama of love and revenge in remote places. The programme is balanced with the comedy, “The Wise Guy,” and a scenic and the latest Gazette. Everybody’s Orchestrgj under Mr. Mat. Dixon, provides an interesting EMPRESS THEATRE. “No Defence,” showing at the Empress Theatre this week, is a thor-

oughly good play for people with good nerves. It was written tor those who can. sit for a few miriutes in terrifying suspense without letting their agrta--tion get the better of their enjoyment. The plot is strong, the acting is strong to match. William Duncan plays the part of John Manning, who at. the time the curtain rises is a poor mining engineer, very much in love with Ethel Austin, tho daughter of a lady whose dominating passion is the desire to lead society. - As Ethel Austin, Edith Johpson shows herself quite as much in love with Manning as he with her. The declining fortunes of the house or Austin make Frederick Apthorpe, a rising district attorney, seem to the mother a much -more desirable match than Manning for her fascinating daughter.. Manning, to circumvent her designs, marries his love secretly on the eve of a prospecting expedition to the Canadian north. In th§‘_) VI " S he has for partners one Milton Hulst, an unscrupulous member of the legal profession, and a bluff old Soct named Macßoberts. The. three strike gold, and on the night '-before they are to divide their spoils and start for home Hulst gets up quietly, transfers the dust from its appointed hiding-place to another, shoots Macßoberts when the latter attempts to interfere and so arranges matters that the blame for the murder falls upon Manning. Manning, taken by the North-West Police, makes a desperate escape, and for months lives the life of a hunted animal. In the meantime, learning from a newspaper report that tho ship on which Manning had booked a. passage has tfoundered, his sweetheart yields to her mother’s repeated entreaties, and marries Apthorpe. Mannin<r, who never caught-the boat, comes back to the city. Hulst, in practice again, gains knowledge of the secret marriage. He has a private interview with Mrs. Apthorpe, and threatens to expose her as a bigamist if Apthorpe is not induced to abandon certain proceedings against him.. Concealed in an adjoining room, Manning witnesses the interview, and steps into the open before it has ended. He demands a confession of murder from Hulst, but Hulst produces a revolver. There is a struggle, the revolver drops to the floor, and while the two men fight for it Mrs. Apthorpe kicks it out of Hulst’s reach. It explodes, and Hulst is killed. Thinking to save the woman ho loves, Manning sends her away and gives himself up to the police. He refuses to defend himself, and Apthorpe, prosecuting with full knowledge of his innocence, sends him to the condemned cell, where he maintains his brave silence. It is better to leave him there than to spoil a good play by disclosing the denouement. Duncan, as the man who is prepared to face the gallows for a woman, is a convincing, figure, and Edith Johnson is an actress with talent and charm enough to make his sacrifice appear worth while. Included in the week s programme are the end of the “Blue Fox” serial and the beginning of the new serial, “A Missile from Mars. There is no change of heroine, ana those who delighted in the sensational •adventure of Ann Little in tho former production will probably accommodate themselves very well to her no less ( sensational adventures in the latter. This timo the fight will not be over a treasure chest, but over a meteorite containing the secret of stupendous physical forces. QUEEN’S THEATRE. There’s a' destiny that shapes our* ends, rough hew them as we may.’ These words may well stand for the text of “The Face of tho World,” now featuring at the Queen’s Theatre. It is a drama abounding _ in thrilling events, complicated situations, and intrigue, ' set in the midst of magnificent open-air scenes, and extravagantly geous cabarets. A young doctor wedded to a mere girl, in receipt of a scholarship, torn by the distractions of the world’s unrest, always typified in large cities, concerns himself more with questions of public moment rather than his studies. His wife succumbs to the fascination of another man, to vwhom she turns for sympathy for the neglect of her husband. She refuses to divorce him, however, and the man who has fallen so violently in love with her, is severely injured in a motor accident whilst hurrying by night to compel the doctor to start divorce proceedings. The injured man is 'triken to the hospital, and there the doctor, the lady’s husband, successfully performs a difficult and delicate operation. .This is just completed when all are compelled to. leave, or be taken from the hospital because'of an outbreak of fire. The patient, now delirious, calls out the name of Tliora, while tho doctor, unable to bear the meeting., leaves for a little country town. His wife meanwhile thoroughly realising the greatness of her mistake, returns to the man she so unwisely left. The acting of all the principals is excellent, especially that of the famous Barbara Bedford (as Thora) and Edward Hearn (Harold Mark). The supporting picture is “Cupid the Cowpuncher”—a picture of laughs'and thrills, with Wifi Rogers, Helen Chadwick, and Andrew Robson in the chief roles. There are also to be seen in it many wonderful acrobatic stunts and a true portrayal of the clean, open air, ever happy life of the cowpunchers of the great Wild West. The story would be incomplete without reference to the romantic element in this fine film., The supports include ft- gazette end another episode of “With Stanley m Africa. ,r The Queen’s orchestra, under Mr. A. H. Jerome, provides an excellent selection of music. ‘ HIS MAJESTY’S THEATRE. „ The bright extravaganza, “In Wrong,” performed by the American Revue” Company at His Majesty’s Theatre, provicles an hour of frivolity and foolery that- would be hard to equal. The piece is characterised by snappy music of th 0 jazz type, lively ballets, and ridiculous stunts, which enable a talented company, headed by George Ward and Harry Burgess, to keep the audience in happy mood. The Eleven Wonders, a troupe of clever dancers, singers, and acrobats, If red Webber, dancer, pianist, and cornetist, Kennedy Allan, an English comedian, and Maurice Sterndale, ,the jazz violinist, also make their appearance. Mr. Frank Crowthgr’s orchestra, as usual, adds to the success of the entertainment. STRAND THEATRE. “One Clear Call,” at present featuring at the Strand lheatre, shows Henry B. Walthall at 'his best. The story makes a profoundly interesting and moving drama, driving right home to all some sound truths of our modern life. There is not a moment when the story ceases to grip. - The interest is captured and held right to the end of tho chapter. A man, setting out in life with all the advantages that go to the making of a great man, uses his intelligence to the purpose of debasing, until. all that he touches or with whom he comes in contact are effected by the taint. He is the moral leper and outcast of the town. His health causes him. the deepest concern, and with tho imminence of death he is filled with remorse for all tho great wrongs ho has done. Among those are his wife and the daughter of a dead friend. Unaware that it is his wife with whom he falls in love, the doctor and friends of this apology for a man, takes to drink when ho discovers tho true position of affairs. The stricken husband, becoming aware of the. true state of affairs, hastens his end with his own hand, thus leaving thft way clear for a happy ending. Simple as is the story, the picture gets its greatness from the. strength of the acting. All the way through the audience are kept torn by strong desires or antipathies according as to whether tho sympathies are with the husband, doc-

tor. or wife. Charles Ray is seen in all his inimitable humour and cleverness in “The Old Swimmin Ole, a rSe lesson in clean wholesome fun. In addition are a Chnstie “Nobody’s Wife/’ and the latest Bathe Gazette. SHORTT’S THEATRE.

Not since the famous “Humoresque’ has there been seen in Wellington such a vivid characterisation of present-day domestic tragedies, as is the natural sequel, “The Good Provider, now featuring at Shortt’s. “Humoresque was the story of a motner a lo \® denial for her children. The Good Provider” is the story of a fathers love and his endeavours to the requests of his . children. Way down in his quiet little village,. ing hi a humble home, and over the country store, he is comfort->. able and happy. His children are not. Life to them is only life. in so far as it coincides with the. gaiety ahd the extravagance of the city. He leaves th? country for the city and from the commencement of renting a suite of rooms for four in a New York fashionable hotel at twelve dollars a day each, tho story works eaturally and surely to the inevitable catastrophe in the bankruptcy of the old, man The picture contains some real truths which illustrate in a marked degree the real cause of the destruction of so many homes. The luxury, extravagance and gaiety of modern society life, with all its unhealthy excitements and pleasures, is no compensation when home life is lacking. Never was this more vividly realised than when the children, having by their selfishness brought the father to the brink of ruin, were compelled to go back tb their little country village and begin afresh tho task of reconstructing their future happiness on an, entirely new basis. It is impossible to complete a review of this splendid pic-, ture, so rich in human interest, without a few remarks on the acting. Ihe cast is almost the same as in Humoresque.” Dore Davidson, as the father, and Vera Gordon, in the part of the 'mother, pass before the audienco as’ in actual life. All the little events which, when brought together, provide one of life’s deepest tragedies —the collapse of a home. They are excellently supported by Vivienne Os‘borne (the daughter) and William Collier. jun., the son. The supports include a Broadway comedy, Stay Down East,” a Gazette, and a scenic." The orchestra provides suitable music. PRINCESS THEATRE. There is about all English pictures a certain dignity and permanence in acting and setting , not to be found in any other productions and Laddie, now showing at the Princess Theatre, more than sustains the traditional high, standard. And of the word, Laddie” itself, what a wealth of meanin o and depth of feeling it kindles in the emotions. The picture ‘ Laddie, hased on the famous novel of that name, , by Gene Stratton Porter, is the story i of a young West End doctor, of hum- I ble parentage, tom between his duty to a doting mother and a great love tor a beautiful girl in London high society. A simple story enough, but around it is woven a drama, of intense interest, a strong plea to every young man to give of his best to her who for so long has made the rough places smooth for him, denying her self many of the good thing of life, in order that he might have the best that can be procured. Much of the success of the picture is due to the wonderful acting of Miss Sydney Fairbrother, the little old mother of the doctor. A good insight into certain London life is also obtainable from seeing the picture. “Shore Acres is in all senses of the word, melodrama. Love and hatred follow each ether throughout in rapid succession. Largely as the result of the daughter’s refusal to accede to the demands of her father. The audience are not allowed to got themselves settled into a state or disinterestedness', so quickly does thrill succeed thrill, so compelling are the intensely dramatic situations. And how far revenge can go., and how catastrophic in its results is seen by the wreck of a ship caused by the girls father, the keeper'of a lighthouse, deliberately omitting to light the lights. There is also a capital supporting programme, including a “Hall Room Boy Comedy,” entitled ‘.‘Breaking into Society,” which provides uncontrollable amusement from start-to finish. The musical selections are also on adjunct to the night’s entertainment. DRAMATIC RECITAL. On November 10 and 11, in the Concert Chamber. Mr. Culford Bell will present his pupils in their annual recital. A very pretty play, “The Duke of Christmas Daisies” (adapted from Sic J. M. Barrie’s story “The Little White Bind”) will be presented for the first time, and is expected to prove a popular item, with its pretty costumes and dainty dances. Miss Beere has arranged all the dances, and some of her pupils will appear. “The Birthday of the Sun and the Moon . will introduce some clever, children in an interesting fairy story. “The Bathroom Door,” a very funny farce, will be presented by the seniors. A scene from “Hamlet” will bo played by Isobel Halligan and Barton Ginger, both gold medallists. Many other clever items are included in the programme. The proceeds are in aid of the Boys’ Institute Cricket Club. GRAND THEATRE, PETONE. To-day’s big bill "at the Grand Theatre, Petone. is headed by the Associated Producers’ special production “Blind Hearts,” a tale of the Yukon’ featuring Hobart Bosworth. On the same bill Hope Hampton appears in litr First National attraction, “Love’s Penalty.” Monday’s change will present the Fox Super-Cinemelodfama “While New York Sleeps,” and S'elznick’s gorgeous society drama “Under Oath,” featuring Elaine Kammerstein. On Wednesday and Thursday Jackie Coogan in “Peck’s Bad Boy” will head the bill, which includes the big Cines specialty “Jacko, the Super-Monkey.” The new special for Friday next is “One Clear Call.” SUNDAY CONCERT. To-morrow evening at 8.15 in His Majesty’s Theatre tho Wellington Professional Orchestra give its eighth concert of thg season, under the conductorship of Mr. Frank E. Crowther. The items to be rendered include Rossini’s ever popular overture, ‘/’William Tell,” “King Stephen” (Beethoven), “Potipee Valsante” “Prelude and Love’s Death,” from Richard Wagner’s “Tristan and Isolde,” suite from the “Casse-Noisettp Ballet” (Tschaikovsky), “Andante Cantabile,” from tho quartet, Op. 11 (Tschaikovslty), and “Yeomanry Patrol” (Squire). ORGAN RECITAL. The programme arranged for Mr. Bernard F. Page’s organ recital to be givpn to-morrow evening is as under: —•, Overture to “A Midsummer Night’s Dream” (Mendelssohn); Cesar Franck’s (a) Lento, (b) Andantino in E Flat; Canzonet by Bernard Johnson; Prelude in C Sharp Minor (Rachmaninoff). (This item is by request.) Third Movement from “Scheherazade” (Suite Symphoniquo for orchestra). Op. 35 (Rimsky-Korsakoff); Karg Elert’s Air nnd Variations (upon a theme of Hendel’s).