ENTERTAINMENTS

Dominion, Volume 16, Issue 120, 6 February 1923, Page 4

ENTERTAINMENTS

EVERYBODY’S THEATRE. Tlie story of the struggle between two stern men for the love of a beautiful woman is related in “The Alan, from Hell’s River,” which is now being screened at Everybody’s Theatre. Ono of the rivals has a fiery nature, chained by conscience and self-respect, while the other has accepted everything as a mere opportunity in a reckless career. An exciting knife fight- in the great snowdrifts results in the better man achieving his own. The supports are strong EMBRESS THEATRE. “Trouble,” starring Jackie Coogan, is the feature picture at the Empress Theatre. It tells how the “kid” escapes from an orphanage, is recaptured asleep in a barrel, and is returned to the charity institution. The orphanage proves a failure and eventually Jackie falls into the hands of a real mother, whoso husband, a brutal man, he sends to gaol in a somewhat novel n anner. The ending is a particularly happy one. “Bright Eyes” (comedy). Patlie Review, and a scenic comprise the supports. PARAMOUNT AND ARTCRAFT. The changing crowd of the idlo rich, impecunious adventurers, knaves, and curious fools who throng the Mecca of all gamblers, are characters which receive a faithful portrayal in “Foolish Wives,” which is now showing at the Paramount and Arteraft Theatres. The bogus count, a renegade Russian, is acted %y Enrich von Stroheim, and bliss Du Pont takes tho part of the wife of the American consul, who saves herself in time. The picture is proving an unusually big draw. HIS MAJESTY’S THEATRE. Three new turns of exceptionally fine quality and a revue that is not new of itself but is presented in quite a new light by tho Sunshine Players, combine to make this week’s bi.ll at Fullers’ a first-rate one. First, there is Lola Stant'onne, an American violinist of merry personality and undoubted talent. Hubay’s “Hjre Kati” was her classical number, played with esprit and brilliancy of execution. In tho slow, plaintive coon movements of her ragtime, of which of course she gives good measure, she gave some pleasing double stopping, and was remarkably clear in her clever handling of harmonics. Vaughan, a dapper little man, dressed in the height of evening fashion, is a distinct rebuff to the scientists’ theory of evolution. He is fast becoming a quadruped with ambidexterity in each foot, with doubts as to which limbs are which. As a balancer and contortionist (if such graceful movements can be so styled) ho is unusuall.y attractive. Facing you on a chair, he can lock straight at you, but that is after he has turned completely round on a ball-bearing waist- Standing on his hands he plays a tattoo on the crown of his top hat with his toes, fires a pistol (or shoots an arrow) with either foot, and in • an inconceivable position, with a .matchbox in one foot and a match in the other, lights ’a cigarette in his mouth. Ho concludes a. weird turn by riding a diminutive cycle round the stage with either hands or feet. Tlie greatest surprise of the evening is provided by’ Hurry North, the concertina swaggie, ivho must have done lots of it to acquire the local colour. Starting off with iwpular airs, he switches to grand opera and thence by’ Scotch airs to an imitation of bells and chimes that has never been excelled here, concluding with “Auld Lang Syne.” Tho possibilities of the sweat-toned concertina are fully exhausted in his repertoire; the bell delusion is perfect. In addition to tho new turns there is the Hilo Trio, rvho play tho slurring, haunting Hawaiian melodies on tho steel guitar, and dance music to the Hawaiian dances by’ the lady’ of 4ho party, who sweetly sings of Honolulu In tho national costume. Ruth Bucknall, lyric soprano, sang several ballads witli success. Her final encore, "Roses of Picardy,” was warmly ajiplauded. “Tho Orange Girl,” a prettily staged rovue bv Walter George and his Sunshine Players, occupies the latter part of the entertainment. It is a refreshing change from an opulently gowned succession of Eastern revues. The scene is laid in an orchard by the sea, owned by Magosli (Mr. Valter George), to which two feminine mvstorics have coma to “work.” ihe work is mythically clerical, but rea.Ly consists in love-making- To this idyllic scene come Lorci Karlidoors, in seaiclt of one 'of the ladies (Mr. Frank Perryn), and his man Horace (Georgo Storey). Ladv Susan de Rush (Dorothy May), one of ’the piquant mysteries amongst the orange groves, is speedily detected by Horace, but the remainder of the plot takes time to unravel, though tho time passes unheeded in a breeze of humour. George Storey as Horace is unexpectedly funny, as agilely queer as a monkey, and full of dry humour.. In a sports suit, as a caddie, he is a success.. Horace is also Earhdoor s memory, tor the latter has none, a fact ot which the girls take full advantage. Hie ballets are bright and smartly dressand. the music with catchy choruses. Georgie Martin, as Pipsey, tho daughter of the proprietor, has a laughing song that forces a chorus by the audience, and makes her part go well. Miss Vera Sewell does a prefr-y columbine dance. The quartet My Orange Girl” (Misses May and and Messrs. Raymond and Mitcnell), harmonised well, and other items t.mt were very pleasing were Mr. ;( Ra>mond’s solo, “Georgia Rose, and “Lovely Spring, by Miss V Mav. Georgo Storey's song, Ho s Mad,” was in his est ,, veil lL duct, “Tlie Nancy Leo, with Miss Dulcie Milner, was well received J ® Flowers” is a ballet especially wort-hv of mention. Mr. Frank Crowther s orchestra embellishes the entertainaient distinctively.