ENTERTAINMENTS

Dominion, Volume 18, Issue 181, 28 April 1924, Page 3

ENTERTAINMENTS

TIVOLI THEATRE. There was a crowded audience to witness tho change of programme presented at. the Tivoli Theatre on Saturday night. The change involved the, first appearance in 'Wellington of Windsor, Edgar, mid Kellaway, thro? comedy music-makers, who entertain de'.ightful.y for twenty minutes. IVindsor and Edgar are not only, very excellent violinists with, a land of eccentric humour and an appreciation of the instrument’s comical resources, but they have originality and charm, whilst Mr. Kellaway is a most estimable li'jht baritone, who, with or without his fiddler friends, is worth hearing. There s ju-t enough amusing cross-talk to lead up to the musical specialities, and it is all done with an ease and grace that uro interesting: Mr. Kellaway made* immediate friends in “Just (he Sweetsst Girl.” but the cleverest song he presented was "The Roamer,” a chanson ot unrequited love and the disillusioniszig eifect of time. Finally, the trio, the scenery, the chairs, piano, and even tho lamp-post get musically < runk in the most laughab e fashion, the other newcomer was Donald Stuart, a high and mightv magician, veritably an An.im-B 0 ” hairpin, who does a lot of old sleight-of-hand tricks in a new way. Ho presents bis magic with a comic touch, commingling amusing burlesque on Ihe ordinal > patter of (he illusionist; with the most, absurd att.itudinisation. Alm figuring on in e their specinity.'’"A Night in the Hotel Impossible”; Rebo kesslova V' 1U ’’ - a new and fascinating setting toi tj vio’in of “Tho Miserere duet, 1 Trovitoro”); Sheila May and Sydney Keil Claire Solly in new songs: he wildly comic NiblO and Doiis. notable improvement on baturcl. y in T h e Tivoli management cabled . advice to l .'ic effee 11” 'c; icjil)o lington on Friday next.

KING’S THEATRE.

llyslery,SSEfS’yile Kjy’lKi-Sili Theatre on Saturday mght. Ihe Mo)J_ X°l“op C wta the crime, ami Robert Armstrong., whom nobody likes until the climax is reached. lh opening scene shows the marnagc Winthrop and Prentices ward, and an unsuccessful attempt ! stay the proceedings with the declar. - tion that the bridegroom has an attachment with the charming secretaiy to whom the millionaire himself is ed Although the intruder is discredited, his accusation kindles a spark ot suspicion in the old man’s breast, but he appears io regain faith after his fiance falls, with many tears, into his ‘’’'J' 18 - A week later Prentice is murdered. Winthrop, who on the butler’s testimon), was the last to leave the house on the night the clime was committed, is indicted. Then commences a long drawnout trial, during which the links in the chain of circumstantial evidence slowly but surely tighten up. At the moment the jury is retiring the Court is thrown into uproar by the appearance of the bedraggled figure of the prisoner’s wife, who produces evidence that upsets the theories of the. prosecution; her revelations impress the jury, and a verdict of “Not guilty” is returned. But all is not yet told. A missing letter,.written by deceased to Armstrong, who is popularly regarded as the leal murderer, is recovered by the police, but instead of consolidating a case against the banished heir it further implicates the acquitted Winthrop and the private secretary. Events now take a. swift turn, and Violet, the secretary, maddened with jealousy, confesses that she and Winthrop were tho guilty ones. The story has a tragic ending for the conspirators, but Madeline and Armstrong are reunited and commence (heir lives again. Excellent supporting films were also screened, and the orchestra contributed a specially arranged selection of niusie. QUEEN’S THEATRE. “His Children’s Children,” from a sensational novel by Arthur Train, a NewYork attorney, was shown at the Queen’s Theatre for tho first time on Saturday night. It is the story of three generations of New Yorkers, and tho nlot is revealed in the question, “.If tins is a ounpho of what we find in New York’s upper strata, then what is New York coming to ” The picture is not merely one depicting cabaret and night life, but it presents in a clean, gripping, vivid manner a story of moral and mental decay. The picture is one of Paramount’s best, and amongst the east are Hebe Daniels, Dorothy Mackuil, James Rennie, and George Fawcett. The supports include a comedy, a Burton Holmes travelogue, and Gazettes. The Queen's grand orchestra, under Mr. A. H. Jerome, played excellent incidental music. EMPRESS THEATRE. Tho new programme, headed by Stoll’s big sporting picture, “Long Odds,” was shown at the Empress Theatre on Saturday night. Not content with being Loth author and producer of the drama, Mr. A. E. Coleby tills the important role of Gus Granville, the owner of Uia.ck Beauty, the horse which wins i big iaco and re-establishes the fortunes ef the Granville family. Henry Bates I taes the part of Bert Marshall, while Sam Marsh, tiie gentleman jockey, becomes a. real screen artist in the. production as Jim Straker, the rider of the horse, end the lover of the heroine, Sally Waters, played by Edith Bishop. As a racing picture, “Long Odds” is in a class J y itself, anil is one of the greatest racing p ays ever put on the screen. There is a capital film of the arrival of the service squadron to Sydney Harbour. “Look Out Below,” a Mermaid comedy, and an Empress News film. The incidental music, by the Empress symphony orchestra, under Air. Al. Dixon, is very fine, ami appropriately commences with the overture, "On Board a Alan-o’-war” (Armand). PRINCESS THEATRE. A big double feature programme commenced at the Princess .Theatre on Saturday. and a Jesse L. Rasky production entitled “The Tiger’s Claw,” featurin'’ Jack Holt, heads the bill. The locale qi the picture is India, and many of the scenes are thrilling to a degree. There is an exceptionally strong love interest, running through the story. Jack Holt is a daring rider, and is equally at home in the drawing-room as on horseback. There is a fine supporting, cast, including Eva Novak, George Perio at. Bertram Grasshy, Aiieen Pringle, Karl Stockdale, Frank Butler, George Field, Eyelyn Selbie. Frederick A'room, Lucien Littlefield and Robert Cain. That inimitable comedian. Harold Lloyd, plays leading part in “Grandma’s Boy.” This picture produces five reels of laughter. Harold is pictured as a well-intentioiii’d youth, but unfortunately Nature had failed to equip him with heroic qualities. The difficulties that this lack of courage bring upon his head are most entertaining. The supporting programme is well up to standard, and n ven- enjoyable entertainnint is assured the theatregoer. ARTCRAFT THEATRE. How a saxaphone and a dashing personality rehabilitates! domestic happiness was ’'elated in the Paramount production. “Clarence,” which was initially screening on Saturday, The AVheeler family, about whom the story centres, were all at sixes and sevens, when Clarence, an ex-soldier, arrives. ’Pho husband absorbs business: his wife thirsts for admiration: a pretty governess is forever unwittingly causing differences; the two childrfn. one a flapper, tho other a youth just expelled from eolli-ge. retard progress by their perpetual quarrels: and an unscrupulous secretary, a meddling butler, and an inquisitive maid add their contribut :on to the family discord. Clarence’s charmimr ways eventually make for happiness all round. Supplementing tho feature production are a. trave ogno, gazettes. Paramount magazine, and a. screaming comedy.