Films and The Stage.

Dominion, Volume 19, Issue 166, 10 April 1926, Page 19

Films and The Stage.

Production of a new series of comedies starring Charles Puffy, the noted European actor, has been started at Universal City. Dick Smith is directing Puffy in the first picture, and Elsie Tarron is playing the feminine lead opposite the star.

An exciting man hunt comprises the early part of Universal's latest western picture (shortly to be here), “The Call of Courage,” in which Art Acord has the chief role. This realistic hunt of a sheriff’s posse for a lone man vividly illustrates the pleasure that men take in hunting down one of their own.

Difference in social standing is made to lose its significance when love enters the situation in “The Mad Whirl/’ a Universal-Jewel production, which will be screened at the Artcraft 'for three nights only, commencing Tuesday next. The chief role is played bv '"’av McAvov

In “The Cave Man/’ a Master picture, Matt Moore and Marie Prevost have the chief roles.

111 “So This Is Marriage/’ a MetroGoldwyn production, which is coining to the King’s Theatre shortly, the director has taken the troubles of a newly-wed young couple as the basis of a picture said to be full of human interest. Eleanor Boardman .is featured in a role as a flapper wife, whilst Conrad Nagel is the husband.

Lewis Stone’s latest impersonation of royalty is in Victor Scastrom’s Metro-Goldwyn production, “Confessions of a Queen,” and his role is that of a king condemned by rumour to live under a cloud of suspicion and mistrust. Alice Terry plays the part of a voting princess, who, for political reasons, marries the much-maligned monarch and finds that under his devil-may-care manner and apparent irresponsibility there lies the stuff that men—the real kings—are made of. It takes a revolution and sundry other dramatic happenings to show the king in his truj colours. “Confessions of a Queen,” from Alphonse Daudct’s novel, “Kings in Exile,” is now screening at the Queen’s Theatre.

There are few spots in the world ■where so manv stirring am! strange scenes have been enacted as have taken place in the Piazza della Signoria in Florence, Italy. It is said that the great historic square was rebuilt, every particular a duplicate of that at Florence, for the filming of George Eliot’s famous novel, “Romola,” a Mctro-Goldwvn production which will be here shortly. Lilian Gish imnersonates the Florentim heroine of 1492. What glorious, what iniquitous scenes have taken place there. In the long list of tragedies there ’s recorded nothing quite so terrible, quite so barbarous, as the burning of Fra Girolamo Savonarola. Savonarola, the greatest preacher Florence has known for nearly two thousand years, had denounced Tope Alexander'Vl in his fiery sermons. In retaliation the - Tope excommunicated him. All Florence took sides in the controversy that arose as to the validity of the' excommunication, the quarrel becoming what has justly been called a political controversy. So is it treated in “Romola,” which will be here Shortly.

Miss Sara Allgood, our first “Peg,” is highly praised by London critics for her acting as Juno in “Juno and the Haycock,” produced by the Irish Players at Royalty Theatre. She takes the part of the “Pavcock-’s” poor wife, an Irish Mrs. Micawber, and is said to give a magnificent portrayal.

Miss Gladys Brockwell recently returned to Universal City to.play the sinister “Louisa” in “Stella Mans, which will soon be in Wellington. Miss Brockwell’s part is that of a woman who, bent on revenge for a, supposed slight, trails two lovers to wreck their happiness.

Effie Cherry, a member of the Cherry Sisters’ vaudeville team, famous thirty years ago in America, has entered the race for Mayor of the town of Cedar Rapids. She is for a 9 o’clock town. “Home, Sweet Home” for the dances at that hour, cleaner movies, and no swearin" in Public

A treat is in store for the children at the Artcraft Theatre this afternoon when the tenth episode of the serial, “The Riddle Rider,” will.be shown, together with the Hoot Gibson feature, “The Hurricane Kid.” It is said that the free competition in connection with the serial continues to create increasing interest with each episode.

Irene Rich and Huntly Gordon, have the chief roles in the Master picture “Silken Shackles.”

Marie Tempest, whose brilliant acting in “Hay Fever” has charmed London, gave up musical comedy work in 1899 because of a disagreement with George Edwardes, that master of musical play production. Edwardes wanted het to wear a costume in "San Toy” to which she objected. Both were determined. After a matinee Miss Tempest asked to see Edwardes alone in the theatre. He had the house cleared and sat in the stalls. She came on to the stage in the contentious costume, turned her back so that he might see what she objected to, and said: “I refuse to look like the hind leg of anyone’s donkey.” Edwardes lost his temper, sent her a letter insisting that she should wear the costume, and rather than do so she gave up her part and left musical comedy with her voice at its prime.

Richard Barthelmess will be aeen at the Paramount Theatre this week in the First National picture, “Shore Leave.”

Countess Felicia Drenova, noted Polish aristocrat, lately seen in “The Making of O’Malley,” also has an important role, again in company with Milton Sills, in “The Knockout,” a story of prize-ring and lumber camp life which First National will shortly release throughout New Zealand.

What is said to be a most thrilling aijd tensely dramatic duel scene is that fought by John Charles Thomas and Captain Henry C. G. Mills, who won fame with the Dragoon Guards of Australia during the war, in “Under the Red Robe,” a First National production which will be here shortly.

Sara Dartrey, one of the members of Dion Boucicault’s company, which is playing the Barrie plays in Australia, was understudying Gladys Cooper in “The Last of Mrs. Cheyney” before she left London. Miss Dartrey also appeared in the London productions of "Hasan,” “Lightnin’,” “Fanny’s First Play” and “You Never Can Tell.”

At the King’s Theatre this week is the Fox screen version of the celebrated stage play “Lightnin’.” The important role of Lightnin’ Bill Jones is taken by Jay Hunt, a character actor of great ability, who was chosen from the long list 'of applicants for the part, principally from the fact that he bore a remarkable resemblance to the late Frank Bacon, the actor who made the role famous when it was first produced. Another famous name will be found in the cast, in that of J. Farrell MacDonald, who has the part of Judge Lemuel Townsend, stricken by a love affair late in life. MacDonald will be remembered for his role of Casey in “The Iron Horse,” which he made so full of humour and originality. Madge Bellamy is also in the cast.

The next Buck Jones production to be seen in Wellington is “The Desert’s Price,” a stirring story of a young man who returns from the East to take charge of his big cattle ranch. He learns that his neighbour, Julia Starke, has declared war against his ranch, because she suspects them of having mur’ dered her father, and later, of having killed off her sheep. When his men deny the charge, McCann, who has fallen in love with Julia, decides to discover the real culprits. The conclusion of the picture shows the exciting adventures which befall McCann in bringing to light the real offenders.

Edmund Lowe, the handsome young leading man of manv Fox productions, is to have the greatest role. of . his career in “The Fool,” a Fox Giant Special, which is to be released in New Zealand shortly. The story, deals with an earnest young clergyman who refused to preach sermons which he knew were not true, just because his preaching them pleased his wealthy congregation. After a powerful Christmas sermon of Capital, the men of money are so incensed that they cause his dismissal from the church, and the young preacher accordingly devotes his time to the spreading of good among the members of a little waterfront mission.

Pavlova, the world’s greatest, dancer, who is packing His Majesty’s Theatre, Melbourne, by her wondrous art and fascinating, personality, weighs exactly seven and' a half stone and the size of her shoes is three. Those who have seen the great dancer off the stage have been amazed at her diminutive stature. On the stage her lack of abnormal muscular development surprises her audiences. Pavlova points out, however, that physical development and muscularity have no relation to dancing. “The body must be fit, of course,” she said, “but big muscles, or small muscles, make no difference to agility or gracefulness. It is practice, skill, and natural ability that count, and behind all these, soul.”

Kiore King, the attractive young lady who did her bit to make “Secrets” draw big crowds to the Criterion Theatre, in Sydney, is a New Zealand girl who is slov»ly but surely wending her way up t’#e shaky ladder. She made her first acquaintance with the stage as a member of Allan Wilkie’s Shakespearean company, in which she toured Australia and New Zealand. Her next step was a role in "A Royal Divorce,” when Muriel Starr produced it in Melbourne. In “Secrets” Miss King played her rather small part with refreshing skill, showing a rare sense of values, and this virtue, allied to her quite striking good looks and her euphonic name, should soon help her to attain that elusive condition known as “stardom.”

In D. W. Griffith’s latest production, "Sally of the Sawdust,” the charm of circus life and carnival merriment for the background, is illuminated with the joyful gaiety of two characters new to the screen, a side-show entertainer, •juggler, and handy-man with other people’s pockets, and his ward, who believes she is his daughter and who loves and fights for him. The comedian’s part is played by W. C. Fields, for years an actor of the stage and now of tiie Ziegfield Follies, while the daughter’s role is played by Carol Dempster, the voting Californian girl who, it is said, has made such sensational advances in her screen work during the last vear. This picture will begin at the Da Luxe Theatre on April 28.

“The Man on the Box” is a Master picture with Syd. Chaplin in the chief role. “The Man on the Box” is one of the most hilarious of screen comedies.

In “Recompense,” a Master production, the action shifts suddenly from the gay Paris of Armistice Day to the desolate miles of the veldts in Africa. Here Julie Ganclyn, a nurse in the South African Brigade, meets again with Peter Graham, an army chaplain,, and here the drama comes to its climax. Marie Prevost, and Monte Blue have the chief parts in this picture.

John Barrymore wanted a rugged, adventurous and stirring tale in which to return to the screen after the year in which he was winning stage fame as “Hamlet,” which will be here shortly. Warner Bros, supplied the story., Herman Melville’s “Moby Dick,” which became in film form, “The Sea Beast, a Master picture.

Two of the leading artists to appear in the .

J. C. Williamson (Ltd.) Musical Comedy,

"Primrose,”

next week.

It is wisest for a young man contemplating matrimony, wli.cn making arrangements for his wedding and honeymoon trip, first to consult the girl-m fact, to ask her whether she will many him. But Buster Keaton didn t know this, and because, of his ignorance in these matters, we have "lhe Navigator,” a Metro-Goldwyn feature comedy which comes to the De Luxe theatre’ shortly.

A motion picture director, Charles “Chuck” Reisner, has so far forgotten himself as to write the words and music of a song for “Oh What a Nurse,” the forthcoming Master picture in which he is directing Syd. Chaplin. “Not that I wish, to strike out in a new field,” explained Mr. Reisner, “but Svd. is so funny as a lovely, brunette nurse of rather lively disposition, that I just had to write the song.” *

• Four of the most interesting pictures on First National's schedule for this season are announced ready for release, Thcv are, “Tramp, Tramp, Tramp,” with Harrv Langdon in the chief role, “Infatuation,” with Cor inne Griffith, “Graustark,” and “I he Only Wav,” a big British production. The' first'Harrv Langdon comedy on which the famous comedian has been working for months is now completed, and is said to more than fulfil the highest expectations of the actor and First National officials.

An interesting phase of life seldom brought to the notice of the average man and woman is brought out strikingly in “The Goose Woman,” the Universal Jewel production now showing at the De Luxe Theatre, and in which Louise Dresser, in the character of a once renownefl opera singer who has sunk into oblivion, displays such an inordinate craving for the front page prominence she enjoyed in her palmy days that she causes an unspeakable outrage in order to bring herself back into the limelight of attention. Nobody realises to what frightful lengths a star of faded glory would go for the privilege of returning for a moment to the pedestal of the shining past, until one lias seen such a character in real life, or depicted on the screen in presentation such as that given by Miss Dresser in “ lhe Goose Woman.” The other leading roles are taken by Jack Pickford and Constance Bennett.

Rin-Tin-Tin, the dog actor, will be seen in five big productions from Master pictures in the coming year Die first to be realised will be Tracked in the Snow Country.”

Paul Rcvcre’s ride transplanted to Russia in the time of the recent revolution promises to be an interesting feature of Cecil B. De Miles second independent production, ‘ Die Volga Boatman.” As an interlude in his storv of the drama of Russia, De Mille brings in a rider who goes from point to point through the country telling people that a new regime is in control. De Mille, it is said, takes advantage of tlie opportunities tlius of" fered to provide inauv moments of comedy. “The Volga Boatman” was adapted by Lenorc Coffee from Konrad Bercovici’s story. Featured players include Elinor Fair, Wilham Boyd, Victor Varconi, Theodore Kosloff, and Julia Faye.

Dorothy Devore and John Patrick arc now working on their latest Master picture, “The Honeymoon Express, based on a story written by Darryl Francis Zanuck.

On his way to evangelical meetings in Binghamton, New York, Billy ,Sunday stopped off at Elmirc, New Tork, and took a hand in the fight there against Sunday films. Binghamton then decided to postpone its plea for revival.

In “Kiss Me Again- a Master picture, Marie Prevost and Monte Blue have the chief roles. They interpret a wealthy, giddy Parisian couple who meet with irregular success in the pursuit of their marriage.

The fellow who vows never to fall for a pair of attractive feminine eyes, is usually the first to do so. It is this type of character Harold Lloyd portravs in his newest comedy, “Hot Water,” a Master picture, and his second venture as an independent producer, which is now showing at the Empress Theatre.

Lowell Sherman’s latest Master picture “The Love Toy,” has been finished at the Warner Bros, studios and will be shown shortly. It is said that Mr. Sherman has a unique part in this picture, one radically different from any other screen role that he ever portrayed.

Colleen Moore has completed “Irene,” which is said to be everything the star and her associates expected. Cyril Maude and Edna Best are playing in “These Charming People,” Michael Arlen’s New York success. Mr. Maude is making another of his farewell American tours. From the - list of dozens of Fox directors, Frank Borzage has been chosen to direct the Fox screen version of “One Increasing Purpose,” the current best-seller by A. S. M. Hutchinson. Mr. Borzage is to go to England to confer with Mr. Hutchinson regarding the production of the film, and the picture itself w.ill be made in England tor the 1927 schedule.

In connection with the recent Paramount Essay Contest, Miss Tamta Eggers received a prize of a gramophone from the Bristol Piano Co. for what was judged the best essay sent in from the Wellington district. The main prize for this contest will be a tour of either Australia or New Zealand. Three essays have been selected fiom each of the newspapers conducting the contest in Australia and New. Zealand, and these have been sent to Sydnev for the final judging. The result of this will be announced at a later date.

Romance and thrills are said to abound in “The Fighting Cub, Phil Goldstone’s melodrama of newspaper life which is now at the Artcraft theatre. The picture is one that provides a wealth of excitement, with the story woven around the exploits of a dashing voting reporter who discovers and captures a band of gem thieves after the latter had eluded the police for many months. The youth is materially aided bv the citv editor of the paper, and the two battle every obstacle placed in their path, and finally secure a “scoop” for the paper. Pat O’Malley, Mary Carr, and Wesley Barry play the chief parts.

The following is a criticism of “The Only Way,” a First National picture shortly to be here: “A film of which the British industry has full reason to be proud. It fascinated a keenly critical audience. From the very first scenes it became evident that “lhe Only Wav” was going to prove an exceptional picture. Interest deepened as the action developed. Very rarely has any film been followed with such wrapt attention. It is a magnificent effort.”— “Daily Telegraph.”

When the 300 huge trucks unload -’their human cargoes near Naples, California, for the tremendous river swimming sequence in “The Lady of the Harem,” it is estimated that the line of march will extend five miles. Three thousand people—expert swimmers obtained from all over the United States —have been gathered for the nve .F. crossing scenes. This sequence will mark the largest in the entire production, and will lead up to a terrific medieval battle in which thousands of beggars storm the gates of the Caliphs palace to rescue their leader. Featured plavers in << The I/ady of the Hareni are" Ernest Torrence, William, Collier, jun., Greta Nissen, and Louise Fazenda.

Ernest Torrence, jovial six foot three Scotchman, recently, was cast for the 17th screen production of his career. And “Seventeen,” he declares, always lias been his lucky number. Torrence will appear in an important featured part in “The Blind Goddess,” Arthur Train’s novel of New York political life. Since Torrence’s entrance in motion pictures he has appeared in “Tol’able David,” “Singed Wings,” “The Covered Wagon,” “Ruggles of Red Gap,” ‘The Trail of the Lonesome Pine,” “The Fighting Coward,” “West of the Water tower,” “The Dressmaker from Paris,” “Peter Pan,” “North of 36.” “The Side-Show of Life,” “The Wanderer,” “The Pony Express,” “Night Life of New York,” “The American Venus,” “The Lady of the Harem.” Aside from Torrence, other featured players in “The Blind Goddess” are Jack Holt, Esther Ralston and Louise Dresser.

Rudolph Valentino will. make his first screen appearance for some time in the United Artists’ production, “The Eagle,” a picture of Russia before the revolution, which will be here at a later date. Valentino appears in three distinct guises in this fast-moving action storv, which is also filled with comedy. He is seen first as a Cossack lieutenant, garbed in dashing uniform, then as the mysterious bandit, known as the Eagle because of his swift and marauding movements. While a bandit he masquerades as a French tutor and enters the home of his mortal enemy. Vilma Banky plays the leading feminine role in this picture.

After three years’ preparation, the expenditure of over £1,000.000 and considerable chopping and changing in directors and staff, the Metro-Goldwyn super feature. "Ben Hur.” was given its premiere at the George M. Cohen Theatre, New York. According to the. "Billboard,” the picture which is primarily a spectacle, is a picture play of astonishing beauty, and massive in its conception and execution. The story itself is told with delicacy, reverence and taste, for which Fred Niblo is responsible. "Ben Hur” will, in due course, be released in Australia and New Zealand.

Dolores Costello and John HarrOn fill the chief parts in the Master picture production of “The Little Irish Girl.” Diana Wilson, last in New Zealand with Laurence Grossmith, is appearing in the London production of “Kid Boots.” She takes the part played in Christchurch bv Jean Newcombe.

Oulv those New Zealanders who have been to London have seen charming Elsie Prince but everyone may have the opportunity'of seeing her if Hugh J. Ward sends' the “No, No Nanette” company on a tour of the Dominion. Miss Prince was brought out to. play lead in this attractive musical comedy, which is to open the big new WardFuller theatre in Sydney.

“Wreckage,” an adaptation from the novel “Salvage,” by Izola Forrester, is to be released in New Zealand by Universal. May Allison and Holmes Herbert plav the leading roles. The picture tells a story of South Sea intrigue, involving two beautiful girls, a Crooked nobleman, and an old man suspected of gem smuggling. Probably the most striking feature of the film isi the shipwreck scene in a Pacific storm.

Pavlova has brought with her Alexander Volinine, who was principal male dancer with the great Adeline Genee, but her own partner is to be the Russian Novikoff, who partnered her during her season in London.

Two new faces will be seen in hat Fools Men,” an earlv First National release. They arc Joyce Compton and Hugh Allen. Their initial work is said to have been so promising that each was engaged immediately for long-term contracts bv I'irst National.

The Mafter picture “The Sap,” the play that Warner Bros, have adapted to the screen from the stage success by Wm. A. Grew, is now ready. Elaine Hammerstein and Warner Baxter have the chief parts in the Master picture, “One Glorious Night,” now at the Strand Theatre.

John Barrvmore’s lovely bride-to-be in “The Sea Beast,” a Master picture, Dolores Costello, has been cast in another bridal role at the Warner studio. This time it’s “Bride of the Storm.”

Dion Boucicault is to be installed aS something like producer-general for J, C. Williamson Ltd. on his arrival itt Australia.

At a country theatre they were playing “The Forty Thieves,”, and as the company only numbered eight the entry of the robbers into the cave was augmented by their passing out at the back of the stage and entering again at the front. Unfortunately one of the robbers walked with a. limp, and when he had entered five times a voice from the gallery cried: “Stick it, Hoppy; last lap!”

Among Bert Lyttell’s wedding presents was the cliief role in “Sporting Life,” a Universal Jewel production soon to be here. This actor returned from Mexico, where he married the actress, Claire Windsor, to discover * good part waiting for him The honeymoon consequently was postponed until the picture .was made.

Word comes that upon the completion of her present starring picture “Eve’« Leaves,” Leatrice Joy will be starred in a screen adaptation of “The Clinging Vine,” which has been unusually successful as a musical comedy. “The Clinging Vine” was written by Velda Sears, whose accomplished pen is also responsible for “Lady Billy.” The development of the chief character from a mannish, efficient business-woman into a super-feminine “clinging vine,” provides the hinge on which the plot swings. Leatrice is now wearing boy’s clothes in “Eve’s Leaves,” her part being that of a Tom-boy daughter of a schooncr-captain.

Al! theatrical Paris is talking of the latest psychological play, “Thou Shalt Love Me,” the first effort in drama for a young woman whose name came before the public less than two years ago, when she wrote a novel about love, entitled “Madictte.” She is Mlle. Claude Dazil. A qualified chemist by profession, she was born 24 years ago in a village near the city of Arles. Her father owns a chemist's shop in Paris. Mlle. Dazil remarked recently: “I cannot tell you exactly how I came to give up the apothecary’s flasks and tubes for the pen. Since I was a little girl I had burned with the desire to express my observations of life and love in the sunny south. Two years ago I sat down and wrote "Madictte,” which had instant success. Then I wrote ‘Thou Shalt Love Me,’ intending it to be a novel, but .1 found that I had unconsciously made it a dialogue. I submitted the play to the Theatres des Arts, whose members, never having heard of me before thought I was a man, and sent back the manuscript addressed to M. Claude Dazil. Later they told me that they considered my work « masterpiece.”

Brian Alierue, tlie noted Rondon actor, who is coming from England to appear in the J. C. Williamson season ot Sir James Barrie’s plays, has been playing the role of Langford in the London production of “White Cargo’’ at the Playhouse Theatre. He was released, however, at the request of Dion Boucicault.

.Melodrama as seen by Bernard Shaw was broadcast from station 2LO, Loudon, one evening recently, when the dramatist’s “Passion, Poison and Petrification,” written for the Actors’ Orphanage in 1905, was given by a cast which included Edyth Goodall. This amusing satire on melodrama lost a good deal of its character in transmission, but Edyth Goodall as Lady Magnesia expressed every shade of melodramatic emotion in such Lyceum-like phrases as “Unhand me, villain!” Adolphus, who had only ten minutes in whicli to live, was excellently done by Raymond Trafford. Curious noises were heard as a desperate attempt to get lime from the ceiling, as an antidote to the poison given to the unfortunate Adolphus.

“As great as motion pictures have become,’* says Mr. Varcoui, “they will not reach their final goal until the two extremes of Europe and America arc merged at a common level. _ Just as European films are too morbid to suit Americans, so are American films too light and frivolous to suit Europe. There is a middle ground, and as soon as that is reached films will become international." Mr. Varcoui has just recentiv returned from Europe, where he made three pictures. He first came to the United States two years ago. In “The Volga Boatman” he is being featured with Elinor Fair, William Bovd, Theodore Kolsoff, and Julia Fave. This is a storv of Russia by Konrad Bercovici, adapted by Lenore J. Coffee.

As a little vagabond violinist, Betty Compson made her first appearance before the public. Betty and her mother (Mrs. Marv Compson) were living at that time in Salt Lake City, Utah, the city in which Betty was born, and where she spent her entire girlhood, In order to increase the family budget Miss Compson was playing the violin after school hours in the orchestra of a local theatre. It so happened that one day one of the acts scheduled tor the evening’s performance was unable to appear, and, in desperation, little Betty was begged to fill the vacancy by playing a violin solo. Ihe Compson fuiids were low, and the elaborate costume Betty would have liked _ to have worn was out of the question, so as a little gipsv vagabond she stepped before the footlights and played her solo with such charm and enthusiasm that she won the spontaneous and hearty applause of her audience, and, figuratively speaking, opened the gateway to her career. Her remarkabihty was soon recognised, and she went on a tour as a vaudeville violinist. Her magnetism and beauty were soon discovered by motion picture producers, and before long she made her debut upon the screen in Christie comedies. Hard and, constant work won well-de-sired recognition for her, but it was not until she played “Rose” in the Paramount picture “The Miracle Man" that she won universal fame. Among her successful pictures are “The Mira.de Alan,” “The Little Minister,” “To Have and to Hold,” “New Lives for Old,” “Eve’s Secret,” '’Paths to Paradise," and “The Pony Express.” Miss Compson is sft. 2lin. in height and weighs 1181 b. Her hair is q beautiful reddish brown, and her eyes are large and very blue. She enjoys music and dancing, and horseback riding more than anything else aside from her motion picture work. She is married to James Cruze, the noted director.

Audiences at His Majesty’s Theatre, Melbourne, have been amazed at the dancing of a youthful harlequin in “The Fairy Doll” ballet of Pavlova’s. The interest in this dancer is heightened by the fact that the slim and youthful dancer is an Englishman, Robert Lascelles. As a rule, dancing of the classic school does not become such an art or rise to the heights of perfection amongst the English as it does in foreign peoples. Air. Lascelles, as he is named on the Pavlova programme, was an ordinary business boy before lie joined up as an airman in the Great War. After the armistice he decided to go in for dancing, and joined the Swedish Ballet, with which he- toured Europe and other countries for over a year. On his return to London, lie entered Laurent Nivokoff’s Ballet School, and after a lengthy and severe course of training was engaged as a member of Pavlova’s company, with which he has toured for the past two and a half years. He loves dancing, he says, and his association with Pavlova’s company has been of the happiest. “It is a great life,” he says. “Physically and mentally it makes for perfection. I have never felt tired or had a day’s illness since I became a dancer."

“Blind Alley,” a new play by Dorothy Brandon, authoress of “The Outsider,” played in Christchurch by Moscovitch, was produced at the Playhouse Theatre recently. Needless to say, it is not as other< plays, and defies brief description. Ideas . concerning _ the cruelty of the marriage laws are blindly ventilated, and melodrama is unblushingly exploited to reinforce them. Its characters are clergy, including a very bad canon and a delightful old bishop, some actors, and an imbecile girl. And it ends with a murder. Elissa Landi, Elizabeth Arkell. lon Swinley, and Sam Livesey, all of them excellent players, hold one’s attention throughout, says a London scribe. But it is a play that would have seemed less unusual 40 years ago.

In a recent interview, Anna Pavlova, the intomparable dancer, who is appearing at Melbourne His Majesty’s, said that there was no monopoly of dancing as the perfection of art among the Russians “In some quarters,” said Pavlova, "the Russian ballet has been taken to sum up the whole art of ballet dancing as the possession of the Russians. This- is not «o. Other countries also possess their great dancers—ltaly, Spain, and England, for example. English women have fine faces, graceful figures, and a real sense of the poetry of dancing They only lack training to provide the best dancers in the world.”

One of the ballets to be presented by Pavlova is “Chopiuiana,” a setting of various Chopin pieces, orchestrated by Glazouuoff. This is how it was described by a London Press correspondent: “About ten or twelve members of the ballet danced the first two, and then Pavlova suddenly tripped upon the Stage, and witn Novikoff performed a series of the most remarkable bird-like flights and brilliant pirrouettings to the music of the Valse in C sharp minor. There was wonderful variety in all that she did, but when she introduced the climax to an extraordinary pas sen! with a series of evolutions right across the stage, and in which her steps were so rapid that they could scarce be followed by the eye, the audience rose cn masse and cheered her to the echo. Then the spectator understood her world fame.

Einar Hanson, noted Swedish kincma star, will have his first role in an American production as leading man in Laura La Plante’s first starring vehicle, “The Big Night,” which is also to be Mel Brown’s first directorial vehicle. Following a screen test with American make-up. the actor, who recently came to America to get in pictures, was placed under contract. .He is the man who recently startled all Europe by his performance in “Piazza del Popolo,” made in Italy by the Scandinavian Film Company. So great was the popularity of this picture that it opened in Stockholm in four theatres simultaneously. For his work the Italian Government awarded him a medal. Hanson is 23,

a natire of Stockholm, and a graduate of Polytechnic University there. His thespian background includes six years on the stage in Sweden and Denmark, either as leading man or star.

British film producers—at last—arc awakened to the fact that opportunity seeks them out. For many years they have been content to do" little more than dream of the day when Britishmade films will have world-wide display. Now they are working toward that goal. The peculiar virtue of British films is their simplicity. They can _ tell, without overmuch elaboration, simple tales of simple people. And the peculiar virtue of British actors is that they are capable of acting—naturally and’ splendidly—in just such pictures. English actors have a spontaneity, an iniaffectedness which at its best is far more telling on the screen than that exploitation of the actor’s own personality, which passes in America for acting". In the long run, it is not Miss So-and-so. or Mr. X whom we want to see; it is the man or woman tn the story which the film tells, with the human perplexities and joys proper to the characters in that story. Chaplin declares that what is wanted is not marble palaces, swimming pools, vulgar orgies, and silly spectacles, but compelling, emotional character studies, heightened a little more than one secs men and women in real life, but bearing the same stamp of truth. British films give the public just that.

Chaplin himself, in his film, “A Woman of Paris,” was the first to teach America that simplicity was more powerful than elaboration. And so, with the mighty Chaplin setting the example, simplicity in film plots must soon achieve real triumph, and, when it does, the day shall have come when the film industry of Great Britain shall climb from out of obscurity into definite greatness.—“ Sunday Times.”

“The Insect Play,” or “The World We Live In,” by the Brothers Capek, is being presented at the Playbox Theatre, Sydney, by Duncan Macdongall, the managing director, and his troupe of players. The Playbox is to Sydney what the Little Theatre is to Auckland. It is now in its third year, and is growing steadily aifd vigorously. Its members enjoy a number of privileges, and on the first Sunday in every month Mr. Macdongall gives dramatic readings of plays' by the world’s most famous writers. The director is credited with making history by bringing the Commonwealth into line with the other places where Art theatres abound. The next production will be Sutton Vane’s "Outward Bound.”

Alfred Frith says au revoir to this side. With Mrs. Frith lie is going to America. “I am going to America because I like the sound of the money people earn there, and now is the time I must be thinking of putting by for my old age. I onlv hope 1 shan’t have the same experience I had when playing to an American audience in Manila, up at the military station, McKinley. I plaved Peter Doody in ‘The Arcadians! in dead silence. Halfway through the evening one man laughed at me, but all the others said ‘Hush!’ so indignantly that he ‘hushed.’ I think I shall tell the Americans I am an Australian. Whyfnot ? I married one and so becam- naturalised. If it works one wav, why not the other? I have been with vou ten years, and vou haven’t seen the last of me vet. Stokers permitting, we shall conic back.”

Irene Vanbrugh has admitted in an interview that she is “glad to be backin Loudon, but says that she will never forget the splendid welcome she and her husband received at each halt-ing-place in Australia and New Zealand. They were received not as strangers, but as old acquaintances, because the people, even in the “backblocks,” had seen their portraits in the newspapers, and “knew as much about them as they did themselves.” She had read quite a number of Australian plays, but was disappointed at not finding any work by native dramatists that might appeal to the London ■ public While admitting that Aifstralia has produced writers of distinction in the field of poetry and the novel, Miss Vanbrugh feels that it is depending too much on England and America for its plays.

Anna Pavlova lifts won the heart of the Melbourne public. At her initial appearance in Australia at His Majestv’s she proved all that had been said of her. Her infinite charm, the grace of her every action, as well as the ease with which’she alone can give her message through her dancing, soon found the hearts of her audience of 3000. It was a gala night in ever)’ sense. Pavlova was soon bowing her acknowledgment to such enthusiastic cheering as has not been heard in a Melbourne theatre since the Melba opera season. Her most artistic work was to be seen in Chopiuiana, a set of dances orchestrated bv Glazouuoff, from the music _ of Chopin, and arranged by M. Clustine. Accompanied by Lucien Wurmscr’s wonderful orchestra, Pavlova and 'Novikoff rose from the melancholy to the gay in a manner that has never been seen before in Melbourne. Pavlova and Novikoff and four others of the company received an ovation so spontaneous that Novikoff was knocked off his feet. He fell to the stage, but his recovery was so swift that this fall seemed part of his story. Pavlova was also seen in her world-famous divertissement, “The Swan.” The GovernorGeneral and Lady Stonehaven and the State Governor and Countess of Stradbrokc were in the audience.

Charlie Chaplin, among the eminent men of ’the kincma world, recently said:—

“Films are more and more tending towards simplicity, and away from the meaningless ostentation which has done so much to retard the- development of the artistic values of the, moving picture. Dramatic incidents are beginning to take second place in importance to characterisation. In other words, the makers of films are beginning to realise that it “not so important to put heroes and heroines through exciting adventures as to cause them to give the audience the illusion that the adventures affect the actors in the same way as thev would in real life. A small gesture, carried out on the screen with real artistry, is ten times more affecting than, seventeen avalances, three fires, divorce, and a midnight burglary, portrayed merely for the sake of pandering to a love of sensationalism.” Chaplin’s trite statement has given British motion-picture pioducers much food for reflection—and a certain comfort. For, through the years, the producers of film in the British Empire have stolidly clung to simplicity in their productions. They have, in the main, held aloof from sensationalism. As a result, in this era of desire for sensational pictures, they have had to remain in the background —and their sales have been comparatively small. But with the coming of the day of simplicity in pictures—of human gestures instead of wild mob scenes ami death defying acts—means that British films must become extremely popular, even if the American producers shift in their styles of production, and go in for well-acted pictures instead of leaning largely to picturising violence to provoke a thrill within the audience.