Films and the Stage.

Dominion, Volume 19, Issue 254, 10 July 1926, Page 19

Films and the Stage.

Tom Rees, the versatile Irishman, now appearing at Fullers’ has met with a wonderful reception and his popularity increases nightly. This brilliant exponent of musical instruments, including xylophone, saxaphone and cornet, is also a vocalist of no mean ability and tells his stories in true Irish fashion.

Muriel Starr, the popular emotional actress, supported by an entirely new company of English and Australian artists, is again about to tour New Zealand, commencing at the Grand Opera House on Wednesday, August 1. Since she was last here the company has been completely reorganised, and a number of new plays have been added to the repertoire, notably “'lhe House of Glass” (a New York police drama), “The Goldfish” and “The Outcast.” The opening Bill will in all probability be “The House of Glass,” which has recently had most successful seasons in Sydnev and 'Melbourne. Playing opposite to Miss Starr is a young and handsome English actor, Harvey Adams, who has made a most favourable impression in Australia. Mr. Kenneth Brampton, who is well and favourably known in New Zealand, is also a member of the companv. Miss Starr considers it is the strongest , supporting companv she has ever had in New Zealand, so she is sure to have a warm reception from her many admirers in Welling) on.

Offering a refreshing difference from the usual treatment of plays of this type, “The Circle,” directed by Frank Borzagc for Metro-Goldwyn-Mayer, opened at the King’s theatre last night. Opening with a prologue, in which the wife of an English lord elopes with their mutual friend, it offers many humorous situations. Tn the play, the events of which take place thirty ve.ars later, the son of the deserted nobleman finds himself threatened witn the same situation that faced his father. It is further complicated when the young wife invites the runaway to visit them. Eleanor Boardman, as deyoung wife, gives one of her best and most convincing portrayals. Malcolm McGregor depicts the young lover in striking fashion, and Creighton Hate plays the part of the irritating yonng Husband.

“The censorship over films coming into Australia is the strictest in the world,” said Sir. Smart F Doyle, of Union Theatres at the Paramount Pictures annual banquet. “But we realise that the standard requires to be high on account of the great number of women and-children that are habitual picture-goers,” he continued.

There is. realism in the roadhouse scenes of “Broken Laws,” Mrs- Wallace Reid’s Master picture Neill wanted the dance scenes to be realistic, so he crowded his principals and extras into a small space, enclosed by a picket fence and had them dance in very cramped quarters. The fence broke down, whereupon he had the dancers nailed into the small space allotted for a dance floor. There they danced and swayed, packed as tight as sardines, and utterlv unable to break down the barriers that held them together.

The chauffeurs and chorus girls very frequently demonstrate they have better brains and morals than do members of millionaires’ families (our so-called “best people,” if von please), if the theme of “The Best People,” Paramount’s picturisation of the highß successful New York stage play hit of the same name, written by David Grey and Averv Hopwood. Incidentally, the motif of the story emphasises the thought that modem young people, no matter of what class, will tear down social barriers to follow their heart s desire.

“The Dixie Merchant,” a Fox Films production featuring J. Farrell MacDonald and Madge Bellamy, is now at the Queen’s Theatre. It is described as one of the most appealing stories of tlic South ever filmed. The story is of Jean Paul Fippatiy, a philosophical, absentedminded, but well meaning old fellow whose life is wrapped up in his horse “Marseillaise.” He mortgages his home to purchase the mare, and then fails to meet the payments on the interest because he has had to buy so many things for the horse’s comfort. He is brought to a sad realisation of his shortcomings when he comes home to find his wife and daughter gone. The wav in which he tries to make amends is filled with pathos—and the ending of the story entirely satisfactory as well as unexpected.

A proportion of the present capacity business at the Tivoli may be attributed (says the “Melbourne Table Talk”) to Bluett and Mo, the two Australian comedians, who have combined thei. talents in a sailor burlesque. Fred Bluett has collected a considerable following during his 25 or 30 years ci popularity, and “Mo,” of the “Stilly and Mo” combination, made a fortune lor his employers during his career tn • >c. Roy Renee’s make-up as Mo is so ludicrous that his appearance is sufficient to cause gales of laughter, while his absurd mannerism ■ and plaintive tones add to the effect. So far the comedians have been together for two weeks only, and every day secs them becoming more accustomed to each other’s style of work.

Reita Nugent, potentially the most brilliant of Australia’s dancers, has been released for 12 months by J. C. Williamson. First she goes to a three mo n t h s’ engagement in B e r 1 in. Thereafter to London. At the end of the year she returns to an engagement with the Firm. Her most recent engagement was with the “Leave It to Jane” Co. By London newspapers recently to hand one gathers that among the many .Australian players who have of <ate appeared on the West End stage the Sydney born Cyril Ritchard is perhaps the most successful. Certainly he is the most hard worked. He is playing a new revue at the Vaudeville Theatre, eight per f o r mances a week, and every night he is appearing with his old dancing pa r tn er, Madge Elliott, in “The Midnight Follies”' at the Hotel Metropole.

The British Office war film, “Ypres,” should prove one of the biggest attractions this country has known. It is estimated that there are over 75,000 survivors, who fought in that inferno, during the Great War, everyone tof whom will be anxious to live over again—at a distance—those dark yet glorious days, and this will be the first opportunity which their relatives and friends have’ had to adequately realise what they owe to these great men. The aim of the picture is to show the critical moments in the holding of the salient and the acts of personal heroism displayed there. It is fittingly dedicated to our New Zealand Division in the words on the cenotaph “To Our Glorious Dead.” The story of Ypres, because of the number'of years the salient was occupied, and because of the countless deeds of heroism performed during its occupancy, is transparently a record which no picture could hope to tell in detail. Opening on the first battle of Ypres, with the loss and re-capture of Ghehivet, the capture of Hill 60, the second battle in which the Germans introduced poison gas to the West Front and in which Geddes “Details” achieved immortality, the launching of the trench raids, which were vital in the sapping of the German morale, the grand assault of the Messines Ridge with the exploding of 19 mines, which had been eighteen months in preparation, and the attack on Passchendaele, the picture closes when the road to the channel forts lias forever been made impassable to the German Forces. It is a fine tribute to our New Zealand Division with not one studied appeal to the emotions, and for that very reason it is emotionally overpowering. It is a picture that should be seen by’ every citizen of the British Empire.

“The Wanderer,” Paramount’s big attraction for 1920, is still screening to capacity houses in Sydney, according to the latest reports. Preparations are being made for its release in New Zealand in about a month’s time. “The Wanderer” has for its central theme the story of the Prodigal Son. Win. Collier, jun., plays the leading role as the Prodigal, -while Greta Nissen is featured as Tisha, the siren of Babylon. Ernest Torrence is cast as Tola, the Evil One, Wallace Beery as Pharis, a roistering sea captain, Tyrone Tower as Jesse, the Patriarch, Kathlyn Hill as Naomi, the Innocent, and Kathlyn' Williams as Huldah, the Mother Some of the big scenes show the departure and inglorious return of the Prodigal Son. The last night of Babylon—the Bacchanilian orgy and the destruction of the city that follows—is a most spectacular and. startling scries of events. .

Some of the most thrilling polo scenes ever shown on the screen will be seen in “Just Suppose,” the First National picture starring Richard Barthelmess. The scenes were made at the private polo field of Thomas Hitchcock, at Westbury, Long Island.

The hydroplane smash in the existing rum chase scenes (filmed off the West Coast of Mexico) in the First National picture, “Sweet Daddies,” shortly to be released, was photographed by ten cameras. Four hydroplanes, each carrying a cameraman with special equipment and photographers at advantageous points on the yacht S.equoia, all fodused on the thrilling, episode.

Tackling a full-sized Spanish bull bare-banded, after the animal lias been maddened into a white-hot fury by the barbs of the picadors and matadors, is no child’s play, but Fred Thomson actually does it and comes out victorious in “Thundering Hoofs,” to be shown pu Tuesday, for a three nights’ season. ;

If,as some have pointed out, 'a thing of beauty is a joy forever,” then “The American Venus” may rightfully be hailed as an enduring screen classic. It contains a richness of costume, a magnificence of setting, a sumptuousness of mounting, and a super-abund-ance of feminine youth and loveliness that combine to make it a dazzling spectacle. “The American Venus” is based on a competition quest for the most beautiful girl in America. Miss Fay Lanphicr, whom it will be remembered was adjudged “Miss America” at the Atlantic City Pageant, is featured in the picture with a number of the other entrants. Esther Ralston is case in the leading role, with Lawrence Grey and Ford Sterling.

The Taylor-Carlton Pierrot Company (a distinct class of pierrots), appearing at His Majesty’s Theatre, has another excellent entertainment in store for next week. There will be an entire change of programme. Every tone of this splendid show has a charm and freshness that makes it a thing apart from the ordinary pierrots class of performance. The applause which this company has created during their opening week is very liberal and well deserved. A variety of entertainment that is not often our privilege to obtain.

The Fullers, at His Majesty’s, arc presenting to Wellington audiences an entirely new company of talented performers. The Elton-Black Revue Company makes its initial opening at His Majesty’s on Monday night. Mr. EltonBlack, the producer of this combination, will be well and favourably remembered as a Scotch comedian of irre sistible fame. He is supported by a splendid cast, including Mr. Percy Me Kay, co-pioduccr and fine basso; Mr. Ray McLean, Mr. Chas. Sherman, Miss Curly Sherwood, Miss Neva CarrGlynn, Miss Alice Beunettc, Mr. Chas. Megan, and Mr. Arthur Clarke, all notable artists, who have successfully toured England, America, Australia, and elsewhere.

Ernst Lubitsch’s next production for Master Pictures will be “The Door Mat,” an American play, whose action is laid in New York City. Irene Rich ' will have the leading role Ihe picture is an adaptation from the stage play by Ethel Chiton and Brenda Fowler, and was produced on the coast by Louis Mac Loon,

It costs a great deal to dress a man in a musical comedy wedding. lake “Rose Marie,” at Her Majesty’s, for example. Some of the mere men guests wear Period costumes which cost 30 guineas each, ordered in wholesale quantities, while George Bryant, playing the half-breed Indian in’“Rose Marie,” provides a masterpiece in make-up. It is a lesson in detail.

The latest Giuseppe of the J. C. Williamson production of “The Gondoliers,” Lance Fairfax, is a New Zealander. He had early experience with the Tivoli Follies and in vaudeville. As Captain Lance Fairfax Jones, he saw a good deal of service during the war.

Beryl Scott, a brilliant young Australian pianist and vocalist with !*ie Taylor-Carlton Super-Pierrots who are making their appearance at His Majesty’s, Wellington, started her career with the Humphrey-Bishop Company. She was associated with this organisation for two years. Later she toured the East with the splendid company the Littlejohns took over, playing China, Japan, Malav States, Sumatra, Fiji Islands, etc. Miss Scott is an accomplished musician, whose services have been in keen demand as a conductor of the orchestra of many musical shows staged in Australia.

Thiiee freaks from a side show—a ventriloquist, a giant, and'a dwarf—once banded themselves in a strange alliance of crime. 'The ventriloquist could throw his voice anywhere, the giant had the strength of three average men, the dwarf could impersonate a baby, and could climb into all manner of inaccessible places. I hey called themselves “The Unholy three.” What they did and what their doings lead to form the unusual and thrilling theme of “The Unholy Three,” a Dletro-Goldwyn-Maycr special attraction now screening at the De Luxe 1 hcatre. Lon Chaney, greatest of al! character actors, and the man who wan clianp his face whenever he wants to, has the leading role.

Increasing in thrills and absorbing interest is the big serial, “The Fighting Ranger,” Ihe eighth chapter of which will be screened at the matinee this afternoon at the Artcraft, in conjunction with that delightful pictmc, “Peter Pan.” .Such a combination is bound to attract a big attendance.

Not content with making big weekly salaries, Hollywood’s women stars have side-lines which are bringing them huge profits. One actress has an interest in a brand of toilet articles, bearing her name, which is heralded as exceptionally lucrative. Another has a gown shop, where every dress is said to be personally approved by the noted star before it' is sold. Other stars sweet shops, stores, and hotels. Two prominent actors recently purchased a barber’s shop and shoe-shining parlour in the heart of Hollywood.

Beatrice Day, who will be remembered bv the older generation of theatre-goers, is playing in “Daddy Long Legs, with Rene Kelly, in Sydney.

George H. Clutsam, the composer of “Lilac Time,” or, rather, the man who “ clipped ” and adapted Schubert’s music to the opera, was at school in Dunedin, N.Z. He was one of the best scholars at the Dunedin High School, and even then showed musical promise. He and his brother Fred played at night in the orchestra, either at the old Queen’s Theatre in Princes Street or at the present Princess in High Street. At his mother’s home in Moray Place he played many of his fine compositions to friends.— “Theatre Magazine.” In eight years of uninterrupted activity before the camera, Colleen Moore has contributed forty-four film characterisations to the ' screen. Her latest picture is “Irene,” released by First National and playing at the Paramount Theatre.

Chas. Megan, late member of the popular Phil Smith Revue Company, has now joined up with the Elton-Black Revue Company, making its initial bow before the public at His Majesty’s on Monday next. Mr. Megan will be remembered in his comedy sketches with Nat Hanley, and as a dancer and clever character part performer. He is a great acquisition to the Elton-Black Revue Company.

It is a very long time since such interest has been aroused as by tne announcement that Guy Bates Post was co-starring Miss Dorothy Brunton in his play. When “The Climax” was first staged, the star role was that of Adelina, but when Guy Bates Post produced it in America over two years ago, he lifted the role of Luigi Golfanti to principal place by the sheer merit of his acting, but it is interesting and pleasing. to note that in the Australian production the actor insists on Miss Brunton sharing the sellar honours. In Air. Post’s opinion, Miss Brunton is the ideal Adelina whom Edward J. Locke had in mind when he wrote “The Climax.” Frederic Bentley, who is Hardboiled Herman in “Rose Marie,” has a triple reputation. He is a star in musical comedy, in vaudeville, and he is an English manager of prominence. Two of his shows are now making money for him in England, while he is drawing a J. C. Williamson salary in Australia, and having a holiday to boot. Not long ago, with a partner, Mr. Bentlej’ transported a Parisian musical show in its entirety to London.

The ill winds upon which the ’flu came to Sydney blew some good to that bright little Australian. Gladys Hermes, who found herself invited to trip in the shoes of Elsie Prince .when the usual Nanette went down with a touch of the pobular sniffles. It was a brief opportunity, but Gladys made u good deal of it, and “No, No Nanette” ran on brightly. The same. competent little ladv had just previously taken the place ‘of Polly Power, injured in an accident.

“Stella Dallas,” adapted from the ig>vcl of that name by Mrs. Olive Higgins Front'', will be shown at the De Luxe 'theatre this mouth. There is no moral in the story. It is entertainment of a high order. It is romance, realistic with laughter and pathos, leaving Stella as puzzled as life is itself. 3he climax of “Stella Dallas” is as tender, and as glorious as any big thrill heretofore projected from celluloid. Actors and actresses of recognised ability portray the roles Ronald Colman plays Stephen Dallas, Belle Bennett plays Stella Dallas, Alice Jovce plays Helen Morrison, Jean Hersholt plays Ed Munn, Lois' Moran plays Laurel, and Douglas Fairbanks plays Richard Grovesnor.

By an Italian law, every circus that does not perform every act promised in the printed programme, or which misleads the public by means of pictures, is liable to a heavy fine for each offence.

J. C. Williamson players get plenty of variety. Reginald Dandy leaves “Katja” to go into ‘‘Rose Marie,” and Harriet Bennet follows suit from “Lilac Time.” Lou Vernon left “Give and Take” to go to the Criterion Sydney, in “Polly with a Past.” Roy Rene left the same show to go into vaudeville at the Tivoli. Floie Allen drops pantomime ("Aladdin”) and goes to Sydney for “Rose Mari e,” which also brought James Hughes across ihe Pacific from 'Frisco. Jean Robertson, free from Shakespeare, also joins the Drury Lane piece at Her Majesty’s.

Monte Blue and Marie Prevost head an all-star cast in “Kiss Die Again,” a Master picture now screening at the Empress Theatre. It is a comedy-drama of a French couple who tire of married life Everything ends happily in the end. John Roche, Clara Bow, and Willard Louis arc the other members of the cast,-

Alma Rubens, who will next be seen here in “Siberia,” a William Fox production de luxe, is now at work on a great dramatic offering, entitled "The Pelican.” In this film Miss Rubens plays the part of a woman during 20 rears of her life, from the time when she was a young girl, to a middle-aged mother who sacrifices herself for the son she loves.

The last shot of “Beau Geste” has been fired, and the thousands of uniforms and costumes of French Legionaries, Sahara Desert Tourages, Senegalese, and just plain civilians have been laid away in the wardrobe department of the Paramount Hollywood studio. The film of “Beau Geste” has been taken to New York to be edited and titled. The featured players in the picture are Ronald Colman, Alice Joyce, Noah Beery, Mary Brian, Neil Hamilton, William Powell, and Norman Trevor.

Another big Fox attraction will, be shown here shortly. , This is “The Johnstown Flood,” said to be a most sensational film. The main story is woven round the dreadful disaster which befell the inhabitants of the city of Johnstown, thirty-seven years ago, when the huge dam above that city burst, and thousands of gallons of water were loosed upon the stricken inh.'ibT tants. t Athletic George O'Brien will be seen in the leading male role, supported by Florence Gilbert.

A film depicting the activities of the Leipzig Fair was screened recently at the Adyar Hall, Sydney. This film was brought to Australia by Mr. K. Joostcn with a view of interesting the Federal Government in the possibilities of such a Fair helpin gto solve Australian marketing problems. Members of the Board of Trade were invited to see the picture recently, and they were so impressed bv it that it was decided to show the ill nito an audience, of business. Dlr. Joosten lectured during the progress of the film, and dwelt on the unique advantages Leipzig held for an exhibition of this sort. The Fair is over 1000 years old, and about twothirds of Germany’s export trade is done through the activicit sof the Fair. Buvers horn all over the world can choose their wares and specify their requirements.

Chas. Sherman, the versatile Jewish impersonator and entertainer, is again with us amongst the personnel of the new Elton-Black Revue Company, to open at His Majesty/a .IJicatre on Monday next.

George Bryant will play in “Rose Marie” in Sydney. This fine actor has been absent from the Sydney stage for ton long, but it will be much longer before audiences forget his virile impersonation of Abraham Lincoln with the Repertory Society, says an Australian exchange.

There is still big money in the screen business if one can judge from a recent New York paper which states that Charles Walton, a dramatic agent, is claiming .£30,000 from the famous comedy juggler, W. C. Field. Walton’s claim is for commission alleged to be due bv Fields for professional duties performed by the former, including certain advice that will cam the screen star no less than £300,000. Amongs other things, Walton claims he secured a five-vears contract tor Fields with the Famous Players-Lasky Corporation, which guarantees the latter a minimum of £BOO per week.

“The Last Laugh,” a new Master Picture featuring Emil Janniiigs, the brilliant American character actor, is described as the one picture that no critics either in Europe or America have suggested might be improved.: Without exception they have said that it is sufficient just as it is, and that it would mar it to alter it in the slightest degree.

The Taylor-Carlton Super-Pierrot* fafter concluding a highly successful season in Sydney where they played for twenty consecutive weeks, with complete change of programme weekly, came to New Zealand and have been entertaining southern audiences lor the past 13 weeks with marked i success. This clever Company of Entertainers are appearing at His Majesty’s Theatre, Wellington and Fullers’ patrons can prepare themselves for a roval season of comedy mclodv, mirth and music in its best form. ‘ The Super-Pierrots are particularly strong on the comedv side and manv theatregoers are already familiar with the smart fooling or Jimmv Taylor and Teddy Carltoll- J lie vocal side of their entertainment will also come as a pleasant surprise to theatregoers

James Oliver Curwood’s story of “The Ancient Highway,” which ran serially in the Cosmopolitan Dlngazine and later was published as a novel, has been filmed by Paramount.;

(Guessing the identity of “The Bat,’ the title 'character in Roland West’: picturisation of the Mary Robert: Rhinehart and Avery Hopwood thriller was Hollywood’s favourite sport while the big mystery melodrama was in production. So far as known, no one succeeded in penetrating the veil of mystery thing about the undertaking by the producer, who is recognised as the master of screen gasp-provokers, with pictures to his credit such as “The Unknown Purple” and “The Monster.” “The Bat” will be here shortly. Sir Janies M. Barrie has never written any work of more exquisite charm and beauty with such delightful appeal as "Peter Pan.” This famous play has been the joy of the five continents and every stage where civilisation has penetrated. Its whimsical charm has held audiences enchanted the world over, and at last Barrie has consented to have it translated to the screen, so that it will bring happiness to countless thousands more. “Peter Pan” is produced as a Paramount picture, and’Avill be shown at the Artcraft matinee today and again to-night, and finally on Monday.

After an absence of some five years, “The Great Lover’’ has been staged again at the Shaftesbury Theatre, with a cast that includes Mr. Nat Madison and Mr. Maurice Moscovitch, as well as Miss Ena Grossmith, Miss Prudence Vanbrugh, Miss Grace Lane, Miss Marjorie Gordon. Miss Millicent Marsden, and Miss Eileen Munro. Mr. Moscovitch was (says the “Daily Telegraph”) completely master of his abundant resources at the first revival performance, and rc-

cetved all the tributes due to his accomplished art, while Mr. Nat Madison made what he could of Carlo.

Arthur Ilamincrstcin, who gave ■•Rose Marie” to New Yoik, is now a millionaire, Drury Lane’s famous tneatre, almost ready for the deiuolishers, was saved by the famous musical romance, which J. C. Williamson, Ltd., have presented with such triumphant success at Her Majesty’s. Why does “Rose Marie” make millionaires? The answer conies from the public. Because it gives what few, if any, productions of its sort have ever given before—a storv that effectually holds the interest from the rise to the fall of the curtain, music that has the quality of gradually permeating—that is, not mere trash nor something that only highbrows may appreciate, and costuming on a splendid scale, and alwavs with reason. In short, because “Rose Marie” is so far above the usual standard of this sort of show, the public is rushing the box office, and, having sampled the goods, is teadv lo go again and again. .Mr. Ifamnicrstein summed it up: “They like the speed with which its story develops. They like littcl Rose Marie herself. Thev 'like the colour and the music. And all their liking is a hundred per cent, liking. It is easy to sav whv “Rose Marie” is a success. It would 'be hard indeed to say how it could fail.”

“Rose Marie” has settled in for the winter. It has success in capitals spelt all over it. First it is expensive, and, what is rarer, it seems to be worth the expense. It is practically played by a new company, and those few veterans who have crept in are so well placed as to seem to have grown on the script. Harriet Bennet is almost too good to be true. She is a singing actress —the adjective in perfect balance with the noun—and she has so much personality that first-nighters were taken unawares, and wondered if a dramatic star had not wandered into the cast by mistake. Having been trained for the operatic stage, she knows quite a lot about the technique of singing—something very unusual in musical comediennes. She lias a mellifluous mezzo voice, and if some of the music is a trifle high for her range, she is clever enough to camouflage her top notes so that their thinness is not unpleasant. A Californian girl, she is able to produce a FrenchCanadian accent, which is singularly attractive and astonishingly like the real thing. Her performance in “Lilac Time,” though sweet and charming, hardlv prepared Svdnev for this, and New Zealanders have, missed something through her lieing withdrawn from the cast of the latter piece. Adele Crane will sing the part of Lilli, the Court glassmaker’s daughter, and Schubert s sweetheart in “Lilac Time” instead.

The few alterations which have been made ns regards certain allusions ni “The Mikado,” as presented, by the J. C. Williamson Compaliv. have caused a oreat deal of controversy, .and a noon ,lcal of reference lias been made to ihem in the newspapers. Lovers of Gilbert and Sul'ivan onern have particular y objected to Charles Walcnn’s substitution of Lilli? Rourke Street for Knight s--I,ridge. The substitution of a name of local interest in place of Knight sbridge, which now convevs nothing—even in London—was sanctioned by Gil-

bert himself. None of D’Oylcy Carte’s companions in England now. use “Kuight’s-bridgc.” During the Empire Exhibition “Wembley” was the place to which Nauki Poo had gone. Wigan lis also used. Objection has also been ' taken to the substitution_ of “prohibitionist” for “lady novelist” in the Mikado's song Yet Gilbert himself, realising that the lady novelist was no longer a novelty, altered it to “speedy motorist ’ before his death. With regard to Ko Ko’s reference to Mr. Bruce and Mr. Hughes, Mr. Walcnn states that when playing in the Gilbert and Sullivan companies in England lie invariably made reference to Lloyd George, Asquith, and Balfour, and no objection was ever taken. Rin-Tin-Tati, the canine hero of “Below. the Line,” a Master Picture production, was born of a pair of German shepherd dogs, popularly known as police dogs, who had been captured by soldiers in the United States Aero Squadron in France during the war. The dog was forthwith adopted as the particular pet of Lieutenant Duncan, who was serving with the aero squadron. Dog and master were almost inseparable from the time they first saw each other. Rin-Tin-Tin developed into a magnificent specimen of his shepherd dog breed. His amazing strength, coupled with his phenomenal intelligence, convinced Lieut. Duncan that his pet was unusually gifted, and he set himself the task of training the dog to do stunts. He seemed able to register anv emotion that his. owner displayed. ‘it w.as Warner Bros, who saw Rin-Tin-Tin’s screen possibilities, and when thev made the first big Rin-Tin-Tin picture, “Where the North Be-

gins,” he leaped immediately to the forefront of kinema fame. Mr. E. J. Carroll, at present abroad, has acquired two new plays to be produced shortly in Australia by the enterprise directed by him and his brother, Mr. Dan Carroll. These arc “The Ghost Train,” now running prosperously in London, and a comedy called “Meet the Wife.” The first of these pieces, which is bv Arnold Ridley, concerns itself about a train which travels “from nowhere to nowhere.” Add to this a black, stormv night at a wayside station in Cornwall, a psychic stationmaster, and various effects “of stage” representing the rushing to and fro of this uncanny train, and behold! here are the elements of an excellent mystery play A group of passengers from a real train arrive, and wait in the station to catch another one, only io be thrilled by a series of extraordinary happenings relating to a gun-running plot in which somehow the stationmaster is implicated. Reading the notices one arrives at the conclusion that the new piece resembles in some degree “The Bat,” “ 1 lie Cat and the Canary,” and “Seven Keys to Baldpate.” The London cast includes Mr Caleb Porter, whose recital of the ghost story of the ghost train is described as extraordinarily graphic.

Teddy Carlton who toured the Fuller Circuit' with Dorothy Rosslyn is now in partnership with Jimmy Taylor presenting a Supcr-Pierrot show in Fuller Vaudeville. A bundle of energy, Teddy Carlton has abundance of good spirits on and off the stage, and his god humour lias an infectious quality which is irresistible Born within the sound of Bow Bells—in other words London, lie has travelled a great deal, covering 50,000 miles within the last four years. The Fuller Management will shortly have the pleasure of presenting this popular artist and his talented company at His Majesty’s Theatre, Wellington.

William Pollock writes in the London “Daliy Mail” of Irene Vanbrugh, who was in New Zealand last year with her husband, Mr. Dion Boucicaultl met a voting actress who had been to see Miss Irene Vanbrugh act for the first time. “I was told to go and watch her and learn,” she said. “I am rather in despair; evrthing she says and does is so perfectly said and done. How does one learn to act like that?” It would, indeed, be very difficult for anyone to go higher than Miss Vanbrugh. Without entering into the argumentative question as to who is the best actress on the English stage,. she may justly be accorded the position of a perfect actress—perhaps even the perfect actress. She lias an unerring instinct. Every intonation of her voice, a voice which is restful and natural at a time when so many young actresses speak affectedly, every gesture she makes, every movement about the stage is so right that it must all be a matter of instinct. It sounds very easy and it looks very easy, but it is impossible without great natural talent, vast experience, and complete command of technique. Miss Vanbrugh is the grand mistress of good-humoured, well-bred, feminine comcdv. She carries off difficult istuations with a sparkle and a just-kept-in-cliec.k sense of fun that are irresistible.

FILM AND STAGE PROGRAMMES FOR THIS WEEK:

Theatre. DE LUXE Title. . . The Unholy Three. . . Make. . . Metro-Goldwyn Star. . .1 . . Lon Chaney . . Colleen Moore PARAMOUNT KING’S • •• . . Irene • • . . The Circle . . Metro-Goldwyn. . .> Eleanor Boardman, George Fawcett QUEEN’S The Dixie Merchant ... ... Fox. i...i Madge Bellamy Jack Mulhall PRINCESS The Street of Forgotten Paramount. .1 Percy Marmot, Mary Brian Men Lovers in Quarantine Paramount Bebe Daniels, Harrison Ford artcraft Sat.-Mon. Tues. -Thu rs. . . Peter Pan . , . . Thundering Hoofs . .. Paramount w-.i , Master Pictures ; . , , . . Betty Bronson Fred Thomson and “Silver King.” EMPRESS STRAND GRAND OPERA HOUSE HIS MAJESTY’S .. .. TOWN Fy\LL July 15, 16 . . Kiss Me Again ,. . . Racing Luck . ., .. Lilac Time > Vaudeville. . .1 ...... Don Cossacks .. .. Master Pictures .. .1 Master Pictures . . J. C. Williamson, Ltd. .. , John Fuller, Ltd. . . ... E. J, Carroll .. .1 Monte Blue, Marie Prevost Minty Banks John Ralston, Adele Crane .. .. . All Star Cast 1. .1 i».«i All Star Cast