ENTERTAINMENTS

Dominion, Volume 22, Issue 80, 28 December 1928, Page 6

ENTERTAINMENTS

DE LUXE THEATRE. At the matinee performance this afternoon universals much-ueralded superproduction, ‘‘Lucie Toms Cauiu,” commences a oue-week season, running thereafter nightly at 8 p.m. and daily at 2.30. The management state that an extension of the season is not possible on account of heavy bookings in other centres, and lurtner advise intending patrons to attend the daily sessions aim thereby avoid the inevitable evening crush. "Lucie Tom’s Cabin” is said to be the ultimate in screen achievement. It cost L4OU,uuU to produce and required two years in the making, its cast is said to be of greater strength numerically than "Ben Hur," which gives some idea of the magnitude of the picture.

Recorus whicn nuu Stood lor years at some of the world s greatest theatres were broken uurlng the pneuoliieuul extended season runs of tins nig production, it is slated. Carl Lacmmle, president of the huge Universal organisation, wrote of "Locle Tom's Cabin” as follows:—"For years and years 1 cherished the idea of some day making an unusually hue picture of 'Uncle Tom's Cabiu.’ As we began to realise the limitless possibilities of the motion picture art, my idea grew, my vision of 'Lucie Tom’ on the screen expanded. My ambition was fanned, it is true, by the requests and the urgings of thousands of picture lovers. I re-read the book. The story begins iu Kentucky; it carries Eliza north across the Ohio River by the ’underground railway’; it returns to the Ohio, to the .Mississippi, down the river to New Orleans; back up the river to Simon Legree's plantation —an epic sweep of story, drama, and—locale. 'Too big for the stage—and costly for the screen. I no longer thought of ‘Uncle Tom’ as the stage melodrama we all know. I no longer saw it accompanied by a street band, 2 Marks, the Lawyer. 2 ’Topsys, Little Eva jerked to heaven by visible ropes and‘clumsy stage bauds. I visioned the inspired, impassioned story, the tremendously thrilling drama that set father against son, brother against brother, and bathed a nation in a flow of purifying blood that washed away all differences, and made the Union, in the words cf the immortal Lincoln, ‘one and inseparable, now and forever.’ As my vision widened my ambition grew. Eight months experts spent in research alone—for I was determined to recreate the atmosphere of the glorious days of the Old South —and I wanted to know just what authentic material was available. Production was started without an estimate of the possible cost. A company of twenty-five players, all stars or featured people, was engaged, and sent back and forth across the continent to the very places Mrs. Stowe wrote about; travelling in' all some 26,000 miles. An oldtime river steamer was leased and rebuilt: the Shelby mansion was built in duplicate at Universal City and furnished with real antiques gathered at enormous cost throughout the South. In addition to exterior locations, there were sixty-five separate, distinct, and complete sets specially built for the production. In the face of setbacks innumerable, of steadily mounting costs, of seemingly Insuperable obstacles, we kept on for two years. My cost sheets tell me that 1 have spent neatly two millions. I am content. This is my offering to the British people. I trust that it gives them pleasure. As for myself, I am thankful that I was permitted on the seventy-fifth anniversary of the grand old book to give it to you for the first time, in all Its beauty and grandeur, its heart throbs, tenderness, and pathos; its thrills and supremely dramatic moments—just as it came from- the pen of its noble author. To me it has been a privilege.” The De Luxe orchestra, under the direetlon'of Mr. Emanuel Aarons, and the Wurlitzer unit, will be prominent features of the presentation. The overture is “Old Folks at Home” (as played by all nations), and the Wurlitzer solo is “Theme Melodies of Uncle Tom’s Callin’’ (arranged by Emanuel Aarons). Box plans are filling rapidly and are available at the. Bristol, Begg's, and Aitken’s (Courtenay Place). “THE TRAIL OF ’98.” Some idea of the immensity of “The Trail of ’98,” Metro-Goldwyn-Mayer’s epic screen successor to that company’s “Ben Hur,” which will commence screening at the De Luxe on Friday, January 4, may be guaged from the fact that a vast army of 15,000 extras take part in this tremendously realistic screen version of the novel bv Robert W. Service, dealing with the great Klondike gold rush 30 years ago. This number exceeds by 2000 the huge host used in “Ben Hur.” For 3000 of these extras, heavy furs, boots, caps, gloves and blankets, besides pack sacks consisting of cooking utensils, tinned foods, tools and a small toilet kit, had to be assembled, sueh as were used by the Alaskan miners of the old days. Other preparations at tlie studios included the chartering of hundreds of old boats whicli were actually used in the stampede to the frozen Yukon; the assembling of 1000 dogs with harness, the packing of sufficient equipment for a field telephone service to operate over miles of mountain ranges, the purchase of many additional cameras, and transportation arrangements for the entire company to the far North to make the unforgettable exterior scenes. When the company at last set off from the studios it travelled by special trains tp the Great Dividing Range, Colorado, where nearly two miles of railroad were specially constructed to house the company for two months. Here 40 Pullman cars' were assembled and converted into living quarters, being electrically heated to give ample warmth in these freezing regions. Twelve dining ears were added, besides extra carriages for hospital, post office, laboratories, cutting rooms, storage rooms, commissaries, projection room, recreation rooms and, last but. not least, the dogs, horses and eattle, these being constantly attended —especially guarded from pneumonia by a veterinary surgeon, a chief keeper and six assistants. REGENT THEATRE. “Rose Marie.” which opens at the Regent Theatre this afternoon at the matinee, means fully as much to the screen as the famous musical play from which It was adapted meant to the stage. In other words, the charm of Arthur Kammerstein's stage presentation, by Otto A. Harboch and Oscar Kammerstein 111, lias lost none of its original charm in its transition to the screen. The “New York Tinies” in a critique says: “It seems to the reviewer that Metro-Goldwyn-Mayer deliberately set'out to outdo its own good work of several seasons baek when that organisation adapted and filmed Lehar’s “The Merry Widow.’ Unlike as these two musical plays are, I know of no othef picture to which ‘Rose Marie’ could be compared suitably. The latter has been every bit as carefully handled as was the former vehicle. Though all of the marvellous and elegant society backgrounds of ‘The Merry Widow ’are missing from Metro-Goldwyn-Mayer’s new play, these are made up for by the graudeur of the scenic backgrounds in the French-Canadian north woods story. Joan Crawford and James Murray are seen in the featured romantic roles, and each is ideally suited to the role. Miss Crawford lias often proved her ability on the screen in other productions, but she clinches the matter with the manner in which she has portrayed the role of the daughter of tlie furpost. Murray, almost unknown ou the screen, proves to be a real screen find which we hope producers will not carelessly lose in the shuffle when future pictures are cast.” The supporting players are among the best ever gathered fo‘r a single cast, and include such film notables as House Peters, Gibson Gowland, Polly Moran, Creighton Hale,. Gertrude Astor. ■Lionel Belmore, William Orlamond, Harry Gribbons, and others. “Rose Marie” wiil be lavishly presented with the full musical score by Rudolph Friml and Herbert Stothart, and Madam Marjorie Cadmau, an English vocalist of repute, has been specially engaged to appear nightly and sing the incidental “Love Call.” On the stage the third stage presentation, “Oriental Nights,” will be the attraction, and a pair of Continental dancers, Zenda and Mack, will appear for the first time. The plans are to be seen at the theatre and Bristol. . “THE GIRL FRIEND.” Sparkling and tuneful is “The Girl Friend.” the J. C. Williamson musical comedy now at the Grand Opera House, where another crowded house greeted last night's performance. It has everything in it to please the public. There are pretty girls, plenty of good dancing, novel scenery, catchy music, clever dialogue, and above all, Annie Croft, the dainty leading lady who is forced into numerous most embarrassing situations through no fault of her own. Miss Croft has made a great hit with the audience in this town and blds fair to become one of the most popular musical comedy stars that have ever visited the city. Mr. Guh Bluett, who has the role of A bibulous husband, needs no introduction in Wellington He is funnier than ever. Leo Frankton, a new-comer to New Zealand, Is a first-rate comedian whose dancing is a feature of the show. He is ably assisted by Miss Billie Lockwood, who plays Jenny, the telephone girl, and whose duets with Mr. Franklin are outstanding. Miss May Beatty is splendid as the jealous wife. Her acting is thoroughly amusing and is a great asset to the show. Others in the cast who are seen to advantage are Leslie Donaghey, Reginald Sharland, Mary Rigby, Winnie Tate, Janies Hughes, Bunny Beatty, Katie Towers, Jack Dunne nnd Frank Leighton. One must not forget the work of the chorus, who figure prominently throughout the show and whose dancing is a delight to watch. The music Is particularly bright and tuneful, such numbers as “Blue Room,” “Mountain Greenery,’’ and “What's tlie Use of Crying” already having had a great run in the town. The song. “The Girl Friend,” Is one of the numbers that cannot be forgotten. The ballets are arranged l>y Minnie Hooper. The dressing is excellent and there is a first-rate orchestra to supply the music.

HIS MAJESTY’S THEATRE. At His Majesty’s Theatre to-night the popular League of Notions Revue Company will commence their seventh series of notions, a wonderful elaborate production full of bright musical numbers, clever acting, effective humour and sparkling ballets and entertainment of a high standard. The new attraction includes a varied assortment of sketches including “Wandering Wives,” “The Unkissed Man,” “Husbands and Wives,” and a seventh series of “Impossibilities,” whicli promise a fund of merriment. Syd Beck’s song item entitled “Isn’t That Lovely” should also provide.,some laughable moments. Mike Connors and Queenie Paul have chosen “That’s My Weakness Now” as their chief vocal turn. Linn Smith's Jazz Band will offer a favourite selection of old and modern melodies, and Win. Beresford will be heard In "Lighterman Tom" and with the Exquisite Six in a number entitled “Sweet Wonderful You.” The Two Paulastos, Phyllis Baker and Gerald Connelly will present one of the latest dance specialties, and Gladys Shaw will be seen in a number of sketches. “Wntertime" is a song scena in which practically the whole company will take part. The box plans are'at the Bristol. STRAND THEATRE. So ■ successful has been the fortnight’s run of “Two Lovers" at the Strand Theatre that the management has wisely decided to keep the picture running for another week. Ronald Colman and Vllma Banky, two great favourites, play opposite each other, and are ably supported by an excellent cast. Colman has never done better work than in this powerful film, which has been taken from the famous book, "Leatherface,” by the celebrated novelist, Baroness Orczy. “Two Lovers” is the tale of triumph over adversity. It Is the story of Mark Van Rycke, son of the patrician burgomaster of Ghent, and bls amazing and secret adventures as “Leatherface.” As “Leatherface” Ronald Colman probably has a role more coloured and varied than any other he has yet attempted. The principal supports of Colmau and Vilma Banky, who are making their last -co-starring appearance In the picture, are Noah Beery as the Duke of Alva, Nigel de Brulier as the Prince of Orange, Virginia Bradford as “Grete,” Eugenie Besserer as Madame Van Rycke, Paul Lucas as “Ramon,” Harry Allen as “Jean,” Fred Esmelton as “Meiuherr Van Rycke,” Helen Jerome Eddy as “Inez,” and Marcella Daly as “Marda.” There are some excellent supports. Frank Crowther capably conducts a good orchestra. KING’S THEATRE. “Sailors Don’t Care,” now screening at the King’s daily 2.30 and night at 8, is not a war film in the ordinary sense of the reference, but is rather a comedy of naval life on the lower deck, into which a romantic element lias been Introduced by the rivalry of two shipmates for the same parlourmaid, and a dramatic theme afforded by the counter-operations of Q-ships and U-boats. Apart from an espionage plot, acts of war are confined, in the film, to the single incident of an exciting Q-ship and U-boat encounter, ending in the sinking of the latter. The admiralty afforded facilities for filming scenes aboard H.M.S. Champion, light cruiser, and the Q-boat of the film is Mandrake, which did similar service In the war. A cast of popular British favourites are in the leading roles. Estelle Brody is the parlourmaid in question, the apple of discord for the two sailors, ably played by John Stuart and Alf. Goddard. Humbertson Wright has the role of a veteran whom a sense of duty induces to shave his beard and join the navy. Mary Brough is excellent as a cook, and Gladys Hamer brings the house down in her role of a very sentimental housemaid. The film was directed by W. P. Kellino. An excellent pictorial programme is submitted in addition to eminently suitable music numbers. PARAMOUNT THEATRE. Under the shadow of gigantic guns on the turret deck of a I'rench battleship, some of the most exciting and dramatic scenes occur in “Love at Midnight,” a First National picture starring Billie Dove, which opens this afternoon at Paramount. An unusually tense and dramatic story, “Love at Midnight” takes place almost entirely aboard the battleship, which was reproduced almost in Its entirety within the First National studios through the ingenuity of art directors and designers. Alexander Korda directed the story, which was taken from the stage success, “In The Night Watch,” originally produced on Broadway a few years ago. Donald Reed and Paul Lukas are in the masculine leads, and Nicholas Soussanln, Gustave Partos, Nicholas Bela and others are in the strong supporting cast. Presented at the matinee sessions for one week, commencing this afternoon, is the delightful Tabloid Pantomime, which enjoyed such a successful run at the De Luxe Theatre during the week which concluded yesterday. The offering is a burlesque version of “Babes In the Wood,” which is characterised by some splendid dance, song, lighting, and background effects. Over 40 talented performers, hailing from tlie Eileen Wilson School of Dancing, take part. An exceptional supporting programme is in evidence, with delightful music by the Paramount orchestra. Box plans are at the Bristol, Beggs, and Utility.

QUEEN’S THEATRE. Haunting the dark coves of lower Manhattan, slipping by way of the river in and out of the huge warehouses that line the waterfront, taking rope and ship materials and selling it to skippers of outgoing slikips—that is the life of “The River Pirate,” as told on the screen in the language of the criminal in the Fox Film production of that name, based on the story by Charles Francis Coe. “The River Pirate,” as directed by William K. Howard ‘is a revelation of the new side of criminal activity and wins new honours for Victor McLaglen of “What Price Glory” fame, in the title role. Lois Moran and Nick Stuart have the leading romantic roles, with Earle Foxe and Donald Crisp in important parts. It heads a big two-star bill, which Is now screening at the Queen's, daily at 2.30 and nightly at 8 The other feature is the Fox Western thriller, "The Devil Horse,” which stars Rex, the equine wonder, with a large supporting cast.

KILBIRNIE KINEMA. The Cadd' Company's brilliant screen version of the novel by Rex Beach, The Mating Call.” which stars Thomas Meighan with Evelyn Brent and Renee Adoree, heads the bill at the Kilbirnie Kinema this evening. The story deals with a hardworking Florida farmer, who. disappointed in love, seeks a woman to help him with his farm. He marries a waif, whom he finds on Ellis Island, and In the subsequent trials and hardships that befall them on Florida, he learns to love her, and she him. The east includes Allan Roscoe Gardner Janies, Helen Foster, and Luke Gosgrove. The supporting attraction “The Skyrocket,” starring Peggy Jovce Hopkins, tells of how a chorus girl mounted to the heights of fame, and then, like a rocket, broke and fell to earth. The box plan is available at the confectionerv next to the theatre, or reservations may be procured by ringing phone 14—202. '