AROUND THE THEATRES

Dominion, Volume 30, Issue 172, 17 April 1937, Page 13

AROUND THE THEATRES

Reviews of Current Programmes

MAJESTIC THEATRE

'‘Born To Dance” “Born to Dance,” the picture which sees Eleanor Powell, star of “Broadway Melody of 1936,” again at the heights of glittering screen stardom, is the most opulent and gorgeously-produced hotchpotch of comic opera, -musical comedy, and dancing revue yet seen in Wellington, and it thoroughly entertained a large audience at the Majestic Theatre la&t evening. This eminence in achievement is in large measure due to the fact that lyrics, music, and ideas come from the one brain, Cole Porter, who is in some respects the Noel Coward of the United States, and is the last word in sophistication in this type of entertainment. Add to the brilliance of Miss Powell the merry quips and fascinating music of Mr. Porter, the most elaborate sets, and the brightest cast possible, and it will be understood that ‘-Born to Dance” is a show of shows. The plot does not matter -n this class of entertainment as a rule, but Mr. Cole provides just enough to give the sequences special significance. It all happens because three girls, Nora laige (Eleanor Powell), Lucy James (Virginia Bruce), and Jenny Saks (Una Merkel) fall foul of three boys of the U.S. Navy. Jenny is married to her man (but only because they won the dancing marathon at Coney Island), and the day after he joined the U.S. Navy. It is on the return of Saks (Sid Silvers) after four years that he seeks his wife in company with Ted Barker (James Stewart) and Peppy Turner (Francis Langford) that Ted meets Nora, and they quite naturally fall in love. But that little affair is spiked when. Ted happens to rescue the pet poodle of the brilliant actress, LucyJames, while she is being feted in a submarine. This leads ‘to pictorial publicity, and _ that Jn turn to complications, which, while it keeps Nora and Ted apart for a time, is instrumental in Nora getting her chance on Broadway, and her name in “electrics.” Miss Powell sets a newstandard as a tap-dancer of infinite variety. Lissome of figure, and naturally graceful, with the cleanest lines possible, she makes the most intricate steps, seem easy, so effortless is her art. Nor is her dancing confined to tapping. She is the embodiment of rhythm in an entrancingskirt dance, quaintly enough danced m Central Park, a turn which introduced a "copper” who gives an amazing impersonation of a highly-temperamental conductor. James Stewart, tall, slim, youthful, sublimely unself-eonscious. is most attractive as the hero, Ted Parker, and made friends with the entire audience, by his clever play of expression. .Rich wisecracking comedy was provided by Una Merkel. Sid Silvers, Francis Langford and Raymond Walburn. The music score is dazzling. It includes such good numbers as “Rollin’ Home,” “Hey, Babe “I’ve Got You Under My Skin,” and “Swingin’ the Jinx Away,” which number occupies the attention of a band mustering a hundred performers, and brings “Born to Dance” to a clamorous close, PLAZA THEATRE “Lloyd’s of London” Many historical personages come to life again in the course of “Lloyds of London,” which has been drawing crowded houses to the Plaza Theatre since Easter and is now in the fourth week of its season. John Julius Angerstein, played by the late Sir Guy Standing, was one of the early directors of Lloyds, a merchant and patron of the arts. Even more famous was “Old Q.,” whom C. Aubrey Smith portrays. Old Q. is perhaps better known as the patron of boxing, the famous sporting Marquis of Queensbury. Lord Nelson as a boy and as a man makes his ’ appearance, first in the presence of Douglas Scott and then John Burton. The story of the picture is essentially the story of Jonathan Blake and his career from his boyhood friendship with Horatio Nelson, to the time when he, as a successful insurance underwriter, risked ruin to aid his old playmate, who had by this time become Admiral Lord Nelson. Tyrone Power, a convincing newcomer to starring roles, heads the east with Madeleine Carroll and Freddie Bartholomew. The Battle of Trafalgar, which was reproduced for the film, plays an important part us a dramatic climax in Jonathan’s fortunes. ST. JAMES THEATRE “Theodora Goes Wild” A merry make-believe, vividly translated into action under the direction of the late Richard Boleslawski, “Theodora Goes Wild,” the clever Columbia film at the fit. James Theatre, was made at the same studio as “Mr. Deeds Goes to Town,” one of the most successful comedies produced in Hollywood last year, Irene Dunne, whose work in previous pictures has been marked by a pleasant sincerity, emerges in “Theodora Goes Wild” as an accomplished exponent of comedy in a picture which sets a high standard of zestful, clever fun. She nluys. with vivacity and charm, Theodora Lynn, the writer of a novel, who keeps her identity a secret in her native village when her book is banned by the local literary society. She goes to New York to meet her publisher, and there encounters a young artist (Melvyn Douglas). He follows her to her home, where he is engaged as a gardener. His subsequent success in gaining notoriety among the village inhabitants produced a series of comic episodes, to a crowded audience which witnessed the beginning of the second week of the season last night. Theodora is obliged to depart to New York, and is speedily the centre of episodes that are front-page news throughout the country. Miss Dunne's depiction of Theodora’s dual personality is brilliantly convincing, and by her performance in this picture her popularity in future comedv roles will be assured. A great deal toward the success of the picture is contributed by the clever depiction of character in the supporting roles. Such competent actresses ns Spring Byington, Elisabeth Risdoir ami Margaret McWade present leading members of the village literary society with effective pungency. NEW OPERA HOUSE Double-feature Programme Two features and a British Paramount news comprise the programme which is being screened at the New Opera House. “Fugitive in the Sky” is an up-to-date drama in a novel setting. Most ot the action UtkoH place in an American trniiscontincntal air-liner and in a Kansas) dust storm. When the aeroplane leave.--) California a newspaper reporter finds that among the passengers is a detective, and. scenting news, he follows. Thousands of feet up a criminal unmasks himself, and, in rspitc of the efforts of the detective, takes charge. In the sky and in the dust storm in which the aeroplane lands far off its course there i* enacted a drama in which a famous criminal, the reporter, pilot mid stewardess (Jean Muir) take part, and an unexpected revelation bringing the plot to :j climax. “Here Comes Carter," which precedes the interval, centres on the activities of a radio announcer who exposes a film star’s lying publicity and earns the enmity of the star’s gunmen friends. Courage to continue his purging campaign, however, carries him through to triumph. Ross Alexander has tin- lending role. Glenda Farrell and Anne Nagel support him, the latter’s winging of several songs adding to the enjoyment of flic pit-lure.

REGENT THEATRE

“Gold Diggers of 1937” and New Sound The large audience at the Regent Theatre last night were astonished at the effect of the new “mirrorphonic sjstmn of sound reproduction introduced _by Western Electric. In fidelity to original sound, whether in music or the hundred and one noises that constitute lite as it is, the new system apparently leaves nothing to be desired. “Mirrorphone revolutionises sound in the theatre and represents a tremendous advance in tne technique of the screen. It was applied last night with startling and pleasing effect respectively to two short subjects. “Krakatoa,” a film of the outburst of the notorious Java volcano taken at its eruption three years ago. and _ Sunday Round-up,” a technicolour musical film in which glorious singing was heard to the finest effect. “Krakatoa” _ hitherto has not been seen and heard to its. tullest advantage because of the limitations ol earlier sound reproductions. With the new discovery, however, the artillery of the submarine explosions, become apprising and reverberated through the auditorium in awe-inspiring manner. The big picture. “Gold Diggers of 1937,” carries on the famous production of th., original and memorable “Gold D’-S* gers,” and is a lavish show in which spectacle, song, dance and comedy vie tor the honours. Diek Powell Ims the male lead and opposite him is the alluring Joan Blundell. Glenda Farrell and Victor Moore have the secondary romance. Others assisting strongly are Lee D IX,, J I and Osgood Perkins. .. Relating the adventures of a singing life insurance salesman (Powell) and an intrigue whereby he signs up a theatrical magnate (Moore) for a million dollar policy, and lets himself in for a heap of trouble, the plot sparkles and bubbles merrily along to a gorgeous series of episodes featuring magnificent ballets on a military theme These are impressively mounted and bring the show to a spectacular finale with beautiful girls, catchy music and clever dancing. STATE THEATRE “Make Way for a Lady” There is comedv of distinctive flavour in “.Make "Way for a Lady,” whieh l>egau a seueon at the State 'Theatre yesterday. It is neither wise-cracking nor slapstick, but has a quaint satiric touch that is handled with refreshing originality. The principal figure is Anne blurley, in the role of a publisher h nalighten who, not unnaturally .has grown up with the intention of writing great love novels. Consequently she longs to have a “secret sorrow.” and finds it. with dramatic teal's in her eyes, when she gets an idea that her father, a widower, has tor many years cherished a secret passion for one of his best-selling novelists, from whose loving arms he had been separated only by his family ties. When the novelist comes to live, in the same town near him, his daughter takes it upon herself to “right the wrong she has done him by her mere presence.” 'This mission is followed so intensely that she does not notice her handsome parent falling in love behind her back with her own schoolmistress. So. with the gestures of a Sarah Bernhardt in torment, she smooths the path of his imagined . romance with the novelist and effectively upsets the success of his actual courtship. It is a piquant situation, developed with a sure touch and never overplayed. Anne Shirley’s self-dramatisa-tion pokes delightful fun at schoolgirls i who feel they have lived several lifetimes —al chequered. And the bewildered grown-ups who are moved about, willynilly, on the chessboard of her story-book ideas, are syinpalhetically played by three favourites. Herbert Marshall, Margot Grahame and Gertrude Michael. The supporting programme is good. KING’S THEATRE “Night Waitress” and “Wanted: Jane Turner” The double-feature programme, which began its Wellington season at the King’s Theatre yesterday, introduces two breathtaking films in wjiieh action with thrills accompanies romance and laughter. The supporting shorts are also excellent entertainment. “Night Waitress” is the first of the two main attractions, and in this film Margot Grahame gives a line performance as a girl in the shadow of the law. Working in a night-hawk cafe, she meets nil the yooks of the city and knows all about them —that was her danger. She just emerges from one entanglement when a bright seafaring man, Gordon Jones, brings along romance and another heap of trouble. The two are innocently involved with gangsters, and the heroine walks with her life in constant danger until justice is served and everyone is happy ever after. In ‘Wanted : Jane Turner,” the drama of America’s Postal Service G-Men, is the principal theme in an excitiing plot. Lee Tracy and Gloria Stuart wise-crack their way through a story rich in sensation and tinged with laughter. Not for a moment can interest flag in this story of crime tracked down through the postal service. Supporting the two stars are Judith Blake, John McGuire ami Frank M. 'Thomas. PARAMOUNT THEATRE “Now and Forever” Gary Cooper, Carole Lombard and Shirley Temple are the start: who make “Now and Forever,” which headed the new programme at the Paramount Theatre yesterday, an engrossing film. Gary Cooper appeal's a« an international adventurer who lives by his wits, and Carole Lombard as the woman who stands by him through thick and thin. That wonderful child actress, Shirley Temple, gives an amazing performance as the ne’er-do-well's little daughter, who endeavours to make him live up to the motto “Honour bright.” The story opens in Chiti.'i. where the adventurer defrauds an hotelkeeper, and departs lor United States. Jerry Day, the adventurer, meets his little daughter in America, and decides to take her on a tour of Europe. They leave New York for Paris with funds the father obtains by selling a fictitious gold mine. Jerry attempts to go straight for a time, but meets a jewel thief, am) i® induced to relieve a wealthy widow of a diamond necklace. There is a thrilling climax, in which fatal shots tire exchanged, and the little daughter is borne away by the wealthy widow to enter upon a healthier existence. The acting throughout, is on a high plane, and, in nddilion to the three stars, Sir Guy Standing. Charlotte Grenville, Gilbert Emery, and Henry Kolker all do good wotk, There is niueli human interest in the story, and Carole Lombard is responsible for powerful emotional acting as the woman who loves the handsome crook in spite of her better judgment. The supporting subjects include a Grantland Rice Sportlighl, a Paramount News, a musical comedy, and a “Popeye” cartoon KILBIRNIE KINEMA The thundering hoofs that dashed across the pages of history to be immortalised bv the unforgettable poem of Alfred Lord Tennyson sound again through Warner Bros.' stupendous screen version of “The Charge of the Light Brigade,” which comes Io the Kilbiriiie Kinema to-day, with Errol Flynn and Olivia de n.'ivilland in the featured roles. “The Widow from Monte Carlo." Warner Bros,’ rollicking eomiriy romance, based on the gay romance by Inn liny and A. E. W. Mason, will be an additional nitr.'ielion on to-nisrht's programme.