PLAYS – PLAYERS – PICTURES

Evening Post, Volume CV, Issue 23, 28 January 1928, Page 27

PLAYS - PLAYERS - PICTURES

THE SHOWS. Opera Houso— . "Hose Made," in season. Town Hall— ' Orsan liccital, every Sunday, 5.30 p.m. His Majesty's—Puller's Vaudeville Kogcnt—Vaudeville and Pictures. De Luxe Theatre—Pictures. Paramount Theatre—Pictures. King's Theatre—Pictures. Artcraft—Pictures'. Our Theatre—Pictures. Empress Theatre—Pictures. Shortt's Theatre—Pictures. Strand Theatre—Pictures. Britannia Theatre—Pictures. queen's Theatre—Pictures. Stinceaa Theatre—Pictures. Is Sunday theatre-going increasing? Judging from the events of last night •—when no fewer than four theatrical entertainments were presented in West End theatres—there seems to be an increasing number of people who like to spend their Sunday evenings watching plays (says a London paper). In addition to the Sitwell's play at the Arts Theatre, Great Newport street, and the Green. Room Club Rag at the Globe, there were plays at the Strand and Boyal Court Theatres. A movement is on foot to revivo the Phoenix Society, ■which collapsed about eighteen, months ago after the revival —generally on Sunday evenings—of many Elizabethan and Reformation plays; and a new Sunday afternoon play-producing society is shortly coming into being at the "Q" Theatre, Kew Bridge. The fact that plays may be frequently seen at-these "private" Sunday night performances which would not' be licensed for public presentation on week-days, lends an added attraction to many. Money may not be taken at the doors of a theatre on Sunday evenings, but it is a simple matter for- anyone to become a member of most of the Sunday producing societies and thus to attend performances. Maude Courtney and Mr. C. are still getting good and consistent bookings around provincial England. Among the New Zealanders holding up their end on the English stage are Marie Ney, Cecil Haines, Shayle Gardner, Isabel Wilford, Robert Geddes, and Jack Kirby. ■ Mr. Frank Harvey, for so long a great favourite in Australia and New Zealand in drama and comedy, continues to get small parts in London, productions. Recently he appeared in the Jewish Drama League's production of "Uriel Aeesta." A repertory theatre, which plans to produce a programme of fine plays, will probably be formed in Christchurch early this year. The venture will be supported by the Rotary Club. The repertory movement was begun by Professor J. Shelley, of Canterbury College, when he formed tho Littlo Theatre, whose three productions to date have been very successful. Mr. Allan Wilkie's Shakespearean season in Hobart was not very well patronised. Leon Gordon, just back from America, will open in "The Trial of Mary Dugan" at Melbourne next week. Mr. Basil Radford, the "silly ass" in "The Ghost Train," has a similar role in "The Alarm Clock" in Melbourne. Jennie Hartley, well remembered here, is appearing as principal boy in the pantomime "Aladdin" at Newcastle, England. Two New Zealanders—Miss Kiore King and Mr. Richard Webster, both from Hawkes Bay—are with the Moseoviteh Dramatic Company. Pat Hanna's Diggers, including Joe Valli and Stan Lawson, continue to do excellent business at the open-air Garfien Theatre in Adelaide. When "A Cuckoo in the Nest" has run its course in Sydney it will be succeeded by "Thark," another comedy by Ben Travers. Ten months ago Audrey Lewis was a ballet girl; to-day she is leading lady in "The Film Girl" in Sydney. And she is not yet 17 years of age. Mr. Fred Staig is' back in this district with the "Globe of Death" and other enterprises for amusing and thrilling seekers of entertainment. "During the past nine months I witnessed at least half-a-dozen Englishmade musical plays in London. To me they were most uninteresting—inane plots, music only so-so, comedy oldfashioned and forced, and no real attempt at clear characterisation," stated Sir George Tallis—one of tho Williamson directorate—recently. "Although they all seemed to achieve a distinct measure of success in London, I did not take one of them for Australia, where I am afraid they would have- a very poor chance indeed if presented to our much more critical audiences. On the other hand, the American stage at the moment is turning out a much more virile and satisfying musical play." Owing to the success in Australia-of Maurice Moseoviteh and his dramatic company in the thrilling dramas, "The Ringer" and "The Terror," the New Zealand tour has had to be postponed, and the tentative dates abandoned. In two months' time the reconstruction of the Princess Theatre at Dunedin will be commenced, and when tho theatre has beeii completely modernised over £30,000 will have been spent. The full details of the reconstruction have been announced by Sir Benjamin Fuller. He also made an announcement that within a few years a new His Majesty's Theatre will be built in Dunedin by the firm, on a site which would bo available .in two or three years' time. In the "Melbourne Argus" is the following:—l have received from A.W.S. (St. Kilda) a letter enclosing a programme of the opening production of "Djin-Djin," the Princess pantomime of 1895-96, which has been t>he subject of some recent notes. Ho says: " 'James Cassius' (Williamson) had a great' hand in the building up of this fine production, Bert Royle supplying the libretto. As may bo seen, there were many people of note in tho cast, including the two most useful secondary artists the Australian stage pro-, duced.' I refer to Arthur Lissant and Stannis Leslie. Eveii at the time of the production, 1895, Oily Deering and Edward Farley were old-stagers. John Coleman was a xinique comedian; his scarecrow danco will never be forgotten by old playgoers. And there was dear Billy Elton, whose Jack Point death scene will live in the memory for ever. Flora Graupner and Florence Young need no praise, and the same applies to Carrie Moore. It may be interesting to your readers to know that J.C.W. made his last appearance at the Princess Theatre in the week beginning 24th October, 1891. He played his old congenial part cf Kerry, supported by Lawrence Cautley (a finished artist), Mary Kingsley, Maggie Knight (the heroine of countless melodramas}, Hans Phillips (the one and only 'Henery' Corkett in 'The Silver King'), and Edwin Kelly (a fine old operatic perfovmer). At the same performance J.C.W. played Rip Van Winkle and, in addition to the-players mentioned, ther« appeared Harry Daniels (who was the old Jew Mendez in 'Little Jack Sheppard1 with Brough and Boucicault), Charles Brown (tho tailor in 'The Private Secretary'), and Mrs. Edouin Bryer (the most perfect exponent of old-lady parts I win remnmbor). I consider that from 3885 to 1805 better plays (musical and otherwise) and better actors and actresses appeared on the Australian stage than at any period before or since those years; deny it, Trho will." "The Girl Friend" has opened at B»»-^ajestyJg Theatre, S^drtejs, jrith-

the following cast: Anuio Croft and Reginald Sharland (just from England) in tho leads; Lorua Helms (just returned from London), as the telephone girl; Leo Franklyn as the bell hop (played by George Gee in London); Gus. Bluett, Marie la Varre, Bowena Bonald, Frank Leighton, Eosie le/Varde, Winnie Tait, Tui Black, Harry Wootton, Katie Towers, John Stuart and Joe Thornal. Ignaee Paderewski began his American tour in New Bochelle on 3rd January. During 1927—from February to December—more than 300 concerts were held in Sydney. Geraldino Farrar and Ignaz Friedman appeared as soloists with the New York Symphony Orchestra last. week. In his recent American tour John M'Cormack was supported by the Australian musicians, Lauri Kennedy ('cellist) and Dorothy Kennedy (pianist). Miss Eva Webb-Jones, of Wanganui, was on© of the nine girls chosen by Dame Nellie Melba in a recent voice test in Sydney for the Williamson grand opera season. Elsa Stralia, soprano, who recently returned to America from a tour of Australia and New Zealand, was the soloist at a Capitol Theatre concert in New York. She sang arias from "Serniramide" and "Tannhauser." During one year 400,000 competitors took part in music competitions held in the British Isles. Choral and orchestral competitions are' now great features. At a festival held at Kentish Town, 84 choirs and orchestras competed. Full orchestras, string orchestras, school bands, and infants' percussion bands took part. General satisfaction will be felt at the announcement that the King has conferred the order of knighthood upon Edward German. His contribution to English music both vocal and instrumental, has been considerable. Of his operatic works "Merrie England" is perhaps the best-known. Excerpts from this work aro in frequent use as concert numbers. His "Henry the Eighth*'.and "Nell Gwyn" dances aro well known amongst instrumentalists, as they have been adapted for various instruments and combinations. His orchestra works include the "Gipsy Suite" and others of equal merit. Sir Edward has been looked upon as the legitimate success or of Sullivan, but perhaps the lack of such a partner as Gilßert has prevented the production of successes such as those scored by the great Savoy collaborators. The new knight has a distinctly "individual" idiom permeating his work, and is never dull. May he live long to enjoy 'the honour bestowed upon him. Another Edward—Sir Edward Elgar—has been made a K.C.V.O. The outstanding British composer of the present generation entered his seventy-first year recently, and gratification will be felt that on© who has lifted British musical creative art on to such a level that it is respected throughout the world has received some worthy recognition during his liftime, a recognition frequently lacking in the life stories of many great men—in music as well as in other directons. The search for voices for the MelbaWilliamson grand opera season, to begin in Melbourne in March, has extended to Sydney. Dame Nellie Melba, accompanied by Mr. Fritz Hart, director of the Melbourne Conservatorium, Mr. Andrew M'Cunn, musical director for I the Firm, Mr, John Lemmono, and Mr. E. J. Tait, attended at Her Majesty's Theatre, Sydney, last week to hear the female voices, and give judgment on their quality. Twelve young ladies presented themselves, and of these nine were accepted—four sopranos, one mez-zo-soprano, and four contraltos. The sopranos proved to have voices of good range and quality, and each sang with ease and confidence. The contraltos pleased the experts beyond expectation, the soft, velvety quality of the voices being generally admired. After the trials all the candidates and their sympathetic examiner were photographed on the stage. ."I think the voices we heard are wonderful," 'said Dame Nellie. "They are delightful—much better than we listened to in Melbourne. Nowhere in the world would better voices be heard in the chorus. I am charmed with them." The grand opera season is to extend over six months, Melbourne, Sydney, and Adelaide being the order of the capitals. The following is the complete list of operas to be presented by Fuller's Grand Opera Company:—"ll -Trovatore" (Verdi), "Rigoletto" (Verdi), "Carmen" (Bizet), "Mignon" (Thomas), "Fra Diavolo" (Auber), "Martha" (Flotow)', "Traviata" (Verdi), "Norma" (Bellini)' "Tannhauser" (Wagner), "Lohengrin" (Wagner), "Ballo un Maschera" (Verdi), "Lucia di Lammcrmoor" (Donizetti), "Faust" (Gounod), "La Gioconda" (Ponchielli), "Barber of Seville" (Eosini), "Ernani" (Verdi), "La Favorita" (Donizetti), "Cavalleria Eusticana" (Maseagni), "I Pagliacci" (Leoncavallo), "Manon" (Massenet), "Lueretia Borgia" (Donizetti), "Mefistofele" (Boito), "Puritani" (Bellini), and "Ebrea" (Alevy). The company will tour New Zealand at the conclusion of. the Melbourne and Sydney seasons. An American paper says: "Madame Emma Calve, the famous prima donna,was given an ovation on entrance that had an exhilarating effect, and she beamed on her new audience, for Madame Calve is practically an unknown quantity to music-hall patrons. Acclaimed in loud tones by the vaudeville herald, Calve started out her programme with 'Troubadour's Song,' of twelfth century vintage, and while expression and emotion were in evidenco the number barely got over. 'Lesson of the Fan,' a coquettish lilt, made a better impression, but her own composition of 'The Spirit of the Air," dedicated to Colonel Lindbergh, was a weird affair, and failed to catch any of tho audience -either in spirit or vocalisation. Her singing of 'Habanera' (from 'Carmen'), listed as her masterpiece, was accepted in better mood, but Calve has lost much of her fire in this number. Her auditors were willing to worship at her shrine, but it must be admitted that a severe tax was put on their cordiality. Her reception was more in the nature of goodwill than as a prima donna from grand opera. For a closing number Calve sang 'Swanee River' in her best voice. She caught the expression of this 'southern lilt and ejected much pathos to the number." Writes the critic of the London "Westminster Gazette" on 27th November, 192 C: "The world's most famous lady violinist" is a difficult title to live up to, but Miss Erica Morini, the bearer of it, is not at all in character what one might suppose from her official description. Both she and her brother are two charming, unaffected young Viennese, full of the joy of life. After listening to her truly marvellous playing of the Kreutzer feonata of Beothoven last night, I went to her hotel this morning to congratulate her, and found her up and about. Early mornings have apparently no terrors for her. In Now York, where she stayed for four consecutive seasons, she used to play at "select" concerts fjiven ;it 10.30 in the morning l>y llie "Four Hundred," in otic or ,-inotlicr of Iheir lovely apartments. "The Four -Hun; dred" apparently do not. go to puljliu concerts, and as Miss Morcni put it, "sit in their armchairs and tap them with their white gloves when they wish to applaud." Miss Morini has been -engaged hy A Mr. E, J» Carroll Jo giwo-

a series of recitals in Australia and New Zealand. London appears to be taking its music in large doses, as from sth October to uth November at tho Aeolian Hall, Pouishnoff was to give a "Chopin Week," whilst at the same hall, from 28th November to 3rd December, the London String Quartet were announced to perform all the sixteen Beethoven Quartets and tho "Grosso Fugue." The idea has already been tried by Harold Samuel, the great Bach pianist, and the greatness of Mr. Samuel's artistry is demonstrated by the fact that the venture was a great success. Such a "solid" composer as Bach requires a great exponent to grip the public for a week on end. The first little Theatre was founded in Paris in the 'eighties by Andre Antoine, then an "employee" of the Gaslight Company, now the foremost dramatic critic' of France. It was called the Theatre Libre, and revolutionised the drama of Paris and the Continent. A phalanx of new authors arose under its banner. The second Little Theatre was established in Berlin, and its name was "Schall und Eauch" —"Sound and Smoke"—it followed in the footsteps of the Theatre Libre, and became the pioneer of Maxim Gorki, Maeterlinck, Wedekind, and many others. The third Littlo Theatre belongs to Manchester, and its founder was that selfless, generous, artistic woman, Miss Horniman. It made history by a band of dramatists known as the Manchester School. It did more for dramatic progress in England than all the London theatres together. Thence forward, the movement developed rapidly abroad; very slowly, but surely in England. And the cry is "still they come." The Kendall String Quartet early last month appeared at Wigmoro Hall in support of Millicent Russell, the wellknown contralto. The programme included songs with accompaniment for string quartet, a development of chamber music that is becoming very popular at Home. The personnel of the quartet is the same as on the occasion of its visit to this city. Miss Ethel Osborne has completed a second tour, with Dame Clara Butt, of the British Isles,, and has met with great success. Miss Osborne states that she has had a number of engagements offered her for tho coming year. The Sydney soprano declined an invitation of Dame Clara Butt to visit India, as she desired to remain in England to carry on her work there. Frederick Corder's compact biography of Liszt contains: a little known story of the great master's technique, brilliant even in late years. "On a certain evening (in 1864, or thereabouts)," says Corder, "the famous Dreyschock, a pianist celebrated for his wonderful playing of octaves, was honoured by a royal command to perform before the Emperor Franz-Josef in Vienna. Now Dreyschock had an 'encore piece' which was an arrangement for Chopin's study in C minor, known as 'the left-hand study.' This was done bo that the left hand appeared to play tho difficult semi-quaver (eighth-note) passages in octaves. Much of this was, no doubt, what is termed 'fake,' but the piece was very clever, and always made a great effect. On the present occasion it was duly trotted out, and tho Emperor was so excited that he applauded wildly, and turning to Liszt, who was siting, as usual, close by, exclaimed: 'There, Monsieur Liszt! Can you beat that?' It was known that Liszt had long retired, but the Emperor's challenge was a command: he rose, bowed, and made his way to the platform. The surprised, audience applauded; ho shook hands with Dreyschock and sat down. After a momentary pause he proceeded to play another Chopin study, the F minor (double rhythm study) bo swiftly and delicately that, whereas the other had been like the roar of a thunderstorm, this was like the sighing of a zephyr. The audience gasped; Liszt still kept his finger on the treble C with which this piece begins and ends, then, after a pause, played tho study once more, even more delicately, but with the right hand, in octaves." The personality of Schubert is well described in "Famous Musical Composers," by Lydia T. Morris, in the following terms: —"In person Franz Schubert was anything but attractive-looking; he was very short and fat, and his features were commonplace. Music was the only subject that seemed to bring any light or expression into his face, but his eye's seemed to kindle when ho was composing or in any way occupying himself with music. He had fat, stumpy hands, very unsuited, as one J would have thought, for the piano, nor was he in any sense a virtuoso on this instrument, though he played his own compositions, and as' an accompanist it would have been hard to find his equal. With his own friends Schubert could be merry enough, but he did not shine in general society, and avoided it as much as possible This was no doubt greatly owing to his extreme shyness. Ho was very humble, and neither expected applause nor cared much for it when it was given, and he was quite free from jealousy. A great writer (Schindler) has said: 'One reason for the obscurity to which Schubert's talent was condemned during his lifetime lay in a certain obstinacy, an unbending habit, which, without detracting from his independence, made him absolutely deaf to good and practical counsels on the part of well-meaning friends. This characteristic often appeared in social intercourse, as well as in musical matters, but it is not to be attributed to an excessive self-esteem or over-weaning self-confidence." Sir Thomas Bcecham has outlined his scheme to form an organisation to popularise opera in England, and thereafter to build a theatre in London where mu-sic-lovers could hear at reasonable prices operas that have not been produced in the British Isles. Sir Thomas hopes to raise a subsidy of £60,000 a year from music-lovers in Britain, whom he estimates at 150,000 people. This sum would cover tho estimated loss. Sir Thomas will appeal to musiclovers—musical amateurs, a3 ho calls them—and if the appeal is successful ho will launch the scheme and put on the first opera next spring. To a reporter Sir Thomas Beecham said:—"ln the beginning my schemo will cost' the 150,000 music-lovers of this country about twopence a week. Ninety-five per cent, of the organisation would be British, and the first part of any scheme is to provide opera in London and tho great cities of tho provinces with the finest material available in the Empire for a period of five years. During that time it should be possible to discover whether we can provide out of our own resources an institution equal to any other in the world, and whether the minority of music-lovers want an operatic institution to go on in perpetuity. People now pay a guinea or more to see an opera at Covent Garden. Under my scheme they may be able to go in for ss, so in one visit they would save more than enough to pay a whole year's subsidy." The apathy of the English-speaking race towards its own composers was referred to by Mr. T. Vcrnon Griffiths, Mus.Bac, in tho course of a. lecture in Christchurch. Ife said that the English people had given to him tho birthright of appreciation, which in truth belonged to musicians of their own blood, that now they could only re-echo that ancient cry which had for centuries summed up in its cynical query a disbelief in the potential genius of their .own countrymen, Thpj^ shout

with theml" They would have the music of the great Germans, the great Italians, tho great French, but never that of the great English composers, and yet, in their day, those great Englishmen of the sixteenth century, Byrde, Wilbye, Walker, Orlando Gibbons, and Pureell, Bet England on a pedestal high above any other European race. Their music has only recently been re-discov-ered, in all its beauty, from under the dust-heaps of their interloping successors. If age be the hallmark of greatness, then their works are worthy of consideration; if genius, theit they stand alone. There are many reasons why the appreciation of English lusic, ti). now, has been lost. The fate which Saki pictured for England in his book, "When William Came," had already overtaken her when George I. came, and it engulfed British music until the coming of those great events which caused ths English reigning house tc take an English name, and which brought disillusionment to those who had, for sor long, only looked for culture outside their own lovable country. When it comes to the test Englishmen will blindly fight for all those things they feel are as the breath of life to them. They will fight against the creeds, the ideals, the culture of other nations, loving their own best of all. And the spirit of genius ia art springs up from the smouldering embers.of the fiery struggle. In such a way the present Eenaissance in British music came about, and the group of modern British composers came to the front. Judging by the outspoken comments of several London critics, Sir James Barries playlet, "Barbara's Wedding," is not written in the best Barrie vein. Mr. James Agate, writing in the "Sunday Times," says: "Nobody excels the present writer in admiration of the author of "Dear Brutus," at his best, and nothing that follows is to be taken, as derogatory, in Huther Good's phrase, to ninety-nine hundredths of the work of an exquisite playwright. ' But intertwined with the exquisitenesa is something which I must call an Awful Streak, a delight in probing too curiously into the emotions which people normally keep to themselves. This streak must always be pulling the bereaved up by the roots to see how their heart-strings are getting on. Most of us, when a funeral passes, arc content to raise our hats, and from the mourners avert our gaze. But there is a Barrie who must peer into the coaches, and even walk a little way beside the procession, for the sheer joie de mourir. This unhappy streak is nowhere more in evidence than in the little play ... at the Savoy Theatre. Writing of Dumas's "Lo Vicomte de Bragelonne," Stevenson professed that he knew no work in which "the end of life is represented with so nice a tact." Out of a limited knowledge of stage plays I confess I know none in which the sadness of the final separation is so tactlessly thrust upon our sensibilities." A little lapse is, perhaps, permissible n the man who gave us "Peter Pan" and "Mary Eose" and "Dear Brutus.' " "White Birds," the opening of which was twice postponed and which after a bad start was reorganised, ended its career at His Majesty's Theatre, London, owing to tho expiration of the producers' lease. It is stated that the revue, on which £30,000 was said to have been spent before it opened, never cost less than £2500 a week. One artist got £400 a week and another £175 a week. During rehearsals the rent of the theatre was £600 a week, and at one time the wages of the musicians, including overtime, amounted to £25 each a week. Mile. Lucyenne Herval, the French actress, was paid under contract for at least four weeks, although she appeared only at the first night. Another performer with a short contract for £60 a week made one appearanco of a few seconds only. This was tho revue in which George Gee made his appearanco in London after hisi return from Australia. "George Gee," writes a correspondent, "waa on the stage for only one scene in 'White Birds,' playing 'Bill Sykes' in a skit on 'Dickens.' I fail to remember whether he Bpoke a line or not. If he did so, I did not hear it." A well-known English actor, Mr. William Farren, completed fifty years on the stage last year. Since then he has not been invited nor does he intend to invite any further work as an actor. He is content to close a remarkable rc^ cord. His great-grandfather was born in 1725, and was on the stage until ho died in 1795. His grandfather, born in 1786, died in 1861, after a lifetime in the theatre; and his own father, who was born in 1825, died in 1908, having worked right up to hia last illness. The last of tho line'has retired after fifty years, and in this way' the Farren family has given 200 years' service to the public. The New York Symphony Society is to celebrate its jubilee next year, it having been founded in 18/8 by Leopold Damrosch. Iv its programmes will figure a specially commissioned composition by Gustav Hoist and a symphonic poem by Cyril Scott. Toscanini and Mengelberg are to be the chief conductors of the New York Philharmonic Society, but before Toscanini arrives, and after the end of Mengelberg's regime, Sir Thomas Beecham will conduct on 12th, 13th, 14th, and 15th January. Miss Beatrice Harrison, incidentally, is appearing at these latter concerts. Sir Thomas Beecham is down also to conduct the Philadelphia and the Boston Symphony Orchestras. The Eev. Williams Anthony, representing tho Baptist Church in the

United States, has very favourab]y_ reviewed Cecil B. de Mille 'aTnte'rpre-ia. tion of the Life of Christ, "The King of Kings." He says: "The King of Kings" I regard as ono of the most remarkable films ever produced. In scenic effects it mechanically and artistically causes wonder and gives satisfaction. But its outstanding and striking worth lies on the field of history and religion. It graphically delineates historic customs and conditions, so that the one who sees it receives correct impressions of the people, the garb, the traits of character, and even the mental conceptions of Palestine two thousand years ago. The interest of the spectator is sustained throughout, indeed at times becomes so intense as to be almost painful. The delineation of Christ is excellently well given. He is thoroughly human, yet suggests mystery, reserve, resource. Ho lights up with understanding and sympathy. Particularly revealing are his relations with little children. The Crucifixion and the

Resurrection scenes, dreaded in antici-. pation, become gripping, almost too gripping at times in their realism, yetu theirs is no shock to pious and reverent susceptibilities. The artists connected with the filming and production of this picture have achieved a remarkable success." That remarkable production, "The Exploits of the Emdem," which is to be released in New Zealand, has been teiaiod a Naval epic. Made under the aegis of the German Admiralty, the film has been very favourably reviewed in the English papers. "The Daily Express" has this to say, after reviewing this thrilling production—"The Exploits of the Emdem" is a naval "beau geste." The producers make no effort to minimise the terrible punishment which fell on the Emdem. . . All the acting is excellent, and the cumulative effect of the Emdem's punishment is terrific. It is a superb sea drama, remarkable for its thrills as well as truth." "The Daily Guardian" also

publishes very favourable :comment«:, "A picture to Bee, because it records very brilliantly the amazing adventures of the German raider and German sailor, Captain Karl yon Muller. "The Exploits of the Emdem" contains nothing which British audiences should resent. "The Gorilla," the mystery-thriller from the famous stage play now being shown in Australia, has Charlie Murray in the leading role. It is an ideal picture for Charlie Murray who has been cast as the famous "Mulligan" in the play, and the comedy situations and laughable twists in its eccentric plot get the fullest exposition from the remarkable work of the leading players. Most of the humour is provided by Mulligan and Ganity, (Fred Kelsey) the two dumb detectives, who endeavour to solve the mystery of the man-killing mystery-demon gorilla. Naturally, this cannot be done, until the principals are involved in sequences that are both hair-raising and humorous, a very

entertaining combination. In the tMKh for the killer, doors open and' iSni, persons suddenly vanish, strange nois jS are heard, and lights go out and on, without warning. Garrity is always 100-king for Mulligan and Mulligan is always looking for Garrity, ana when the gorilla is found on the premises, things only begin, to move. "His Lady," starring John Barrymore, supported by Dolores Costello and a notable, cast, to be xeleased this year. This is a screen veniion of Abbe Prevost's story of the day« when Louis XV. ruled France. The costumes ate replicas of originals loaned by the French Government. Historically correct settings of ancient Paris, the King's Court at 'Versailles, itreeti, pastoral scenes and sequences on the prison ship, and during the mutiny of the crew, and many others, are wondersl of photograpHy.