PALACE THEATRE.

Gisborne Times, Volume LXVII, Issue 10565, 19 April 1928, Page 6

PALACE THEATRE.

THE MUSIC M A STOP

Nothing con let show the versatility Allan Bwal?* more efl'oetiveiy than his ability to go from the modern jazz tempo of his former procluct'ons, to the subtle and stately melody of ••The Music Muster,” which opens at the matinee to-day at the Palace. The story is laid in. the New York of 1900, and is chiefly concerned with Anton Von Banvig, a lovable old musician who gave up a milliant career in Vienna to conic to Amcricn in search of his wife, who ran away with a man who had been li s friend, and taken with her li s baby daughter. For nineteen years he continued the search, selling, in the meantime, all his precious mementos of happier days to pay detectives. At the time the story opens, he is living in a cheap boarding house playing in an orchestra. Then he meets his daughter, who has been brought up in luxury by the man who betrayed him, find is? about to marry into one of New York’s most distinguished families. He goes to her home to give her pano lessons and hears her tell of her life, and.el hoi- mother who has died. But lie does not let her know who he is because he is afraid of spoiling her chance for happiness. There is infinite sadness in the theme, and Alee Francis in the r.oje of the lonely Aid mail has done a beautiful piece of work. Lois Moran, ns the daughter, is no Jess perfectlv east, and Neil Hamilton, Norman Trevor, Charles •• Lane • and Kathleen Kerrigan provide excellent support. The climax is reached when the real father and the. foster father meet and clash with all the accumulated bitterness of the years between them.