ENTERTAINMENTS.

Hawera Star, Volume XLVII, 21 October 1927, Page 2

ENTERTAINMENTS.

OPERA HOUSE, TO-NIGHT. PICTURES AND VAUDBVXLLE A special attraction has been secured for the Opera House for a two-night season commencing tonight in the novelty vaudeville act Margo Rammage and her dolls, who •tv-ill appear in conjunction, with the picture programme. This act has just completed] a long season at the Regent Theatres, Auckland and Wellington, and is one that is sure to please everybody. The picture portion of the programme will be the First National comedy drama “High Bat,” featuring Ben Lyon and Mary Brian. It is an original story by James Ashmore Oreelinan, who not only made the adaptation and prepared the- continuity, but also directed tiie picture. iiicKtentaily, “High Hat” was Mr Ureehnan’s first directorial achievement, a,nd, according to all accounts, a most noteworthy start in this field for tiie young scenarist, wiio was largeiy responsible for the foundation of the EUni Guild and who for two years was associated with John Emerson and Anita Loss as a writer. There is an excellent supporting programme. The vaudeville act will he presented at the matinee to-morrow and children should' not miss this interesting novelty act.

A THRILLING DRAMA. “THE GHOST TRAIN.” Even to those who believe in ghosts a phantom train must sound as impossible as the wraith of a tramcar. \\ ith a similar belief most of the audiences at the presentation of “The Ghost Train,” the mystery comedy-drama to be presented at the Opera House, Hawera, for one night only on Wednesday next by J. C. Williamson, Ltd., by special arrangement with Mr. E. J. Carroll, are naturally sceptical when the stationmaster tells some stranded passengers at a lonely railway station the gruesome story of a railway smash and its ghostly recurrence. But things begin to happen—uncanny things. There is a mysterious death, and a still more mysterious disappearance of the body. So tense becomes the atmosphere that there is a, real relief in the laughter so opportunely provided by the author._ There are many strange happenings in “The Ghost Train.” The plot is said to be a daring one, and the development worked out subtly and cleverly. The second act provides a most realistic scene —the passing of the ghost train. It is described as a triumph of stage mechanism and effect, and has gained for the producer (Mr. Hugh Wright), and his associates, the highest praise. The climax of the play is materialistic enough, hut none the less unexpected and startling. The acting is of the highest dramatic standard, it is said, and in this connection the work of the famous London artists (Misses Betty Ross-Clarke and Laura Smithson and Messrs. Hugh Wright and Basil Radford) stands out. Character impersonations are also given hy Misses Jean Bailey and Mary Rigby, Messrs. Mayne Lynton, Roger Barry, Leslie Palmer. Edward Warwick, and Reginald Roberts. The incidental music its quite impressive.

ALEXANDER WATSON. A MASTER OF ELOCUTION. The gift of being able to live the part of each of the characters he presents, to bring out to the full the houmour, the pathos and the tragedy in the selected works, an artist in facial expression, and a master of elocution —Alexander Watson is able to hold an audience in the tensest interest, to make them laugh at will and to appreciate all the points he wishes to make, and so to feel at the end of the recital that they are loth to let him go and would fain have more. This was amply demonstrated last night, when the accomplished elocutionist kept a large audience absolutely enthralled as lie j with the touch of the master, showed his remarkable versatility in a programme of numbers of the most diverse and contrasted styles. Withal he has so natural and easy a manner, and brings out the most powerful character sketch or dramatic incident without the slightest effort, and lie is able, too, to depict in the same number several markedly different characters, each of which is a real study in itself.

His choice of authors was such as to give him scope to display his utmost ability, and in each he showed this in full measure. From Shakespeare and Dickens, master dramatist and novelist, he went to Kipling, Barrie, and then to the stirring ballad of Masefield, to the tenderness of Whitcomb Riley and A. A. Milne.

The quarrel of the Montagues and Capulets, with the street lighting that resulted in the death of Mercutio and Tybalt, was a vivid and forceful portrayal of the well-known scene from “Romeo and Juliet.” The changing emotions and the deep tragedy with which the scene ends were brought out with great force and skill. Then came the inimitable humour of Dickens, as the artist pictured the unfortunate Mr. Winkle, who always had a penchant for getting into a misadventure. It was a very fine picture from the great master of character sketches.

Kipling followed, the selection being a typical choice of the best l of his lighted works, mostly Barrack Room Ballads.

Mr. Watson’s sketch from Barrie’s “Little Minister,” the broad Scotch accent being very well spoken and the humour of the excerpt froip the great Scotch writer serving to provide much amusement.

Masefield was represented by three poems, each with a. truly nautical smack —“Cape St. Vincent,” “Cargoes,” and “Bill’s Ghost” —and then the artist changed without effort to the presentation of “The Elf Child” (Riley), a very pretty piece of work and charmingly delivered. He concluded with a dainty selection from Milne, “When we were very young,” the last of an excellent series i'ii an artistic performance that delighted every listener. Mr. Watson was given an enthusiastic reception, and the audience signified their cordial approval in no uncertain manner. The recital was a literary treat which will live long in the memory of all.