ENTERTAINMENTS.

Hawke's Bay Tribune, Volume VI, Issue 355, 15 February 1917, Page 3

ENTERTAINMENTS.

23rd. MONTHLY SHILLING FOIL In spite of the fact that the long expected drawing of the Wounded f und Art Union win not take place at the patriotic entertainment to-morrow night, the programme will compensate for any disappointment felt, on that score. The orchestra under -Mr !’■ Tombs will render two overtunes, and also accompany a monologue “Men in Khaki’’ for the chorus oi which Mrs Betts has arranged a ballet oi twelve dancers. Miss Madge Higgins, of Napier/ will give two songs, jWr A. E. Renoui will contribute one oi his delightful humourous recitations; and Air fvia Ratan, a young native with a fine tenor voice, will sing twice, accompanied by Mrs. Morrie Wood with a violin obligato by Madame le Lievre. Mr. Wilkinson is to give a trumpet solo, with accompaniment by Madame le Lievre (violin). Mr. Don (hute), and Air. Tombs (piano). The Misses Zeta Wellwood and Gwen Haise wi.l contribute a “Pierrot Dance,” directed by Mrs. Betts, and Air. Bert Liddell oi We.lington, has very kindly consented at the last moment, to s.tep into the breach with two musical monologues. Mr. and Airs. Harry Avery’s ragtime interlude is always a bright and welcome addition to* these programmes, and for to-morrow night they have some new songs—though probably the audience will insist on hearing some oi the old favourites as usual. With this programme, it is a foregone conclusion that no one will wish to avail themselves of the organisers’ offer to return booking money in cases where the bookers wished only to witness the drawing of the art union. Unless anyone has done so this morning. The bo* plan is full. GEORGE WILLOUGHBY’S MUSIC AL FARCE COMPANY IN •WHAT HAPPENED TO .MINES.” A vounger generation of theatregoers, hunting about in its mental archives for memories of “good old plays,” is very apt to find among the first handful prominent, reference to “What Happened to Jones,” labelled farce. “What Happened to Jones,” will be produced on Monday next, the 19th February, at the Alunicipal Theatre. Hastings, by George Willoughby’s new musical farce company, with George Willoughby in his original character of “Jones.*” “What happens to everybody except Jones” really describes the* farcical course of the .story. Tinfirst cause of mirth and mischief is young Richard Heatherly, who coaxes the feeble man of science, Prof. Ebenezer Goodly, to a prize fight, urging that, as a lecturer on anatomy he ought to observe the muscrular system in al! its glory. When the boxing club is raided by the police the professor achieves a star acrobatic descent down the water spout, followed by young Heatherley and a stranger—the audacious Jolies- —and they all reach the professor’s home, much bruised and a.most in rags. Thereafter the star oi the all dominating Jones shapes the destinies of the Goodly household in an astonishing way. George Willoughby will resume his original character oi “Jones” and will be supported entirely by a new company, which includes some oi the best-known English and American artists. 'Die latest musical mumbeis and dames ire cunningly interwoven into the production, which to date has achieved an unqualified success wherever staged. On Tuesday next 20th February, the last night of ■ the season another celebrated farcecomedv “VVhv bnuth Left Home,’’will be staged. This (.like “Jones”) is interspersed with musical and dance numbers. Popular prices will be charged. The box plans are on view at Hahs.

J. C. WILLIAMSON’S DRAMATIC COY. IN “DAMAGED GOODS.”

The propagandist play to be presented at the Alunicipal Theatre, Hastings, on Wednesday evening next, is described as a most courageous blow at one of the worst enemies of humanity, and if it achieves the palpable purpose of its author, M. Eugene Brieux, a great public good will have been accomplished. Irrespective of its subjectmatter. “Damaged Goods” reveals itself as an excellent piece of stagecraft. Brieux proves to be a master of dramatic situations to a degree reminiscent of the best classic models. He develops his theme towards a climax that is positively startling in the manner in which it conveys the sense of the inevitable, and he avoids throughout the pitfalls into which the average dramatist would have fallen most readily. Writing of the production in Sydney, Geo. Black, Chief Secretary, says: “The wor.d moves. Two years ago no Australian management would have seriously considered the presentation of “Damaged Goods.” Even at a later date its production would probably have been prohibited. To read this play was a liberal education. To see it as staged by the J. C. AVilliamson Co. its a luminous revelation. Now that it has emerged from the seclusion of the study to the publicity of the theatre, the day approaches when its message shall be trumpeted from the house-1 tops. On its speedy and wide acceptance as a new arangel depends the future of our race.” The Rev. Walters of Sydney writes: “It may tear the mask of prudery from the face of vice and show the evil for what it really is, and the possible path to virtue, honesty and sincerity. A powerful play, delicately hand.ed.” The performance, it is stated is marked by restraint and propel - authority. The spirit of the interpretation is well preserved, and. the frankness of Brieux’s words imposes a severe discipline of dignity and candour which must not tor a moment be relaxed. Air. Lewis Willoughby conveys in convincing style a sense of the fear and horror wnicn grips his soul in; the realisation of the disease lie has contracted. The condition of irresponsible nervousness and distress, frantic impetuosity of conduct and speech arcsaid to be cleveriy simulated. Mr. Willoughby exhibits tragic emotionalism when confronted by the news of the baby’s illness. It is on acceptance oi the crisis that he suggests for a man who defies odd specialist who forbade marriage for three or four years, and considered that a quack doctor had cured him. Mr. Stephen E. Scanlan, as the doctor, has a heavy part which involves the delivery of long speeches and demands care lest these should develop into a measured monotone. Mr. Seaman had a fair defence, and he maintains dignified professional demeanour, which gives his lines force. Aliss Alma Rock Philips is said to be graceful and sympathetic as Henriette and Aliss Gwen Burroughs invests the part of Mme. Dupont with impressive feeling. One of the best studies in the piece is said to be that of the nurse, undertaken by Aliss Gertrude Boswell, whose acting has real dramatic force. A fine characterisation, is given by Aliss Gwen Dorise, who in a tone of ironical gaiety relates her story of the streets; and talented too is the sad. sketch of venerable defraded womanhood by Miss Josephine Ray. Others who contribute to this remarkable performance are Miss Alolly Tavlor ana Alessrs Sydney Stirling. Kenneth Brampton and J. R. Atholwood.