AMUSEMENTS.

Lyttelton Times, Volume CXV, Issue 16744, 28 December 1914, Page 4

AMUSEMENTS.

OPERA HOUSE. "THE CLIMAX." Many questions are suggested by " The Climax." There ore nt least two propounded by the author and answered, and a third is provoked by the production. Let the ln.st be considered first: Should the logic and swoct rea- ( sonableness of a play bo interrupted; and injured to meet a supposed public demand P To answer the question is to dissect tho play, with its questions nnd its production; the whole subject is introduced for discussion. " The Climax" was written four years ago by Edward liocko and the author started out to decide whether or not a woman should sacrifice a grand opera career for tho lovo of a man, whether domestic happiness was a consummation to bo wished more devoutly than the triumphal ascendency of the opera, with its crochetty critics and quavering stability. Of course, the cynic of America, whore thero are Nevada divorce laws and impertinently curious newspapers might ascribe the same crochets and quavers to marital life, but consideration of that aspect of tho case could lead only to a sociological digression and not a direct criticism of tho play. Tho author in his play shelves tho main question during the greater part of the action in order to propound «iid answer another proposition: Can suggestive force deprive a subject ot vocal power? Written at a timo when ''mental suggestion " was fashionable in American drama, just as political corruption, financial crime and white slavery subsequently became tho rage, it is easily understood that this use of psychic influence is an effectivo means to the end. j Briefly, tho story of the play is that Dr John Raymond is in love with Ad*Una Von Hagen, the daughter of a great singer who deserted the stage to live in married misery in a narrow- ■ minded country community. Adelina has gone to New York to study with I Luigi Golfanti, an elderly retired grand opera star with whom she resides. Golfanti's son, Pietro, an embryonic genius —that is to say a young man fillet! with sensitive bad temper and taut emotionalism—lives with them and loves tho beautiful Adelina to distrac-; tion. These three confidently look forward to Adelina's triumph on the operatic fttage, but Dr Raymond hates tho theatre, considering it n sink of iniquity. An organic fault, likely to prejudice the singer's ultimate success. has been discovered and an operation is performed. Dr Raymond, seeing nis opportunity to terminate Adelina's stage aspirations and thus secure her for his wifo; makes her believe by mental suggestion that tho operation has failed and that her voice is ruined. His plan works admirably until tho day of his wedding, when Adelina by mero chance discovers that she can sing, and an exclamation surprised from tho doctor discloses his deception. It is then that tho original proposition is considered seriously. Adelina decides te seek domestic happiness—but not until she has shown to her cynical lover it is possible to succeed on the stage,' without tarnishing her reputation, although the audience shrewdly supposes —if it supposes anything—that her marriage in deferred merely that she may tasto the •'oys of operatic triumph. In this way tho author gives an equivocal answer, compromising with the 1.5soe, but in his serious little comedy he has given a delicate drama of New Yrafc studio life written with considerable skill, and embellished with many momenta of genial v irresistible humour. l&!!»r,* are but four characters in tho play and the 3cone never moves from Golfanti's studio. It is essential, therefore, that the characterisation and atmosphere must be preserved if the drama is to succeed legitimately. In the production given at the Opera House on Saturday night by Miss Florence Young and her companions, however, success was bought at a heavy price. Sis songs were scattered about tho play and led to disillusionising incongruities. It is difficult to imagine, for instance, ft surgeon, who hates singing, interpreting songs like a comic opera tenor, just as it is disconcerting to seo Golfanti, the great artist, tolerating at 0110 stage and at another even singing the jingles which grace or disgrace the vaudeville stage, according to the opinions of the hearers. The mero fact that the music master's own song betrays in him a brief knowledge of tune was an insignificant detail to those who do not follow the play seriously, hut it was npparent. Tho second act of the drama, where there were no interruptions for songs, was easily the best. 'The acting was better and the scene most conclusive, and its firm grip 011 the audience suggested that, after all, the play might succeed as well without the introduced assistance. Taking tho acting generally, it was fairly good. Mr Claudb Bantock as Luigi Golfanti was revealed as a charactor actor of more ability than could have been suspected. Throughout the play he never lost his grip on the character, and his work had the advantage of reserve. Its one weakening was in the anachronistic ' Who Paid the Rent for Mrs Rip Van Winkle when Rip Van Winkle was Away?" a grave innuendo in respect of the venerablo grasswidow in a venerable legend. Mr Edmund Sherras was excellent as Pietro Golfanti, the young composer with inflammatory nerves, and to him was due a groat deal of the retention of the truo atmosphere of tho play. It was a capital character study. Miss Florence Young, whose powerful voice has never failed to secure her brimming measures of applause, was uneven as Adelina. In the comedv she was at her best, and she weakened perceptibly in the emotional scenes. Her gestures and conversation, too, seemed to bo more for I the audience than for the characters around her. Miss Young made the I " Song of the Soul" a big number, and ! it was enthusiastically received, as were

her other songs. Like her, Mr Reginald Roberts as Dr Raymond played too much to thq fourth wall, and his best work was in the comedy scenes. In the emotional scenes ho was not convincing, but his singing, especially in tho duet, "My Little Gray Home in tho West," was particularly pleasing. The mounting and the stage direction were excellent, and' the play could not miss success, "Tho Climax" will bo repeated tonight. "SILENCE OF DEAN MATTLAND. There was a gala audience at the Theatre Royal ou Saturday night, and many would-be patrons of stalls and dress circle had to be turned away. The attraction was a pictorial dramatisation of Maxwell Gray's well-known novel, "Tho Silenco of' Dean Maitland." adapted and produced by the Australian firm of Messrs Frasor and Co., Ltd.. and presented by Mr C. MacMahon. Tho story is one of rugged strength, and it would be difficult to mention a modern novel in every way as suitable as this one for this particular purpose. It abounds in dramatic situations, is full of action, and leads to a thrilling climax. On Saturday night the audience followed the pictorial play with the keenest interest. It was noticeable that perfect stillness reigned all tho while, with the exception, of course, of the orchestra's subdued tones. The adaptation was a meritorious one, and the production must surely bo tho high-water mark as far as an Australian production is concerned. The surroundings amid which the play was acted were exceptionally fine, the prison quarries realistic to a degree, and the court scene was much more dignified than many seen in American pictorial plays. There had been great care given to the details. For instance, the writing paper used was not of the creaseless quality so largely employed by American producers. When it was folded, and later unfolded, the folds could be seen. Such details as these helped to give an air of reality- to the picture. Tho company which acted the drama did well, taken on the whole. The actresses who sustained the difficult parts of Lilian Maitland and Miss Everard had not entirely mastered the art of conveying an impression of intense emotion by means of gesture and hearing. They were both graceful and always " in the picture." The parts of the dean and his wronged friend the doctor were well acted throughout, and the Last scene, in the church, where tho dean acknowledged his guilt and the doctor's innocence, was very powerful. The idea of showing the surphced choir bovs leaving the choir was a good one, and was a picture in itself well worth seeing. The star film was supported by a well selected programme, one drama, "Tho Picket Guard, a story of the American Civil War, bringing home to the audience very forcibly the desolation and despair that war must have caused in many nomes in the Old World this Christmas. , The programme will be repeated to-night, when tickets purchased on Saturday will be available. HIS MAJESTY'S THEATRE. Tho holiday programme at His Majesty's Theatre this week is headed by a comedy in which figure the wellknown artists John Bunny, Lilian Walker and Walter Van. Lilian Walker takes the part of an irrepressible tombov, whoso pranks are encouraged by Van as a wealthy young man who wishes to be her husband. Bunny dislikes his daughter's choice, and on her eloping gives chase by means of motorboat, monoplane, hydroplane and by the utilisation of wireless telegraphy. "When Men Wear Skirts" is said to bo another comedy productive of much merriment. , The Now York Police Carnival is an exhibition of races between automobile, motor-cycle, horso and bicycle, all manned by policemen. The war topicals include the "Gazette" and a special picture of tho Canadians, showing scenes and incidents in connection with the departure of the troops from tho St Lawrence. Other pictures are two dramas, " Chief of Police " and "In Danger's Hour." FULLER'S PICTURES. The weekly change of programme to be made at the Colosseum to-night will have for its feature a pictorial adaptation of Max Pemberton's well-known dramatic story " Kronstadt," The film

is 8000 feet long and the aoting and photography are said to be excellent. The supporting pictures aro " Wireless from tho War" (topical cartoons), "Storm at Sea" (drama), "Ladies' War" and "Mabel's Latest Prank" (comedies), the latest war news from Europe per the '"' Gaumont Graphic," and a film showing the assembling and transportation of Canada's army. GRAND THEATRE. The principal item in the new programme at the Grand Theatre to-day will be the last instalment of tho kinematograph serial "Lucille Love," in which the. adventures of the heroine and tho international spy will _bo brought to a satisfactory conclusion. In addition several other pictures will be shown, including " The War and the Woman," a thrilling episode in a Red Cross, nurse's career during the war. Tho latest war news will also be shown, as well as some humorous films. QUEEN'S THEATRE. The programme at tho Queen's Theatre to-day includes what should be a /cry interesting war topical called "Canadians Rally Round the Flag." ITiis picture, which shows the transtorts and the troops going aboard at .Quebec, is . noteworthy as illustrating :he method by which tho British Navy ;ransported 35,000 men, 9000 horsey, ind 250 guns without interference or Lceidont. The supporting pictures are " The Guiding Hand," featuring Ytiguon Anderson, tho dainty Thauhouser favourite. "In the Days of '49," an entirely new war drama, "Jack Sprat as Waiter" (comedy), and the latest "Topical Budget." GLOBE THEATRE. Tho principal drama to be shown at the Globe Theatre to-day is entitled "Caprice," tho leading role in which is taken by Miss Mary Pickford. A lengthy film showing the Canadian contingent leaving the big dominion, "Sally's Elopement" (comedy), "Pedro, the Dog Charmer" (vaudeville), and "Australian Gazette" will complete the programme. SYDENHAM PICTURES. The new programme at tho Empire Theatre to-night will include as the principal attraction a comedy entitled " The Adventures of Miss Tomboy," in which the kinematograph artists' John Bunny, Lilian Walker and Walter Van I will take leading parts. The other films will comprise "The Chief of Police" (drama), "The Pathe Gazette" (late war topical), "In Danger's Hour" (drama), "New York Police Carnival" (interest) and " AVhen the Men Wear Skirts" (comedy).