ENTERTAINMENTS

Manawatu Standard, Volume L, Issue 76, 25 February 1930, Page 3

ENTERTAINMENTS

DE LUXE “TALKIES.” “THE CLIMAX.” Jean Hershoit, one of the screen’s greatest character actors, heads the cast of "Jho Climax,” the all-taking film adapted from Edward Lock’s successful play, which the’ 'Theatre de Luxe will present to-night for the last time. The supporting cast includes Kathryn Crawford, Le Roy Mason, John Reinhardt and Henri Armotta. A chorus of 200 canaries singing in a villa garden, the melody of organ and a violin, and the singing of Kathryn Crawford and John Reinhardt are noteworthy features of this, the first all-talk-ing and music picture with a foreign locale —ltaly. The programme also includes a number of entertaining short “Talkie” subjects. RENOWNED MUSIC WRITER COMPOSES SONGS FOR “SWEETIE.” Richard A. Whiting, who has to his credit such song hits as “Japanese Sandman,” “Till We Meet Again, ’ "Mammy’s Little Coal Black Rose,” “Tulip Time in Holland,” “Some Sunday Morning,” “Ain’t We Got Fun” and “Lousic,” is the composer of the complete musical score for “Sweetie,’ the Paramount dancingsinging romance revue of campus life, which opens at the Thcatro de Luxo at eight to-morrow night. Among the more popular of the ten melodies Whiting wrote for this big all-talking lilm are "Sweeter Than Sweet,” “Bear Down Pelham,” and “Alma Mammy.” George Marion, junr., wrote the lyrics for the songs as well as the story and dialogue of “Sweetie.” KOSY THEATRE. “TIIE RACING ROMEO” AND “CAPTAIN SWAGGER.” One accident marred the filming of the thrilling auto racing scenes of “The Racing Romeo,” Sam Wood's production starring Red Grange, for FBO, which is on its final screening to-night at the Rosy Theatre. Anticipating the danger accompanying the tremendous speed which the racing automobiles used in the picture would attain, Wood took all possible precautions toward reducing hazard to the dare-devil drivers who participated. Only seasoned veterans of the banked auto speedways were engaged to pilot the racing cars. Accordingly, Wood secured the services of 12 drivers whose ability had been given the supreme test in several gruelling contests, including those of the widely-known Ascot speedway. Rapidfire action with thrills galore, spectacular battle scenes, aeroplanes stunting at dizzy heights with shrapnel screaming around them, jazzy cafe nights ,superb dancing, handsome men, beautiful women, the aftermath of war when soldiers seek forgetfulness in a mad scramble for pleasure at any price. Such is a story of this realistic production, “Captain Swagger,” starring Rod La Rocque and Sue Carol. AT THE PALACE. TRIUMPH OF “DESERT SONG,” CONTINUES TWICE DAILY. Just to what extent Vitaphonc has evolutioniscd business methods in the film industry is by the arrangements mado by Warner Bros, for the presentation of “The Desert Song,” one of the most successful light musical works of recent years, as a talking and singing motion picture. Heretofore when the story of a musical comedy appealed to a producer he acquirtd he rights to trasfer it to the screen, just as he acquired the rights of any stage work. .In the finished picture of a musical work, however, all that remained was tho title and the theme song, tho latter being retained for the accompaniment of the action by the theatre orchestra. This was sufficient; it was all that could be used. This day has passed, however. In securing tho rights to “Tho Desert Song” tho Warners obtained the entire musical score and the libretto as well. In other words, they bought all the rights just as if they were to produce the musical work on the legitimate slage. "The Desert Song” now a( the Palace Theatre, in addition to a cast including John Boles, Cartolla King, Myrna Loy, Louise Fazenda, Johnny Arthur, Marie Wells, Jack Pratt, Robert E. Guzman, Otto Hoffman, Del Elliott and others, has a chorus of 100 voices. Not least among tho many beautiful scones in tho “Desert Song” as an entrancing dancing interlude entitled “Anitra’s Dance,” from Peer Gynt. ' This is interpreted by a recent arrival in Palmerston North —Miss Gwenth Maenaughton—and a true disciple of Terpischore. Her exposition of this difficult dance is all that coidd be desired and her movements are the personification of grace, charm and rhythm. MUSICAL COMEDY. FULLER COMPANY IN “LIDO LADY” The new Fuller musical comedy company had more scope in “Lido Lady,” which was staged at the Opera House last evening. There was opixrrtunity for colourful settings—the famous Lido resort is known the world over--and more vocal opportunity than in “Tangerine.” The music is by Charles Rodgers, who scored the melodies for “The Girl Friend,” and includes one number that attained popularity in the night clubs of London two or three years ago —“My Heart Stood Still.” Altogether, the English and Venetian atmospheres and the tuneful music were most refreshing, and the members of the company as attractive as in tho opening production. Misses Betty Lambert, Catherine Stewart and Vera St. John and Mr Bobbie Forbes were seen to great advantage again. The season of two nights found considerable favour with many of the local theatregoers. J. C. WILLIAMSON ATTRACTION. “THE STUDENT PRINCE” COMING. The announcement is made that J. C. Williamson Ltd’s New Musical Comedy Company is to present that delightful musical play, “The Student Prince,” at the Opera House on Wednesday, March sth. It will bo welcome news to theatregoers who patronise this form of musical entertainment, because it stands out above most musical oomedies of its class both musically and otherwise. It contains all the elements that make for success-enchanting music, powerful drama, an appealing love story with a tinge of pathos and a romantic atmosphere around “Old Heidelberg” that makes an ideal setting to tho story of the Prince who loved a maid. The story itself is strong enough without music to keep the audience entertained for two and a-half hours, but the enchanting and beautiful music by Sigmund Romberg puts “The Student Prince” on a very high standard in the comic opera world. It will be at once admitted that the story of “The Student Prince” is the story of “Old Heidelberg,” the drama which had such a successful career many years ago with Miss Nellie Stewart in the role of Kathie, the peasant maid wooed by the Prince. In the musical version of this play to be presented here on the sth March. Miss Lilian Crisp undertakes the part. Miss Crisp scored a distinct success in this role at His Majesty’s Theatre, Melbourne, when she replaced Miss Boppe De Vreis, who had returned to England. The box plans will be opened next Monday morning.