ENTERTAINMENTS

Manawatu Times, 25 March 1926, Page 14

ENTERTAINMENTS

“THE FARMER’S WIFE.” To-night at the Opera House J. C. Williamson Ltd., present an entirely new English company including (on noted London artists in Eden Philpott’s comedy of rustic manners, "The Farmer’s Wife." It is a play of homely wit and sparkling dialogue and the atmosphere is English to the last degree. It has been running at the Court Theatre, London, for three years and is the biggest comedy success in England since the war. One Australian critic says: "Sydney is still laughing over the rich humour provided by that clever comedy, ‘The Farmer’s Wife.’ It is the reigning attraction at the Palace. It is really full of laughs and what more does one want? A play different in type from anything previously seen here. It is one that once seen, will never be forgotten.” It is a comedy of old Devonshire, rich in locai humour and tinged hero and there with sufficient pathos to make the story worth while. "Why are old maids?" once said a guileless youth, and the answers according to the farmer in the play would seem to be legion. “Because they are too nervour to show' their feelings—because they become too independent—because they giggle—because they cannot grasp a good chance w'hen they get it.” All these answers apply to the spinsters in the play, who say "nay" to their first offer of marriage, and the sensible one of the lot is the one w'ho eventually claims the coveted title, “The Farmer’s Wife.” The company presenting the play includes many English artists who appeared in the original production in London. Prominent in a mg caste are Miss Doris Johnstone,, eventually the Farmer's Wife; Townsend Whitling, the farmer; Susan Richmond, a pernicketty old maid; Edwin Brett, as the farm hand; and clever character studies are presented by Douglas Vigors, Frances Cave, Reginald Newson, Graham Stuart,, Violet Ley, Mellie Engler, Emmallne Oxford, Arthur Greenaway and Eardley Turner. The scenery effects and music will all be typical of the atmosphere of the story, distinctly English. The box plans are at the Opera House, and judging by the booking of seats a big house will greet this company , to-night. VIRGINIA VAIiLI IN “SIEGE” AND BETTY BLYTHE IN “SOUTHERN LOVE” AT THE KOSYf Once more Virginia Valli gives a demonstration of her unusual ability and versatility as a screen actress in her role in “Siege,” the UniversalJewel attraction in which she is costarred with Eugene O’Brien, "Siege” is now showing at the Kosy Theatre. In the role of Fredericka Gage, an Intelligent, strong-willed girl of the modern type, Miss Valli presents one of the most interesting characterizations of her career, and demonstrates that she is one of the screen’s best emotional actresses. Also showing at the Kosy is a picture of outstanding Quality, a Graham Wilcox production, entitled “Southern Love.” featuring Betty Blythe. “Southaern Love” has been produced with wonderful fire, colour, and original charm. This picture has the distinction of being the first to bo sold to th e United States for a sum of 250,000 dollars, and that it contains in its cast two of the most beautiful women of Europe and America, Liane Haid, and Betty Blythe. There is an excellent supporting programme. PARAMOUNT. MARK TWAIN APPEARS IN CRUZE EPIC. STRIPLING WHO MADE OVERLAND TRIP IN 1860. Of the many noted historical characters who are portrayed in James Cruze’s spectacular western epic, “The Pony Express,” particular interest attaches to Mark Twain, the beloved American humorist. The picture, of course, shows him not as the Mark Twain of old age, but as the youthful Sam Clemens, who made a trip across* the continent by stagecoach in 1860, w'hich he describes In “Roughing It." It was during the overland trip that young Clemens got his first glimpse of a pony express rider,, and in his book ha has loft this glowing account of that memorable experience; “We had a consuming desire from the beginning to see a pony rider; but somehow or other, all that passed us and all that met us managed to streak by in the night, and we heard only a whiz and a hail, and the swift phantom of the desert was gone before we could get our heads out of the windows of (he stagecoach. But now we were expecting one along every moment and would see him in broad daylight. Presently the driver exclaims: “Here he comes! Every neck is stretched further and every eye strained wider. Away across the endless dead level of the prairie a black speck appears against the sky, and it is plain that It moves. Well I should think so! In a second it becomes a horse and rider, rising and falling, rising and falling—sweeping toward us nearer and nearer, growing more and more distinct, more and more sharply defined—nearer and still nearer, and the flutter of hoofs comes faintly to the ear—another instant, a whoop and a hurrah from our upper deck, a wave of the rider’s hands but no reply, and a man and jhorse burst past our excited faces and (go winging away like the belated 'fragments of a s*orm! | So sudden is It all, and so like a flash of unreal fancy, (hat but for a I flake of foam left quivering and perishing on a mail sack af(er the vision bad flashed by and disappeared, we i might have doubted whether we had seen any actual horse and man at all.’’ On August 23, 1923, exactly 63 years, 4 months and 27 days after the record-brteaking pony express race, the people throughout the nation were again thrilled by the announcement In the newspapers, similar in tenor to the following which appear-

ed in the San Francisco Examiner: “Pilot ends epochal trip across the United States. Thousands greet machine as it drops at Crissy Field, San Francisco, ending speedy voyage from Atlantic to Pacific. At 6.24 last evening the airplane carrying the eight bags of New York mail swooped down out of the skies and effected a safe landing upon the Marina, completing the entire journey in thirty-four hours and twenty-three minutes The average speed of the plane for the 2680mile trip was 80 miles per hour.” PARAMOUNT. “PATHS TO PARADISE” IF AST- " MOVING .COMEDY. “Paths to Paradise,” a new Paramount picture, which opens at the Paramount Theatre to-night, is fast farce comedy at its best. The film features Betty Compson and Raymond Griffith and was directed by Clarence Badger. The story concerns itself with Griffith, a d e luxe crook and Betty, a clever girl crook. The two decide on a partnership. Griffith disguised as a detective, and Betty as a maid, attend a fashionable wedding. They steal the family jewels, but are discovered and chased. Their trip to Mexico is just about the fastest, funniest jaunt that has ever been seen on the screen. Police attempt to stop them at different points along the road. Each time they manage to escape by the skin of their teeth,, or by the tails of their coats, as you will. Reaching the border line after a series of delirious adventures, they find their united consciences advise them to return the gems. Whereupon, with at least two hundred police hot on their trail, they retrace their steps. Arriving just in time to deliver the loot to its rightful owner, they are surprised by a nice cheque for what he believes Is their "honesty and bravery.” With this they start on “Paths to Paradise.” If you want to see a picture that is' different and which will provide enough laughs to last a month, don’t miss “Paths to Paradise.” “THE TIMBER WOLE.” A group of daring rider’s that’s the Jones’ family of Hollywood. There’s Buck, Mrs. Jones and their seven-year-old Maxine; everyone of them can do feats on horseback that would rival .stunt riders of th e circus. In the first place. Mrs. Jones and Buck, who before entering the movies was one of the champion dare-devil riders in the “101 Ranch” show. Now their daughter can do tricks with her Shetland pony which have made her father famous. In Buck's latest William Fox production, “The Timber Wolf,” by Jackson Gregory, to be shown alt, the Opera House beginning on Monday next, he performs some of the most thrilling feats of daring that have been shown on the screen. CORP. CASEY IN “THE IRON HORSE.” 1 As a result .of his widely praised characterisation of Corporal Casey In "The Iron Horse,” J. Farrell MacDonald, has signed a long term contract with William Fox. The veteran actor will play character roles in several new productions. Mr. MacDonald has brought to the screen a new conception of the importance of the comedy element in a big picture when entrusted to an intelligent actor. His role of “Corporal Casey,” ithe champion track laying boss of the railroad builders in “The I rou Horse' is one of the finest characterisations ever seen on the screen. His work is a faithful interpretation of the character of the original section boss of the old Union Pacific who is one of the mosit colourful characters of American pioneer days. Something of this man’s personal history should make interesting reading for motion picture fans. Versatility seems to be his most recognised quality. In addition to being a graduate of Yale’s academic and law courses, and a graduate geologist and mining engineer, he is a talented artist and had eighteen canvasses on exhibition in Los Angeles when he was playing in "The Iron Horse.” This epic of th e East and West comes to the Opera House on Monday next and the box plana for (the Palmerston season open to-morrow at the Opera House booking office. The prices arc, just the same as usual. PALACE. STRANGE ORIENTAL TYPES. MOTLEY CAST IN “HALF-WAY GIRL.” Javanese dancing gilfis, sikhs, coolies Chinese, sailors of all countries, haltcastes, “wharf rats” —in short, a sort of congress of all nations —provided th e oriental setting for “The HalfWay Girl” the First National feature which comes to the Palace Theatre to-night with Doris Kenyon and Lloyd Hughes in the featured roles. “Th 0 Half-Way Girl" Is a drama of the Orient with Its locale in Singapore and the Indian Ocean. Real natives were procured to portray the various types. For example, one scene iaj laid in the interior of a notorious Malay street cafe. There (the motion picture patrons will see real natives. The only white men and women are the principal'characters in the picture. All the others were selected according to their nationality. In this cafe Lloyd Hughes enacts one of the most stirring scenes a battle with a thieving cafe owner, and is pursued by a drink-crazed mob.