ENTERTAINMENTS

Nelson Evening Mail, Volume LXVI, 4 September 1934, Page 9

ENTERTAINMENTS

“THE LITTLE DAMOZEL,” MAJESTIC, WEDNESDAY

A new British and Dominions picture which will be seen at the Majestic Theatre on Wedniesdav is “The Little Damozel” —a picture which boasts not a few claims to distinction. It is directed by Herbert Wilcox and is based on the famous play by Monckton Hoffe, which was presented successfully in London and New York and before the King and Queen at Sandringham. It introduces Amia Neagle in her second star part (her first was with Henry Edwards in “The Flag Lieutenant”) which calls for the expression of an extraordinary dual personality: one —the sweet and sympathetic Anna Neagle ; the other —a light-hearted, wise-cracking, night club singer. This part, requiring as it does an exceptional range of acting ability, is quite the greatest and most exacting role Miss Neagle has yet been called upon to play. The process of star-grooming to which British and Dominions have been pledged since their inception, and in which Mr Herbert Wilcox is an expert, is excellently illustrated in the case of Anna Neagle. Mr Wilcox saw her first at the London Hippodrome when she was appearing with Jack Buchanan in “Stand Uo and Sing”— and, seeing her, realised she was . the heroine he was seeking for “Good Night, Vienna.” “Good Night, Vienna” proved to Mr Wilcox that Anna, was a potential world-beater. A contract followed. Then came “The Flag Lieutenant” and now “The Little Damozel.” In “The Little Damozel” Miss Neagle sings two songs—one by Ray Noble and one by Noel Coward —and gives original dance numbers. As a further extension of the “star-grooming” process. Miss Neagle was specially trained in singing by Anna Winn, the famous English broadcasting star, and her dances were designed for her by Buddy Bradley, C. B. Cochran’s well-known arranger, and Miss Neagle worked with him on perfecting her in terpretation of them

THEATRE ROYAL TO-MORROW “THE FIRE RAISERS”

The story of “The Fire Raisers” does not pretend to be an actual occurrence, although the theme of this clever Gau-niont-British screen play was inspired by grave irregularities recently exposed in British courts. It is first-rate drama, fast moving, splendidly mounted and brilliantly acted. From Us vivid opening, at the moment of a fire-call, with the crews manning their engines and getting them away to a big outbreak, to the climax of heroism and sacrifice on the part of the principal character, there is no slowing of the action and not a dull moment. .All tlie major parts are very effectively portrayed. Leslie Ranks makes a very convincing study of Bronton, the ambitious, somewhat shady tiro assessor who over-reaches himself and becomes involved with a crooked financier who is nothing less than a ruthless fire-raiser. Anne Grey is delightful as Arden Brent, daughter of a respectable insurance broker, who has secretly married Bronton. In her dm- i ;mafic scenes with her father she plays ' v'ith strength and a fine, restraint. A j vr’i’V effectively drawn study is that of Carol Goodlier in the part of Helen, Bronton’s secretary. Laurence Anderson as Twist, a claims investigator with

a sense of humour and a passion for straight dealing, makes the very most of an important and exacting part, while Francis Sullivan, as the villain-in-chief, is a cold, sinister scoundrel fully deserving of his sudden end at the hands of Bronton. Henry Caine and Frank Cellier sustain other major parts with themcustomaiy ability.

SYDNEY HOWARD IN “TROUBLE,” REGENT, TO-NIGHT

Never has Sydney Howard been seen to such advantage as in “Trouble,” his latest British and Dominions picture, which opens at the Regent Theatre to-night. The story is by Dudley St-ur-rock, and is a light-hearted confection written round the exploits of a pair of jewel thieves on a pleasure cruise boat. Sydney Howard appears as Horace Hollebone, a ship’s steward, whose fund of earnest- endeavour is only equalled by his capacity for making mistakes —in most of which he is aided and abetted by his friend, Steward Nobby Clark. The full begins when Hollebone turns sleuth and starts to track down the crooks by his own peculiarly eccentric methods —inspired by a hundred pounds reward and a sympathetic interest in a girl passenger who is falsely accused. Scenes of Gibraltar, Vigo, Casablanca, Lisbon and other places of pictorial interest are included in the picture. Much of the action concerns a chase through the native quarter of Tangiers, and this picturesque setting is used to full effect. A fine first half includes the latest Pathe Gazettes, two musical items, and a beautiful scenic “Summertime in Surrey.”