ENTERTAINMENTS

New Zealand Times, Volume XLIX, Issue 11294, 21 August 1922, Page 3

ENTERTAINMENTS

“BOUGHT ANB PAID FOR” AT GRAND OPERA HOUSE. MISS NELLIE BRAMLEY’S BRILLIANT ACHIEVEMENT. Miss Nellie Bramley and her dramatic company have, given proof of their rare capacity and versatility in the two plays already staged at the Grand Opera House, but if :t complete estimate of their talent is to be gained one must witness theii* performance of George Broadhurst’s famous American play, “Bought and Paid For,” which was intr<xbmed cm Saturday night before a pmfjrcu audience. ‘ ‘Bought and Paid For,” presented looally some years ago, although :«.n American play, knows no geography; its theme belongs to every country, and its message is unassailable bv time. It balances the moral semhbilities of the married state against i.ts legal obligations, ft shows how the idealistic instinct of the female party to the marriage contract demands mcn-e than the mere legal bond to justify its recognition. “Bought and Paidl For” is an unequivocal appeal to the greatness of human nature and to a just consideration of the transcending of the ethical rights between husband and wife. The Nellie Bramley Company interpreted the drama with an individual artistic expression that made the characters living and vigorous, bo that the play appeared a serious and?, consistent presentation of life. In Robert Stafford, the self-made milflianaire, one sees a man that tbxougjh intellectual alertness and the prompt use of opportunities, has become a domineering figure in the financial world. Too busy in liis fight for fortune, Stafford has not had time to think of; matrimony. He is a lonely figure having all that wealth can furnish but the tender love and companionship of a wife—someone that would convert an elaborately equipped though meaningless suite of apartments into that indefinably comforting haven—a home. Stafford meets Virginia. Blaine, an hotel telephone girlj and becomes attracted- by her. Virginia is a girl of innate delicaoy of sentiment and refinement which remove the inequalties of their respective social positions. Beneath the veneer of worldliness Stafford possesses a nobilty of disposition that, when revealed to Virginia, captures her regard and ultimately her love. The millionaire, accustomed to winout, wastes little time in the conventionalities of wooing, and, proclaiming his love te Virginia, receives her consent to their marriage. After the wedding Stafford, with characteristic magnanimity, bestows a highly-paid position upon the empty-headed shipping clerk, James Gilley, suitor of Fanny, Virginia’s sister, thus enabling tne young couple to marry and live in comparative affluence. Two years elapse and then there is a development in Stafford’s habits that overshadows Virginia’s happiness. He cornea home inebriated, and, although at first in a genial mood, soon exhibits another side to his character. From the fond and generous husband he is changed into an unfeeling brute. Virginia, shocked by the transformation, can no longer regard him as the man she had loved and married, but as an entity that is strange and abhorrent to her. Inflamed with drink, he insists on inflicting his attentions upon her, and when she repels him he flings the taunt in her face that she is “.bought and paid for.” Horrified by Stafford’s behaviour and deeply *wounded by the insult, Virginia flees to her room. Stafford, now thoroughly enraged, shatters the panel of the door and forces his way into the room. In the morning Stafford is sincerely contrite and offers his abject apologies to Vir r ginia. She insists, however, that unless he promises to abstain from drink altogether she will quit his house. Unused to anyone issuing on ultimaImm to him, Stafford declines to accede to her demand. • Though loving his wife devotedly his pride will not permit him to unbend, so he lets Virginia depart. Stafford, however, telephones to a detective agency to depute a man to shadow and protect Virginia. The irresponsible James, having exchanged angry words with Stafford over Virginia, finds himself compelled to go back to his former vocation as a shipping clerk on scanty wages. Virginia obtains employment as a shop hand and joins her sister and James in their humble flat. The trio suffer hardships and worries until James, with unexpected resourcefulness, contrives by a ruse to bring Stafford and Virginia together. The couple effect a happy reconciliation and the fortunes of all are restored. Though the demands on her histrionic talents were heavy, Miss Nellie Bramley, as Virginia, rose to an. eminence of dramatic portrayal which was completely triumphant. The ineffable sweetness of Virginia’s nature was delicately represented by Miss Bramley whose own charming personality was skilfully and completely identified with the part. She was extremely powerful and strikingly tragic in the passionate scene in which the wife repudiates her drunken husband’s claim that ebe bad heen bought, and paid for, body and soul. AI! through Miss Bramley imparted an air of distinction _ to her anting that marks the true artist. As Robert Stafford, the millionaire-hus-band, Mr Guy Hastings eclipsed even his previous performances. It was required Of Mr Hastings to impersonate a normal, sensible man of generous and likeable attributes, and then, in contrast, a drink-brutalised oad. The transition was in every sense a remarkable achievement, Mr Hastings being faithfully convincing in both phases of the role. (Miss Ethel Baelhford was charmingly sympathetic as Virginia’s sister, Fanny, and piquantly blunt as wife of James Gilley. The character of tile shallow, and somewhat despicable, though droll, James Gilley was capably delineated by Mr George Hewlett. Miss Biddy Hawthorne proved admirable as Josephine, the French, maid, and Mr William McGowan made on amusingly obsequious Oku, Stafford’s Japanese butler. The staging of the play reflected every credit upon the producer, Mr Thomas E. Foster. Miss Bramley’s dresses were lavishly stylish and most becoming to her. “Bought and Raid For” will he repeated for throe more nights, the season then concluding. ORGAN RECITAL A FINE PROGRAMME. The organ recital, given at the Town Hall yesterday afternoon, was as great a success as all Mr Bernard F. page’s organ recitals usually are. For the occasion the popular Wellington city organist chose the following items, thus producing an exceptionally interesting and well-balanoed programme :—Sonatina in A minor, Karg-Ellert (by ■ request) ; Intermezzo from Suite for Orchestra, Op. 43 (Tohaikovroky); Fantasia and Fuguo in A minor (Bach) ; Summer Sketches (Lemare); Toccata in F (Cesar Franck). There was a fairly large audience, the dull weather and the threatening rain no doubt deciding numerous persons to take advant-

age of a high-class indoor treat instead of braying the unpropitious elements. Considerable pleasure was given by the masterly manner in which these item» from the classics were treated by the organist. Tho admission was, as usual, free, all contributions being entirely at the option of the persons attending. “THE BOY’* SENSATIONAL MUSICAL COMEDY. The box plans for the first six nights of “The Boy” will be opened at The Bristol Piano Co. this morning at 9 o’clock. Writes the Sydney ‘Sun’’:--“The musical attraction proved one of the most enjoyable events of the year, and amongst the coming events of 1922 will not. be easily rivalled either for the vivid characterisation of the acting the spontaneous and persistent nature of the laughter it caused. Nor was it senseless laughter. There was good reason for it in the ingenuity with which the essential qualities of Pinero’s memorable farce of the middle ’eighties had been revived in musioal form as “The Boy.” On so richly farcical a theme there was found time for quite as much music as usual, and its gaiety and the refinement of the scoring were all to the credit of Lionel Monckton and Howard Talbot. The solo singing mostly represented effort of a liigli class, and Ihe choruses were admirably strong and confident. The dancing of the artists ‘in character’ was a great feature in the production, which lorms a triumph for the Royal Comic Opera Company.” “The Boy,” an adaptation of Pinero’s farce, “The Magistrate,” over which many an audience has laughed heartily, is a well-balanced production, making its first appearance at the Opera House on Thursday next. The play itself is excellent. Singing and acting, chorus ' work and ballets are all very fine, while the dressing and decorations are lavish. The story turns upon the well-known penchant of women to underrate their ages. The fame of “The Boy>” has preceded it. Everybody knows that for over two years it has held its own as London’6 greatest musical comedy success. Its snap and sparkle, uproariously funny situations, ear-haunting melodies, and captivating atmosphere generally have drawn many thousands of delighted playgoers to the Adelphi Theatre. An exceptional company cast will include Messrs Arthur Stigant as “Mr Meebles,” W. S. Percy, Anew McMaster, Robert Chisholm, Edmond Sherras, Alex McPherson, Misseß Rosie Le Varde, Mione Stewart, Jessie Sherwood, Nellie Payne and Shie’a Gale.

A MAGNIFICENT PICTURE

KING’S THEATRE—“PEACOCK ALLEY.” The programme now running at the King’s Theatre is no exception to the fine standard set by this house, which seems to have a most decided knack of being able to select just what is best likely to please its discriminating patrons. Beginning with the usual “Latest Topical News” budget, which gives in pictured pillule form the chief events of interest, a Snub Pollard comedy, entitled “Loose Change,” provides plenty of fun in its varied silliness, and this is followed by “Balling a Junk” (Chester Outing), which is in every respect equal to anything of the like class shown in town for some time. The chief picture of the evening is, of course, “Peacock Alley,” a gilded romance of fashion and business, and certainly one of the most delightful films shown in a very long time. It presents the beautiful and dazzling Mae Murray in what is undoubtedly one of the finest portrayals she has ever given; and no expense has been spared to reproduce, with lavish magnificence, the plot and scenario based on one of Ouida’s most famous stories. The film really unwinds the romance of a lovely Parisian danseuse, who weds' an American youth of the usual bappy-go-iucky, mediocre type; and it may be easily imagined how the bride’s extravagant and Bohemian ways stir up the small-town gossip and excite thp unfavourable comment of her husband’s middle-class relations, when he is foolish enough to take her home to the family roof-tree. Scandal and unpleasantness are very mild words indeed to express the warmth of feeling that is stirred up, and which makes it necessary for the young people to betake themselves to the huge city of New York to find there a source of permanent revenue. Exceedingly well told, with plenty of fine, dramatic movement, the tale goes merrily along, showing Eow, eventually, Cleo, with her suppleness and physical beauty, added, of course, to her more spiritual, qualities, climbs the pinnacle to success and wealth. The film is a very striking one in several respects, for the cos tumes portrayed make it of much more than ordinary interest to the woman who loves to see fihe raiment. The costuming of the actresses in the production is lavish in the extreme, and the cost of production must have run into very high figures, so gorgeous are the scenic settings, so unstinted the attendant expense. Apart altogether from the pictorial side of the entertainment, one has always excellent worth at the King’s, where the grand orchestra, under the conductorship of Mr L. D. Austin, has become proverbial for its very fine musical items. The “Tampire March” (Barvalle) is particularly worth mention, this overture being a lovely number. PARAMOUNT AND ARTCRAFT “FOUR HORSEMEN OF THE APOCALYPSE.” Many thousands have already paid admission at the Paramount and Artcraft'Theatres to witness the screening of the wonderful spectacular film production, “The Four Horsemen of the Apocalypse.” The attractive powers of this picture, however, still show no signs of being on the wane, for crowded attendances were again recorded at bot htheatres on Satuiday. In this remarkable film there are stupendous settings and a multitude of performers. Tho plot is laid mainly in France, but opens in the Argentine. There is the gaiety of the Parisian tango palace, the fevered rush of the mobilisation Eoenes at tho outbreak of tlio war, tho cluttered retreat of the refugees, the seemingly endless masses of German troopaqxxuring towards Paris, the bombardment and destruction of a village and a chateau on the Marne, tho terrific horror and fascination of an. infantry attack from the trenches into No Man’s Land. And through it all is the uncannv vision of St. John, picturing the Four Horsemen —Conquest, War, Famine, and Death. The highest honours are carried off by Rudolph Valentine, a young Italian. Alice Terry is seen as Marguerite, the lovesiok wife. For the remainder of the season special school holiday matinees will be given daily at Paramount, commencing at 2.15 p.m. The orchestra provides special music. For Chronic Chest Complaints, Woods’ Great Peppermint Cure.

HIS MAJESTY’S FINE NEW PROGRAMME TONIGHT. In the new programme to be submitted by the Fuller management at His Majesty’s Theatre this evening there will be much to interest and delight vaudeville enthusiasts. Prominent amongst the newcomers are the Milton Brothers, who Have recently arrived from England under engagement to the Fuller circuit. These artists maae tlieir first appearance on Saturday evening, and, tor genuine comedy and hair-raising skating, they would be hard to beat. Wellington has never seen such hard bumps and clever falls. Carlton and Roslyn were here some twelve months ago, and their reappearance will be pleasing to vaudeville patrons. A northern exchange says thattheir act is quite new, and that they fihow wonderful improvement since their last appearance in New Zealand. A very refined musical comedy act was that presented by Linden and Bcrridge upon their first appearance here last week. Their new programme for this evening is to include some new and original 6ong numbers that are sure to please. Signor and Signora Molinari, now in their fifth week, and immensely popular, have arranged a fine selection of vocal numbers for this evening’s performance. Entire changes are to be submitted by Delavalc and Vockler, Babs Pacey, Yorke Gray, and George Dean. THE STRAND A DOUBLE FEATURE BILL. The current programme at the Strand Theatre embodies two “feature” films'! The first, “Passers-by ,” is from the play of C. Haddon Chambers, with Herbert Rawlinson in the central role. According to the plot, Peter Waverton and Margaret Summers, governess in the home of the former’s 6ister, Lady Hurley, fall in love with each other. It is Lady Hurley’s deeire that her ward, Beatrice Da in tor, and her brother shall be married to each other. 1 Peter, however, prefers Margaret, so that Lady Hurley determines to interfere. Although Margaret is turned out of the house by Lady Hurley a'nT! she is lost to Peter for some years, they eventually become reunited. The second “feature” is “Polly of the Follies,” a delightfully entertaining production, with Constance Talmadge os the heroine. Polly is a household drudge in tho home of her old uncle, Silas Meaoham, who has an abhorrence for motion pictnres. Old Meacham upbraids Polly, when he catches her acting in a photo-play, but she is shielded by Bob, a young society man who has eloped with Alysia, a young lady who belongs to his “set.” Bob induces Polly to run away to New York, where she joins Ziegfried’s Follies. Her first appearance is a fiasco, owing to her nervousness, but Alysia take 3 her place and achieves a great success. Polly, however, finds solace in accepting Bob’s offer to marry her, and Alysia Is content to seek further fame on the stage. There are excellent supporting subjects. QUEEN'S THEATRE “MAN TD TTAN.” Harry Carey plays the leading role in the “feature” film, “Man to Man,” which is appearing at the head of the current programme at the Queen’s Theatre. The central figure is Steve Packard, who, suffering under the stigma of “gaolbird,” returns to America from Tahiti to retrieve bis character. As the result of a quarrel over a lease, Steve’s enemy stampedes the former’s cattle. Hearing of the approaching stampede, however, Steve and his girl friend, Terry Temple, ride out to meet the cattle, and Terry starts a bush-fire to bead off the stampeding steers. She is trapped between the stampede and the fire, and how she is saved by Steve’s heroism is remarkably well shown in the picture. The supports are also particularly good, and include a further chapter of “Winners of the West,” a Century comedy, and the latest budget of topicalities. A specially selected musical programme will be rendered nightly by the Queen’s orchestra, under Mr A. H. Jerome.