ENTERTAINMENTS

New Zealand Times, Volume L, Issue 11660, 26 October 1923, Page 2

ENTERTAINMENTS

HIS MAJESTY'S THEATRE AN EXCELLENT REVUE. The excellent bill at IT is Majesty's this week, lik* good wine, needs no bush, and was well received by a big house lust night. Some charming and graceful living-statues were posed by Marie St. George and her company. Her “Venus do Milo ’ was particularly good, and the finale —i modorimed version of “Pygmalion an l Galatea”—was marvellously well done. Eric Masters, with his fine character songs, quickly won his way to tile hearts of his audience. Claude cle Cur, “the acrobatic waiter,” evoked laughter and applause by his burlesque juggling, his clever funny business, and hi.s wonderful hand-springs, c-atherine-w heels, somersaults, and so forth. Leo. Martin, “Jazz Specialist,” showed great mastery of the silver cornet, the violin, the xylophone, the hand-bells, and last, hut by no means loast, of an instrument made up of bottles of all shapes and sizes. A number of plantation melodies were delightfully rendered by “The Jubilee Trio” (a baritoi e, a bass, and a very pleasing mezzo-soprano), whose voices blended most harmoniously together.

The seecn 1 part of the programme was a screamingly funny revue, “The Dancing Delirium,” by George Wallace's talented revue company. Tuneful music, catchy songs, gorgeous dresses, dainty dances, and rollicking fun and humour make a most excellent ensemble. The revue is at once a flood of fun, a downpour of talent, a cascade of song; and the hearty applause and laughter showed how greatly it was enjoyed by the nudionee, as appreciative as it was large. The programme will be repeated tonight and to-morrow night, while there will be a matinee to-morrow afternoon.

PRINCESS THEATRE "THE CHRISTIAN.’' The new change at the Princess tiiia week bids fair to eclipse all the previous fine bills which have been a byword at this theatre. The star feature is a Goldwyn masterpiece entitled “The Christian," and is produced by Maurice Tourneur. It 5 s adapted from the book by Hall Caine and tells how John Storm, n young Manxman in love with Glory Qtuayte, becomes a Christian Socialist and determines to live as Christ would were He on earth. Ho renounces his love, and Glory goes to London to become a nurse, later going on the stage and becoming a popular star. Storm enters a monastery, but, unable to overcome his loro for Glory, renounces his vows. Ho later establishes a mission in London and, in a religions frenzy, goes to Glory, determined to kill her. Her love for him causes him to forgo his purpose and he wanders < out into Trafalgar Square, where lie is mobbed by a crowd which has toon misled by an enemy of Storm’s into believing that he had prophesied the end of the world ..for midnight. The beauty of manv of the scenes, in composition, lightning and photography, is unique in the development of pictures and reals why Mr Tourneur is regarded as an artist in this new craft. The acting is as intelligent and effective as the direction. Richard Dix, Mae Bns?h and the other principals are bound to emerge from the screening of "The Christian-" with new acting laurels. The supports include "North of the Rio Grande" and '‘The Rubberneck.” “THEODORA” ATTRACTION AT THE EMPRESS. In his production of "Intolerance," which is still hailed as a. masterpiece of its kind, D. AV. Griffith employed scenes as true to life as it was possible under the circumstances. But the Italian film, "Theodora," has been produced with all the veracity which an Eastern can put into it, with the result that it Ui one of the greatest screen spectacles ever seen. “Stupendous" is not a too extravagant adjective for this spectacle of the splendours and horrors of Byzantium in the sixth century. Nearly four decades ago, when Sarah Bernhardt's histronic passions were at white heat, Victorien Sardou seized upon the story of the infatuation of_ the Empress of the East for the traitorous Greek Andreas, who would have slain the Emperor Justinian, and turned it into a play for her. Architecturally aloneforgetting for the moment every element of drama in it—“ Theodora" i 6 a marvel of marvels. It is as if all the glories of ancient Byzantium had been transferred untarnished to the. twentieth century. The vision which the screen presents of palaces, pavilions, gardens, broad stairways mounting to dizzy heights, frowning battlements, grim prisons, noble arches—these are remarkable. But most remarkable of all is the replica of the ancient hippodrome. The management of the terror-stricken masses is said to be the finest feat in the modern picture as yet seen. Dramatically the spectacle Teaches its pinnacle when Theodora gives poison to her imprisoned Greek lover, thinking it is a love filter. Previously she had stabbed his co-conspirator, Marcellus, lest in the agonies of the torture which awaited him he betrays her lover's name. Until now Andreas is not awaro that it is the Empress with whom he is infatuated. Rita Joiivet and Rene Manpre act the star roles. "Theodora" will be to the accompaniment of a symphony orchestra of 15 players, which it is intended to retain permanently. The box plan is at the Bristol. “BREAKING HOME TIES’ EVERYBODY’S FINE PROGRAMME. An exceptionally fine programme 19 {>romised for commencement at EveryJody's Theatre to-day. The star feature is “Breaking Home Ties," inspired by the famous song, "Eili E’iii." The story begins in the beautiful home of a happy congenial family,..so generous and kind-hearted that they take in. from the streets a penniless, starved mechanic. They accept him as one of the family, and even give him the violin that was to have brought fame to the eldest non of their home, until the Avar claimed him. Then, at the height of their happiness, came the crash. In a moment of anger and jealousy the eon committed a crime and fled from the country after many hasty and tearful good-byes. Misfortune to the parents ami success to the eon follows; they are lost to each other, though keeping up a rigorous eeuroh. Finally they meet, after the old people had gone through awful experiences through their poverty, and the fact that they were in a strange land. It is a etory of rare beauty and strength, designed to bring smiles that will turn tears into rainbows of happiness. The gtory demanded a cast of speciallychosen stars, and the characterisations are described an wonderful. The second feature is a First National production, "The Inferior Hex,” and. ct&ra Milton Silla. It is a picture that should be of tremendous interest to women especially. It is a picture dealing with love—the courting days, the honeymoon, wedded life, flirtations, divorce, in fact, all the real, throbbing problems of love affairs of real people of to-day. The onlooker will find it a romance, beautiful, fascinating, and thrilling, with a surprising climax. Ruth Roland has not by any means finished her stock of thrills, and! tliis week she will be -seen in a further, episode of "The Timber Queen" Every-; body's popular orchestra will play a! spcciully-clioscn programme of music in j keeping with this liigh-ciass programme..

STELLA POWER SEASON THE SECOND CONCERT. MOZART ANI> MANY OTHERS. The second concert of Miss Stella Vowel*, given in the 'Town Ihili last evening, revealed new qualities of charm in a singer by no means and certainly of rot a limited appeal. From brilliant coloratura work to the Mozart arias, she went through an exacting programme in the style of the singer born. Especially was her Mozart memorable. The Mozart of Miss Stella Power, indeed, is a thing of grace and light and beauty, free from the exaggerations of a false emotionalism and love of display. Her arias "Alt! Lo so” ("The Magic Flute"), the “Queen of the Night" song from the first act and "Voi Che Sapete" (“Nozze do Figaro"), Chorubino's sweet and effective lomance, were sung with the style of an artist of the first rnvik. Never did she sacrifice the purer beauty of those numbers for the sake of exhibiting a favourite note, or her perfect breath control. Slie is too fine an artist to permit such abuses. And tl\c general effect of her solos, delivered in a manner perfect in tone nzid time, was to bring before us the melodious and gi aceful Mozart of the opera* as we know the musician of the symphonies and the chamber music; tender, appealing, of remarkable beauty. So that one mig-h*- lean back in one’s chair and say —"This is singing.” There were other operatic solos given by Miss Power, the Waltz Arietta of •luliet at the Capulet Festival ("Nella Calma”), a number in which anything less than perfection is intolerable, and which was very well sung; the Mad Scene from "Lucia di Lammermoor" ("II Dolce suonoV), with its trills, cadenzas, and runs of staccato notes. The Mad Scene has its own appeal, and even to those by whom Donnizetti is not admired the swift *weej> of the soprano's fresh young voice through all its involved cadences was full of charm. It would be hard to better the technique of Miss Power as here revealed—Galli-curci couid do it; but the world has but one like , her Besides these there was Richard Hageroann’s remarkable song, "At the Well” ; * request number), which has such a striking appeal, and which the soprano sings so finely. Rimsky-Korsokoff’s perenially delightful "Chant Hindou,” and The flowing Bembenr "Chant Venitien”; another unusual song, "Autumn Eve" (Max Heinrich). Henscliel's effective "Spring” with its bird-like passages, “One Spring Morning" (Nevin), "Pierrot” (Rubner), and “A Brown Bird Singing” (Haydn Wood). Voiciferou3 rpplause after the final number on the programme compelled the return of this charming artist again and again, and she gave Gounod’s "Serenade,” "By the Water of Minnetonka" (Lieurance), and finally the traditional "Annie Laxirie." Mr William James, a pianist of fine sensibilities, played the Rachmaninoff virile "Prelude in G Minor” at a great pace, following with MacDowell’s delicate "To a Water Lily," three Debussy numbers the fine second arabesque, the provoking little "Danse de la Poupee,” and the favourite "Danse.” As an encoro lie gave Poldini's attractive little "Poupee Valsante."

Mr Harold Beck, whose tone was exceptionally good, played Pergolesi's "The Giorni Son Che Nina," "Harlequin" T’opper), the beautiful Jarnefeldt "Berceuse.,” an old friend "L’Agreable” (Marin Marais), "Guitarre” (MoskowskiBeck) and Popper's "Papillon." That fine flautist A. P. Truda lent his aid to make the Mad Scene what it was. th-3 most memorable rendering yet heard in New Zealand, and also played a delicate obligato to the Gounod "Serenade," and the Lieurance song. If there is a better flautist than Signor Truda we have yet to hear him in these parts. An audience which left no doubts as to its appreciation followed each number with delight. THIRD CONCERT TOMORROW, Two more concerts will be given in Wellington, on to-morrow and Monday nights. At to-morrow night’s concert Miss Power will sing the celebrated Bach-Gounod "Ave Maria," with grand organ and 'cello accompaniment by Mr Bernard Page and Mr Harold Beck. Miss Power will also have the assistance of Mr Bernard Page at the grand organ in Gounod's "Serenade," and Liza Lehmann's "Magdalene at Michael's Gate." The operatic numbers will include the aria "Regnava nel Silenzio,' from Donizetti’s “Lucia di Lammermoor," and the rarely-heard "Casta Diva," from Bellini's opera "Norma." Mr William James’s pianoforte solos will include a Debussy prelude, and two numbers Riccardo Pick-Mangiagalii, a young Italian compoeer, hitherto unknown to New Zealand audiences. Mr Harold Beck will contribute a number of violoncello solos, including the great Bach aria from the Suite in D, generally known as the Aria for the G string. The box plans are at the Bristol, and day sales at the Bine Bird confectionery, next the Grand Opera House. “THE TIGER’S CLAW” AT QUEEN'S THEATRE TO-DAY. Although no official time was kept on the event, it is said by observers that the record for the 220 yards dash was shattered by Jack Holt, star of "The Tiger's CJaw," a Paramount picture, which will be the feature at the Queen's Theatre, beginning to-day. The speedy dash took place during the filming of scenes of a man-to-beast fight between Mr Holt and a Bengal tiger. The big beast had been trained, but throughout the picture extreme care was used to prevent infuriating the animal. Scenes were in progress one day in which the tiger leaps towards Mr Holt, preparatory to bearing laim to the ground. By accident a stone struck the animal, and with a roar the beast turned on the trainer, who vaulted through a nearby gate and i slammed it just in time to stop the tiger as it hurtled through the air. Meanwhile Mr Holt started for the other gate, nearly 250 yards across the arena in which the scenes were being taken. When near his goal, he was seen by the tiger, who gave chase. Observers say their hearts ceased to beat as they watched the race of life and death, which Mr Holt won. Mr Holt is known as one of the nerviest stars in motion pictures and there are few things he will run from. One of the few, however, is an infuriated, 750 pound Bengal tiger, seeking fight. Other items on the programme are episode five of > the brilliantly popular chapter play, "The Social Buccaneer," starring Jack Mulhall, a Century comedy "Hold On," a Paramount-Burton Holmes travelogue, and the latest gazettes. A •beautiful musicnl programme of Eastern and other numbers will be played by the Queen’s Grand Orchestra. The box plan is at the Bristol.

DANCE RECITAL MISS KATHLEEN O'BRIEN AND PUPILS. Preparations are now complete for “A Persian Romance,” to bo presented by Miss Kathleen O’Brien and pupiU at the Opera >lou*e on Saturday night. The part: of the dancer is to be taken by Miss Kathleen and Mr Lionel Tm-t. and Miss Thelma Aitken will take the speaking parts of the Shah and his favourite wife respectively. The ballets will be gorgeously flocked, and the opening scene will be introduced with an Oriental song by Mr Bon O’Brien. A very charming cabaret seen a, witn Jimmy Athol wood as file mischievous Bell Boy and Ruby Fisher as Mile. Shimi, whoso charms cause a number of amusir.g complication*, will nUo bo a feature of tho programme. Wee babies are always favourites, and these mites will bo shown in a song ballet, entitled “Whoso Baby Are You?” Over forty children will take part in the Elizabethan scone, in which some old-fashioned and dances will ho introduced. Gueen

“THE CABARET GIRL” j BIG LONDON SUCCESS. } The return of the always popular and evei-wclcume J- C. Wiilianisou's Now Musical Comedy Company, headed by Alfred Frith, is always a theatrical event of importance. This exceptionally clever combination will appear at the Opera House on Wednesday next, in their latest and generally conceded most successful undertaking in the musical comedy line. "The 'nbaret Giri.” The elaborate scepariio (writes the “Sydney Morning Herald”) is chiefly concerned with the adventures of Flick Morgan (Madge Elliott), a cabaret girl out of a job, and. applying for one at the Bond street music firm of Grabbins and Gripps (/Alfred Frith and. Cyril Ritchard). Flick is in love with Jim Faradene (Harold B. Feorce), the nephew of Lady Harrowgate (Millie Richer), and complications arising therefrom bring in Field Fisher, as Feioosi, a music hall agent, Marie Eaton as Lily De Jigger, Cecil Kellaway as Harry Zona, and Harry Woottoa as Quibb, the piano-tuner, and many others. • The name of a new lover will be noted JAi* Harold E. Pearce was appearing on tour in the new musical comedy, “Gabrielle," when the J. C. management engaged him. There is also a new and handsome soubrette, Mabel Mimro (to play Mrs Drawbridge): a musical comedy artist with an English reputation of high standing. “The Cabaret Girl” is a new three-act play, full of good things, musical and otherwise, .the dialogue being unusually brilliant, tho joint work of P. G. \\ odehouse and George Grossmith, with fine attractive music by Jerome Kern. Tho production is notable for the return of Alfred Frith and the appearance of Madge Elliott, Cyril Ritchard, Harold Pearce, and Mabel Munro. A particularly strong company will interpret tho play, which also includes Messrs Field Fisher, Harry Wootton, Fred McKay, Cecil Kellaway, and Misses Nellie Payne, Millie Engler, Beryl Ferguson, and Marie Eaton. The box plans will be opened at the Bristol Piano Company on Monday morning next. KING’S THEATRE "TRIFLING WOMEN.” "Trifling Women,” a Reg. Ingrain production to be screened at the King's Theatre to-day, is a film of the class which the above producer is a master. It is the latest achievement of the skilful director, whose name has become synonymous with the best in tlmdom and a guarantee of exceptional screen mqrit. It equals and in some particulars surpasses his earlier efforts, and should win a high place arnorig the best of the season's photoplays. The brilliant director of "The Four Horsemen of the Apocalypse," "The Prisoner of Zenda," and other big Metro pictures is himself both author and adaptor of his latest success. This fact alone makes his vriuraph all the more complete for the etory and continuity are on a par with the production itself. In ail, it is a distinctly worthwhile photodrama, and is recommended to those who want the very best in the motion picture fare. Tho story is concerned with the fascination of Zareda, a crystal-gazer whose sirenlike fascination attracts men into her net. How she attains wealth and power through a marriage with a wealthy marquis; how she arranges his death to marry her young lover, Ivan, liow she meets a terrible end with her lover when her husband finds them together, makes a graphic and dramatic story. In tho cast are brilliant players, L'jwis Stone is seen as the Marquis Fervoni, Barbara La Marr as Zareda, Ramon Novarro as Ivan, and Edward Connelly aB Ivan's father, Baron de Maupin. Others in the cast are Pomeroy Cannon, Hughie Mack. The fine photoplay is the work of John Seitz. An excellent supporting programme lias been arranged, including snecial music from the King’s Select Orchestra under Mr L. D. Austin. The box plan is at the Bristol.