ENTERTAINMENTS

New Zealand Times, Volume L, Issue 11661, 27 October 1923, Page 2

ENTERTAINMENTS

HIS MAJESTY’S THEATRE GEORGE WALLACE! REVUE. The week’s hill at His Majesty’s again proved a great attraction last night, and the large audience were quick to appreciate the clever turns. Some daring and graceful uvingatatues were posed l>y ilar y T bt - George and her company. Her ’ Venus do Milo ’ was particularly good, and the finale—a mod-nnised version of “Pygmalion anl Galatea’’—was marvellously well done. Erie Masters, with his fine character songs, quickly won his way to tho hearts of his audience. Claude de Car “tho acrobatic waitoT,” evoked laughter and applause by his burlesque juggling, his clever funny business, and acrobatic feats. l<eo Martin, “Jazz Specialist,” showed groat mastery of the silver cornet, tho violin, the xylophone, the hand-hells, and last, but by no means least, of an instrument made up of bottles of all shapes end sizes. A number of plantation melodies were delightfully rendered hv “The Jubilee Trio” (a baxitoie, a bass, and a very pleasing mezzo-soprano), whose voices blended most harmoniously together. The second part of the programme was a soreamingly funny revue, “The Daneing Delirium,” by Georg© Wallace 6 talonted revue company. Tuneful music, catchy songs, gorgeous dresses, dainty dances, and rollioking 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 Uie hearty applauso andl laughter showed how greatly it was enjoyed by the audience, as appreciative as it was large. The programme will bo repeated tonight, while there will he a matinee this afternoon. '•THE LITTLE MELBA” STELLA POWER CONCERT TONIGHT. The programme to be presented by Mis a Stella Power at the Town Hall to-night will provide ample soopo for the remarkably diversified vocal acoompliments and interpretive gifts of this charming young singer, who has taken Wellington music, lovers by storm. The soprano’s items will range from the bravura arias of Donizotti and David; to the modern “Word Songs” of Rachmaninoff and Richard Hageman. It would bo difficult to imagino a programme calculated to apieal to a wider range of tastes in vocal music.

At to-night’s ooneert Miss Power will have the assistant of Mr Bernard Page at the grand organ in several numbers. These will include the ever-popular BachGounod “Ave Maria,” Liza Lehmann’s

“Magdalene at Michael’s Gate,” and ’'Gounod’s Serenade.” The prima donna's principal operatic aria will bo the "‘Regnava Nel Silenzio” from Donizetti’s ’■'Lucia di Lammermoor.’ A group of English songs will comprise Richard Hageman’s “Do Not Go, My Love.” “Nightfall at Sea” (Montague Phillips), and “Spring Waters" (Rachmaninoff). By special request the soprano will repeat the famous Air du Mysoli. ’’Charmant Oisoau,” from David’s opera “La Perlo du Bresil,” with flute obbligato by Signor A. P. Truda, and the ever-popular “Lo, Here the Gentle Lark. ’ Mr William James’s pianoforte numbers will be tho Debussy prelude in A minor, throe studies by Edward MacDowell, “Khodov Dance,” “To a Waterlily,” and “TJngarisch.” An interesting feature of Mr James’s programme will be the first performance in New Zealand of the Toccata and Improvisando of Ricenrdo Pick-Sfangiagalli, a young Italian composer hitherto unknown in these parts. Mr Harold Beck, tho violoncellist of the company, will ulny Popper’s Hun. t«rian Rhapsody and the celebrated Bach aria for the G string. In the latter number the ’cellist will bo accompanied by Mr Bernard Page at the organ. The final concert is announced for Monday night. The box plans will be at the Bristol until nooa to-day, an<J after 1 p.m. at the Blue Bird Confectionery, Mannors street, where day sale tickets are also available.

“THEODORA”

SENSATIONAL LOVE DRAMA AT EMPRESS THEATRE.

"Superb, magnificent, gorgeous, stupendous,” jire the only adjectives that at all fitly describe the sensational love diama, “Theodora," now being screened at the over-popular Empress Theatre. Based on the famous play, written by Victorien Sardou, thd great playwright, some forty years ago for the greatest of French actresses, the "Divine Sarah Bernhardt,” “Theodora” presents in most realistic and convincing fashion the eniondourg and horrors of sixth century Byzantium during the reign of <he Emperor Justinian. Tho screen presents most marvellous visions of great marble villas, picturesque pavilions, and gardens, crowded city streets, the immense Hippodrome, the ante-rooms, the courtrooms, the dungeons, and the torturoehombers of Caesar’s nalace, broad stairways mountim; to dizzy heights, frowning battlements, noble arches, a Roman triumph, dainty pleasure vessels on beautiful lakes, and grim warships of Caesar’s navy bringing back to Byzantium the great General Belisarins. The love-story of the Empress Theodora and the Crook patrician, Andreas, is told with poignant force, from her first surprised meeting with him to tho stirring scenes in wj^ : ch. to save Andreas from the Emperor’s vengeance, she first stabs to tho heart the traitorous captain of the Pal nee Guard, and later orders the lions to ’be let loose on the' rebellious orowda thronging the Cirouß Maximis. The resulting panic is most marvellously portrayed. as also are the terrible conflicts that take place when Bolisarius orders his armies, horse and foot, to charge from opposite sides the revolting populace. Last and greatest scene of all is Tat in whioh Theodora, thinking it is a iovo potion, presses a cup of poison upon Ler imprisoned and sore-wounded lover. Rita .Tolivet. beautiful and charming, erects the title role with great bistrionio powor: Rone Maupre makes a most admirable Ardreas; and Ferrucio Bianini a very fine Justinian. The cast as a whole is a very powerful one ; the thousands of supernumeraries are wonderfully marshalled throughout; and big houses yesterdav witnessed this screen masterpiece with the gTeat interest and enjoyment.

The incidental music to "Theodora,” most admirablv rendered by the Empress Symphonic Orchestra, augmented to fifteen players, tinder the able directorship of Mr M, Dixon, includesßienzi (Wagner), Capriccio Italian (Tschailcowsky), Haine et Amour (Samohtini), Amiika (Doroine), "Rbsamundo" ( Schubert). By the Lake of Geneva (Bendol), Novelette (Glazounow), Lewendo (Wieniawski). Consolations (Liszt), Meditation (Tsoha i kowsky), Polorwise (Rimsky-Kor-sakov), Wedding March (Dekoven), Processional March (Scharwenka), Mill on the Clifi (Reissigerb Lo Lao des Fees (Auber), Coriolnn (Beethoven), La Forete Perfidee (Gabriel Marie).

ORGAN RECITAL BERNARD PAGE TO-MORROW. The programme for the organ recital to he given by Mr Bernard F. Page (city organist) at the Town Hall to-morrow (Sunday) evening is as underChoral--I’roludc. '‘Have Pity Upon Mft, O Lord God,*' by Bach; Claussraan’H Elegie; Scherzo (Op. 70), by Hofmann; Pastorale (Op. 19), by Cesar Franck; and Wagner's Prelude (Act 1)# “Tristan and Isolde."

“THE CABARET GIRL”

MUSICAL COMEDY SEASON.

J. C. Williamson’s latest musical comedy importation, “The Cabaret Girl," from tho Winter Garden Theatre, London, is (writes the critic of the Sydney “Sunday Times") all that it is intended lo bo a very bright entertainment, full of pretty girls, good music and fine dancing, with ample scenic effects to match. Alfred Frith is the comedian, and Madge Elliott is in the leading role, two facts which should be sufficient to draw crowded houses. The fun starts in a London Bond street store—Gripps and Gravvins music shop. Mr Gripps (Cyril liitcharr!) is the senior member of the firm, while Mr Gravvins (Alfred Frith) is mainly concerned with bottles, sore heads, and cabaret troupes, in fact cabalots are his favourite side-line. The main theme concerns a Mr Para-dene (Harold Pearce), a friend of the G. and G. (inn, who loves a cabaret girl known to her friends as “Flick" (Macige Elliott). They arc at their wits end to know what to do because Paradene cannot come into a penny of his inheritance if he marries against the wishes of his trustee, and a chorus girl would be out of the question. After three acts of uproarious fun caused by sometimes startling complications, all ends happily for tho hero and heroine, and tho final curtain falls to the sound of wedding bells. In Madge Elliott, Australia has found a comedy actress to be proud of—Alfred Frith is a popular idol. The part of Gravvins might have been written for him. Harold Pearce, who hails from the principal London theatres, is a big* hit. His fine baritone voice and easy manner are valuable assets. Regarding the remainder of the excellent cast Cyril Jtitchard is as polished an artist as ever we hope to seo. Floie Allen, as “Little Ada," was a scream. Cecil Kelleway was immense as an impossible Cowboy. Field Fisher gave a remarkable character performance as “Feloosi," and Harry Wooton was splendid as the piano-tuner. The dressing is simply amazing in its gorgeous originality. There are three scenes, the first the dhowroom of Gripps and Gravvins, the second “The Pergola," and the third “The Cabaret," all of which, especially tho last, are wonderful in colour and design. “The Cabaret Girl" will bo played for the first six flights of the season. Tho box plans will be opened at the Bristol Piano Co. Monday morning next. Thore will be a matinee next Saturday.

KING’S THEATRE

REX INGRAM .IN “TRIFLING

WOMEN.'

Rarely, if ever, has the film world produced a more versatile writer, producer and actor than Rex Ingram, whose wonderful story, “Trifling Women," forma the star attraction at the King's Theatre for the week. This is one of his finest pieces of work, in which he gets very able support from Raznon Navarro, Barbara La Marr and Lewis Stone, whose names alone are sufficient guarantee that the story is one beyond the ordinary/ The first exhbition of the film took place last night before a packed house. It can hardly be realised without seeing liow great are the improvements which have been made in the recent reconstruction. The comfort of patrons has been considerably added to in the seating arrangements, but the special feature is the charming effect of the coloured lighting scheme, which is changed every week. Restful and artistic shaded lights are thrown round the screen from the orchestra well, in which respect the King's is unique, for no other theatre in the Dominion, possesses such an attraction.

But to the story. It tells of Zareda, a crystal gazer, whose fascinating powers enable her to cast her spells over the men folk until she has them within her pet. In the course of her clever scheming she achieves marriage with a wealthy marquis, and with it the power that wealth gives to its —sometimes—fortunate possessors. This is a loveless marriage, however, for she desires union with her real lover, a young man named Ivan, and only marries the marquis as a means to an end. Having succeeded so far she plans to bring about his death, but this 6cheme miscarries, and in the end Zareda and her lover are discovered together by the husband. It is a terrible end that they meet, thus bringing to naught their designs to perpetrate a horrible crime, and the film treats the drama in a most graphic manner. The part of Marquis Ferroni is portrayed by Lewis Stone, Zareda is Barbara La Marr, Ivan is featured by Ramon Navarro. In support are a Monty Banks comedy, “Nearly Married," a twin-like resemblance. leading to some excruciatingly funny incidents, which provoke the audience to hearty laughter. The film is 8000 ft in length, and there is fun in every foot of it. The latest gazette is especially interesting, especially to Soccer players and supporters, for it 6hows the huge crowd moving over the ground at Wembley Stadium, incidents of the play between Bolton and West Ham, and the presentation of the cup. It also gives the Prince of Wales winning a fine steeplechase event, while the King and Queen look on, something with a shade of anxiety on their faces as the Prince' takes the jumps. The orchestra is conducted by Mr L. D. Austin, and gives a most excellent programme of music. The incidental music to “Trifling Women" includes:—Vnlse Poudree (Popy); “Glorianna" selection (Friml); Marche Militaire (Schubert); Valse Romantique (Dvorak); Forever (Tbsti); When the Boys Go Marching By (de Witt): Funeral , March of o Marionette (Gounod;; Elegie, from Tr;o (Arensky); Marche de la Cloche (Delibes); Legend© (Melartin); Meditation (Tscnaikovski); Le Seigneur de Kermor (Gabriel-Marie); Dreams (Wagner); Reverie (McDowell); Allegro Precipitoso (Savino); Seleotion from “Die Walkure" (Wagner)* and Prelude to “Azora," Act 11. (Hadley).

SORROW AND JOY “BREAKING HOME TIES" AT EVERYBODY'S. The faith that moves mountains is pictured in “Breaking Home Ties," the headliner which commenced its season at Everybody's Theatre yesterday. Suggested by the traditional Hebrew air, “Eli. Eli," this film has a heart-throb ir. every minute of it. It is a plain tale of a Jewish family in Petrograd, who meet with tribulation, and fall upon dire poverty, but so admirably is it acted and so well produced, that he would need a heart of stone who saw it through ur moved. Alone in a strange land, with their daughter dead of starvation and neglect, their eon missing, and their last few shillings gone to the man who has gromised to find him. the plight of tho erguians is uneviable and undeserved. And all because of a sudden blow by the son, David, who found his affianced wife in the arms of a friend he had saved from the gutter, and who fled the country to escape the death punishment he thinks is due. In New York David makes good, and gains a junior partnershin in a wealthy firm. It is here, while weaving a tender romance that the boy’s new love, a settlement worker and secretary. is the means of bringing him and his parents together again on his very wedding day. So there is a joyful ending to a remarkable film, and one which gives a graphic picturisation of the great Jewish faith, and tho firm belief of an old patriarch. In “The Inferior Sex," which is also on tho {bill* is seen the story of a very young wife who tried the expedient of making hor husband jealous to keep him interested in her. It would have worked splendidly but for a babbling brother-in-law ; one of the kind that was meant for a woman, and suddenly she finds that she must rescue her husband’s sister from 6hame and ruin. How she does this, and at the same time saves her ''superior" husband from a financial cropper makes a breezy and attractive film. Also upon the programme is daring Ruth Roland in the latest thrilling episode of “The Timber Queen."

“THE TIGER'S CLAW”

ATTRACTION AT THE QUEEN’S.

The average Englishman stationed amongst the tribes of India is apt to regard the coloured womenfolk in an erroneous perspective. Thus as a result of his disregard for the iaiv of Hood relations Sam Semmels became suddenly and most unfortunately involved in a dual love affair, which had its !0.-le in Naipur, a northern village in tho wilds of India. Thus in "The Tiger’* Claw,” a powerful Paramount mease now being screened at the Queen’s Theatre, a plot is provided which gives full scope for the action of a film where movement predominates. Stationed in Naipur, Semmels, as a Government engineer, is employed in the supervision of the erection of a huge dam Eastern love actuates a Hindoo girl to nurse the young Englishman back to health after he has been mauled by a tiger. A marriage follows,, and chiefly through the toul work of a charmer the Englishman begins to tread the downward path; his morale falls, and he rapidly “turns Indian, as many a better man than he has done.” The feeling amongst the natives IB anything but friendly towards Semmels, and they plan as a means of driving him out of the land to destroy his mighty dam, and also the band of white people The thoughts of an old love are brought back to the already wedded man on seeing an did sweetheart; who has come to India to moke goou me old sore she had left in Semmel's heart when he was refused by her in England. Such a state of affairs cannot be straightened without some stirring moments, which are provided in such a way as to satisfy all. The natives in their desire for revenge are thwarted by the girl, and the Englishman is brought to a full realisation of his folly. This release is a powerful one. and the scenic effects extremely well done. In support there is a comedy as well as a travelogue of Burton Holmes's, which oarries the spectator to the Philippine Islands. The latest gazettes complete an excellent programme. The Queen’s Grand Orchestra, under the oonduotorshi/p of Mr A. H. Jerome, Tenders excellent incidental music, giving the celebrated “Scarf Dance" by Chaminade, as an entr’acte.

LOVE AND THE CHURCH “THE CHRISTIAN" AT PRINCESS. Maurice Tourneur produces the Gold* wyn feature. “The Christian," which stars at the Princess Theatre all this week. It is an unusual and powerful story of a man who was a man, and who determined to do his utmost to climb towards the Christ ideal, John Storm was a Christian in the true sen«e of the word. A fervid young Manxman, Storm renounces the "irl he loves, and finally goes to the metropolis to start a mission there. His faith is infectious, and he is both successful and feared. This, after he had entered a monastery, and his sweetheart. Glory, has also arrived in London first as a nurse, and latterly ns a stage star, who rapidly becomes a popular idol. Storm then finds himself in tho peculiar position of feeling morally bound to condemn the girl while yet loving her. The .strain upon his nerves overpowers him, and he works himself into a religious frenzy, in which h' determines to kill her. Event* move apace from the time when, convinced of the giiTs love for him. Storm wanders out into Trafalgar Square, where he is attacked hy an infuriated mob. The story, a most powerful one, reaches a strong climax and, superbly produced, is most thrilling. Richard Dix and Mae Busch are in the principal cast, and fill trying roles with high credit. In support bewitching E*he Daniels and .Lick ITolt appear in the Western film. “North of Rio Grande.” and Lee Moran i- *hown in the mirth-provoking “Rubberneck.*