ENTERTAINMENTS

New Zealand Times, Volume L, Issue 11662, 29 October 1923, Page 9

ENTERTAINMENTS

HIS MAJESTY’S THEATRE

NEW PROGRAMME TO-NIGHT. The George Wallace Revue lias already won a position that most predecessors took a month to establish, and Fuller patrons look forward oacli week with the Keenest anticipation to the company's next production. The chief attraction for this evening is Air.. Wallace’s new revue, which bears the title of “Harmony How,” and has to <lo with the far from harmonious happenings in an “Aussie” city slum, where a new policeman strives io restore the suburban amenities. The ludicrous adventures of this talented luminary of the law, known as “Dreadnought,” form the hilarious theme of the revue. Mr George Wallace himself, whose original and natural comedy gifts have already made him a prime favourite will play the role of the policeman, filling out the character with a ho*»t of original songs and sketches that have been such a feature of his work here. Tho climax of the piece is a burlesque boxing bout between Dreadnought and. “Slogger” Lee, the bully of the neighbourhood, which is said to be extremely funny. Mr Wallace is adequately supported by the company assembled under his leadership. The leading members have ample opportunity in tho new piece, in song, sketch, comedy, and dance, and the result is said to be a most brisk and diverting entertainment. The first part vaudeville is supplied by the Jubilee trio, already more than popular in nlantation melody; Claude De Car, the amazing acrobat, and Erie Masters, the pleading baritone, whose singing is greatly appreciated by Fuller audiences. A . new item on to-night’s bill is that provided bv Pinto, an athlete, who will give a most striking performance. DANCE RECITAL “A PERSIAN ROMANCE.” The Opera House was crowded in every part on Saturday night, when Miss Kathleen O’Brien presented a long and varied programme of dances by her numerous pupils. All kinds of dances were given, classic, toe. step dances, and all received much applause. The chief feature of the programme was the scena “A Persian Romance,” which served to introduce Eastern dances in gorgeous harem costumes of many colours, also songs, etc., the whole being given in an appropriate Oriental setting. The part of the Shah was played by Mr Lionel Inch, that of the favourite wife by Miss Thelma Aitken, while Mifcs Kathleen O’Brien herself appeared as Zara, the dancer, and performed an Eastern dance very gracefully. The ballet consisted of Misses Aotea Taylor, Eula Goodwin, Kathleen Hannafin, Ena Izett, Maba Eversleigh, Ruth. Brennan, Rose Robertson, Beryl Ward, Nellie Doull, with Miss Martha Myers as soloist. The song “Salaam” was given by Mr Ben O’Brien, and incense borers and slaves were enacted by Joyce Banks, Patricia Devan ny, Ellen Kuring and Bessie Baker, Another pretty scena was an Elizabethan one with Joan Gifford as a tiny Queen Elizabeth, and Joan Raine an equally tiny Sir Walter Raleigh, who danced » courtly measure together, while the ballet oi courtiers consisted of Roma Broughton, Gladys Needham, Dorothy Daniels, Zita Hare, Phyllis Linklater, Jean Sheppard, Joyce Banks, Bessie Baker, Eileen Kelly 1 , Noreen Butler Joyoe Hanson, Vera Milroy, Jean MoneySharp, Stella de Souza, Jean Whelan, Peggy Sounders, Patricia Devanny*, Annabel Uoodwin, Joane Young, Treasure Edwards, Jeane Hards, Kathleen Dick, Thelma Bartholomew, Peggy O’Connor, Kathleen O’Connor, Jimmy Lockwood, and Flora McDonald.

The following, items were given by tho pupils :-r“To the Spring,” by Martha Myers; “Petit Papillon, Joane Raine; “Greek Cymbal Dance,” Nellie Doull; “Reconciliation,” Beryl Ward; “Tho Policeman,” Ruby Fisher; “Bacchanale,” Dorothy Daniels and Phy»!is Linklater; “Ragtime,” Zita Hare; “Toe Dance, * Nancy Gillespie; “Skipping Dance,' Hazel Martin; “Italian Tarantella,” Lorraine Melton and Zita Hare; “Twilight Dance,” Marjorie Vause: “Mexican Dance,” Nellie Doull and Eric Hart; “Operatic Dance,” Hazel Martin; “Danso Rusae,” Beryl Ward; valse from “Sylvia,” Nellie Doull; “Pan,”'’ .loyce -Silk* “La Poupee,” Joane Morgan; ‘Humoresque,” Nancy Gillespie; VFoliy,” iPihyllis linklater; “Operatic Dance/’ Vera Milroy. The programme opened with “A Peep into Fairyland,” by the ballet, the fpllowing taking part;—Fairies—Hazel Martin, Mcijorie Vause, Nancy Giliespie, Vera Milioy, Elsie Swanson,, Nellie Doull, Beryl Ward Peggy Howatt, Ellen Kuring, Ruby Fisher. Elves—Lorraine Meiton, Phyllis LinkljJer, Jimmy Lockwood, Patricia Devanny, Annabel Goodwin, Barbara Gillespie, Zita Hare, Joan© Morgan. Sprites—Joane Raine, Eunice Scott, Joyce Silk, Pegtgy Edwards, Inez Linden, Joan Gifford, Myrtle Coburn, Kathleen O'Connor, Thelma Bartholomew, Mary'Fagg, Jack Fagg, Eileen Colgate, Joan Barrott, Dorothy Daniels, and Joyce Doherty. Other combined dances given were a olo<r ballet by Vera Milroy, Marjorie Vause. Ruby Fisher, Gladys Needham, Hazel Martin, and soloist Jimmie Lockwood; a Dutch Ballet bv Joyce Banks, Peggy Howatt. Nancy Gillesrtj*, Barbara Gjljoßpie, Ruby Fisher, Lorrfuno Melton, Phyllis Linklater, Vera Milroy, Elsie &wf>nwm, Marjorie Vause, Hazel Martin, and Zita Hare; and Ballet “Coppelia” by Aotea Taylor, Rut’*. Brennan, Kathleen Hannafin, Eula Goodwin, Ena Izett, Mhb* Eversleigh. Rose Robertson, Nellie Doull. and Beryl Ward. The final itom ir. a lengthy programme was a Cabaret Scene, wherein gongs and dances were given in Cabaret style. Jimmy Lockwood was the Buttons, R.ubv ’ .Fisher Mademoiselle Shimi. A Foxtrot was danced by Nellie Doull and Erie Hart the ballet Hilarty was given by Annabel Goodwin, Peggv Howard, Peggy Saunders, Pat Devanny, Bessie Baker, Ellen Kuriug, Joyce Banks. Hazel Martin. Torra'cn .Melton, Phyllis Linklater, and Zita Hare.

Visitors were Joane Morgan and Joane Raine, while Ruby Fisher sang “Whoso Babv are You,” with a chorus of the babies—Joyce Doherty, Joan BnrroH, Joan Gifford. Myrtle Coburn, Eunice Scott. Kathleen O'Connor, Dorothy Daniels. Thelma Bartholomew, Mary

Fflgg. Jack FfaijT, Inez Sinden[ Eiieei Colgate, Joyce Silk. Pegtry Edwards. The performance ended with a mnaaec chorus of all tho children. SCOTS COLLEGE THE ANNUAT, CONCERT. A PLEASANT PROGRAMME: Op Saturday evening Scots College gay* their annua l concert in the Concert Chamber of the Town Hall before an audience of parents and friends of tho boys of the school. The items were most enthusiastically received and reflected great credit upon the natural ability and spirit of the boys in attaining such a high standard of excellence. The main part of ihe programme ennsisfrd of' eho.uis work from the massed ehoir of the entire school. “Land of Ho-ivn and njorv” (Elgar), “The Yeomen of England” (Ed. Ge’-mun), and “.Scots” ((h. XV. Kerry) probably displayed the *'ost talent of Hie boys, although “Tim hundred Pipon/’ and “Mister MeKnv” '.'•ere more pormlor with an nudum re which wiw na.tu rally Scotch in sentiment. Mr Oh. W Kerry, Ihe mantel** in schnrge of |hr» music of the sehmefl. neconipnnird .T. Bngnall in a cornet solo which disnJov<»d remarkable talent in r ’'<'v of onlv 1-1 vmr'.. Otbo- -performer.** ” ho were recalled were T. W. Erase and V E. Wilson in n. pianoforte duet, "Tinlv” (Mcskowpkih the Misses T. end O. Nonnedv ir n ftelin and piano Scotch •'■•neta (Alfred HilD. and Mr Kerry in e fVenoferte ‘rlo, “North Sea Fantasies” (Alec. Rowley).

“THE CABARET GIRL” KOX PISANS THIS MORNING. This morning, at the Bi'istol Piano Company, at 9 o’clock, will be opened the bos plans for the eagerly awaited .T. C. Williamson production, “The Cabaret Girl/' This exhilarating musical piuv comes direct from Sydney —Wellington being the second city in Australasia to sec this alluring comic, opera damsel. ! In Sydney the play had an unprecedcnt I success —running* “Sally”—the loadstone musical comedy—to a short head in popularity. To all appearance the cast provided by the J. C. Williamson direc- ; tors leaves little to. cavil about. The reappearance of Alfred Frith is in itself of vital importance. This genial comedian has always been a prime favourite with New Zealand audiences. He is sure of a hearty welcome. Associated w>t'h Mr Frith and in the front rank are Miss Madge Elliott, a dainty dancer, and an exceptionally bright comedienne. Mr Cyril Ritchard is also a dancer of much ability, and a clever light comedian. Miss Mabel Monro, who will make her first appearance here, is an artist of imp -italics in London. A new light opera baritone will be seen in the person of Mr Harold Pearce, who has sun" many of the principal musical comedy roles, in London successes for several years past An established favourite is Mr Field Fisher, who with Harry "Wotton, Nellie Payne, Millie Gyles, and Marie Eaton, make up a list of principals, that for all round efficiency are rarely seen together in musical comedy. The play, which is in three acts, is said to be exceptionally lavishly costumed, the cost of the production before the curtain rose on the first night in Sydney, being over .£10.009. As to the quality of the entertainment offered, it should be sufficient guarantee! that the book and lyrics are from the pen of that delightful humourist, P. E. Wodehouse, and the music by Jerome Kery, part composer of "Sally.” The nlav will be staged here by HArry B. Burcher, who comes over specially to superintend the production. The oompany will arrive on Tuesday from Sydney bv the s.s, Marama. and open at the Grand Opera House on Wednesday at ten minutes to 8. The only "Cabaret, Girl” matinee will be given on Saturday next. PRINCESS THEATRE HALL CAINE'S "CHRISTIAN” In producing the film version of "The Christian/’ Maurice Tourneur ‘has made a great picture out of a famous novel, and no one should miss the opportunity of seeing this notable example of the kinematic art which is being screened at the Princess this week. The etory tells how John Storm, a young Manxman in love with Glory Quayle, becomes a Christian Sooialist and determines to live as Christ would were He on earth. He 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 love for Glory, renounces hi 9 vows. He later establishes a mission in London, and, in a religious 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 he is mobbed bj a crowd which has been misled by an enemy of Storm's into believing that he had prophesied the end of the world for midnight. The beauty of many of the scenes, in composition, lighting and photography, is unique in the development of pictures and reveal? why Mr Tourneur is regarded as an artist in this new craft The acting is as intelligent and effective ps the direction. Richard THx, Mae Busch and the other principals are bound to emerge from the screening of "The Christian” with new acting laurels. The supports include "North of the Bio Grande” and "The Rubberneck.”

SORROW AND JOY “BREAKING TIES” AT EVERY- ‘ BODY'S. ;i . . Full of dramatic incident and pathos, >! yet ending happily, "Breaking Home fc Ties," the powerful drama now showing ,v at Eeverybody’s Theatre, was suggested . by the traditional Hebrew air, “Eli, Eli.” | It has a heart-throb in every minute :. of it. A plain tale of a Jewish family in ; Petrograd, who meet with tribulation »j and fall upon dire poverty, it is so admirably acted that one would need a , I 'heart of stone to see it through uni ! moved. Alone in a strange land, with , their daughter dead of starvation and -1 neglect, their son missing, and their last - | few shillings gone to the man who has I,J promised to find him. the plight of tho , ' Berguians is uneviable and undeserved. ) And all because of a sudden blow by ! | the son, David, who found his affianced a' 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 partnership in a wealthy firm. It is lure, while i weaving a tender romance that the boy’s s new love, a settlement worker and secre- , tary, is the means of bringing him and - his parents together again on his very , wedding day. So there is a joyful endi ing to a remarkable film, and one which , gives a graphic picturisation of the gTC.it > Jewish faith, and the firm belief of an old patriarch. ’’ In support is “The Inferior Sox,” - which tells the story of a very , young wife who 1 fif'd the expedient of > making her husband jealous to keep him i interested in her. It would have worked splondidly but for a babbling brother-in- > law; one of the kind that w r as meant • for a woman, and suddenly she finds 1 that she must rescue her husband’s 9 sister from shame 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 “Tlio Timber Queen.”

ORGAN RECITAL BY MR BERNARD PAGE. The fine nroi’ramme of organ musio presented at the Town Hall last nisfht oy Mr F. Bernard Page (city organist) was greatly enjoyed by a moot appreciawos greatly enjoyed by znont appreciative audience. The opening number was Bach’s beautiful choral prelude, “Have Pity Upon Ms, O Lord God.” Then came such variedi items, all delightfully rendered, as Clausamsnn's “Eilegie,” Hofmann’s “Scherzo” (Qp. 70), and Cesar Franck’s melodious “Pastorale” (Op. 19). Tho recital concluded with the prelude to Act T. of Wagner’s “Tristan and Isolde,” considoied to bo the greatest love trngerh even written in music. Of the gorgeous orchestration it is hardly no««iblo to speak, for tho complexity of the score, technically considered, is simply mnrvf?llous. Yet such is the skill of the master that the result and effect is nppreciable in the highest degree to th' l most technically uninformed listener. It mi poors the emotions of men and worn©?* as perhaps no other music docs, and will adapt itself to the individual and tediums of a thousand listeners, every onr of whom mny be nil it© unlearned in the theory of musical art.

Always welcome when nights grow dnu-'p Always welcome in home or camp. Always welcome to young and old. Always welcome for cough or cold. Mwevs welcome when infante droop, tn the distressful throes of evoop: 'U-v,-.'. v*f’ , ' > o , "f' Wmi*" so «n* , «— Welcome Woods’ Great Peppermint Cure. There’s .nothing to equal "N.AS" •• for stooping coughs and colds, sooth ir sore throats, and banishing influenza Good for old and young.

A TRIUMPH OF TONE THIRD STELLA POWER CONCERT. AN EXCELLENT COMBINATION. It used to be a maxim of Sims Reeves that the only true criterion of a singer was the matter of tone. That famous | tenor would countenance no sacrificing of ! tono under any circumstances or in any ; register. A dramatic effect should ho gained, certainly, but should be gained not by power alone. And the inexorable demands of Reeves have left their mark upon the world of music to-day. Occasionally (only too occasionally) when the ! public get singers with fine voices who ! also have the knack of enunciating the : English language in a recognisable form, j as in the case of Gervaso Mwes, they get | great platform artists. But frequently j they find a singer who, along with the I common ideal of the evenly developed j voice, has the worship of tone, i And Sims Reeves would have no fault j to find with Miss Stella Power in this direction. Under a great soprano the voice of the '‘Little Melba" has been welded into ‘'one harmonious whole." The break, if there ever was a break in this exceptional voice, has been bridged years ago, and there is so much head resonance imparted into all her notes that occasionally when she sings a really low tone it comes as a shock. This was never more evident than when in her third concert at the Town Hall on Saturday evening Miss Power sang su#i sharply contrasting numbers as Donizetti's solemnly flowing “Reynava nel Sileozio" ("Lucia di Lammermoor") with the brilliant ending, and David's "Charmant Oiseau," the latter being substituted for "Casta Diva/' because of innumerable requests. "Lo, Here the Gentle Lark," Bishop's ipeitennial favourite, may be classed with the "Charmant Oiseau" as a brilliant piece of work, but the impression of the beautiful cantabile from "Lucia" was ineradicable. The soprano sang numerous other songs, Rossini's lively "La Danza," Richard Hagemann's out of the way but unattractive "Do Not Go, My Love," Montague Phillips's "Nightfall at Sea," which if a recent work would reveal him as improving, and Rachmaninoff's gem of purest ray "Spring Waters." "Se Saran Rose*' (Arditi) was another attractive, number, while "The Night Wind" (Roland Farley) improves upon acquaintance, and such favourites as Gounod's "Serenade, "Annie Laurie," and "By the Waters of Minnetonka," closed the concert. Another popular favourite, which certainly ; has not been given in more impressive fashion, was Gounod's "Ave Maria," with Mr Harold Beck (’cello), and Mr Bernard Pag© (city organist) rendering their aid. Mr William James's finest contribution to the concert was his playing of the fine Debussy "Prelude," and two works by Mangiagelli, the semi-popular "Im» provisando, ’ melodious and full of charm, and a rushing toccata. • He launched a thunderbolt of that old Titan Liszt's forging when he assailed the fifteenth rhapsody (the one on the Rakoczy march) and played a group of Edward Mao Dowell's compositions attractively. It is a relief to find a pianist of calibre who presents the works of MacDowell, too often neglected for the sake of minor personalities. The brief and quaint ,r Shadow Dance" was well played, but the pianist's idea of "To a Waterlily" may have seemed heavy-handed, while the "Hungarian" was rushed through at top speed and blurred as a result. Poldini's "Poupee Valsante," an encore number, was in Mr James's best vein. Mr Harold Beck was less in evidence than previously; but his work was attractive. The evergreen Bach "Air on G String," with Mr Bernard Page at the organ, was charmingly clone, and had to be repeated. The Popper arrangement "Hungarian Rhapsody" was also played; Handel's beauteous "Pastorale" made a welcome encore. ■Signor A. P. Truda again performed the obligatos to the prima donna's songs with delicacy an<B grace, exploring all the recesses of his art with the assured manner of a master of his instrument. An audience not yet as large as these excellent artists deserve made up in enthusiasm what it lacked in numbers. TO-NIGHT'S PROGRAMME. A feature of the programme for Miss Stella Power's concert to-night is the performance of three popular operatic arias, the "Mad Scene," from Lucia di Lammermoor, with flute obligato, which created such a favourable impression at a previous concert; the famous aria, "Depuis le Jour," from Charpentier’s opera, "Louise"; and "Una Poco Fa," from Rossini’s opera, The Barber of Seville." Other nuznbere include a group of French songs, and the English songs, “.Ecstasy*'’ (Eummell), “The Piper of Love” (Molly Carew), and "Spring Morning" (Carey), etc. Mr William James’s pianoforte solos will include "Le Couoou’’ d>aquin), “Scherzo” (Scarlatti), “Etude en Octaves (Allan), "Gopak" (Mouseorgski), "Popuee Valsante” (Poldini), and Chopin’s Waltz in I> Flat. Mr Harold Beck will contribute ’cello solos. Mr 11. J. Gravestook announces that owing to the success of the Stella Power concerts he has arranged three extra concerts to be given in the Town Hall Concert Chamber, the large hall not being available, on Thursday, Friday, and ■Saturday evenings next. The box plans for all the concerts are now available at the Bristol, the day sales are at the Bluebird Confectionery, next to the Grand Opera House. “THEODORA” BIG ATTRACTION AT EMPRESS THEATRE.

sensational love drama, “The< < * ora * J, m now being screened at the E iz preees Theatre, -again drew and delighte i-argo houses on Saturday. It j based on the famous play, written b Victorien Sardou, the great playwrigh some forty years ago for the greatest < Irench actresses, tho “Divine Sara Bernhardt.” Most magnificently stageand mounted, “Theodora” portrays h :©ali£tic and convincing fashion th •mlendours and horrors oT sixth cen tury Byzantium during the reign of *ii Emperor Justinian. The screen present most marvellous visions of great marbl villas, picturesque pavilions, and gut dens, crowded city streets, the immene Hippodrome, the ante-rooms, the court rooms, the dungeons, and the torture chambers of Caesar’s palace, broad staii ways mounting to dizzy heights, frown ing battlements, noble arches, a Romar triumph, dainty pleasure vessels on beau liful lakes, and grim warships of Caesmr'f navy bringing back to Byzantium the gieat General Belisarius. The lovo-stor3 r of the Empress Theodora and tho Greek patrician, Andreas, is told with poignnnt force, from her first surprised meeting with -him to the stirring scenes in which, to save Andreas from the Emperor’s vengeance, she first stabs to live heart the traitorous captain of the Palace Guard, and later orders the lions lo be let loose on the rebellious crowds thronging tho Circus Maximus. The resulting panic is most marvellously portrayed, ns also are the terrible conflict* that take place when Belisarius -orders his armies, horse and foot, to charge from opposite sides the revolting populace. Last and greatest scene of nil is that in which Theodora, thinking it is a love potion, presses a cup of poison upon her imprisoned and sore-wounded lover. Tho incidental music to “Theodora, * most admirably rendered l>.v the Empress Symphonic Orchestra. augmented to fifteen players, under the able directorship of Mr M. Dixon, includesßienzi ('Wagner), Capriccio Italian (Tschaikowsky), ITnino et Amour (Sutnehlinii. Amilka (Dorcino), “Rosamunde” ( Schubert). By the Lake of Geneva (Bendelh Novelette (Glazounow). Lepend© (Wieniski). Consolations (Liszt), Meditation Tschaikowsky), Polonaise (Riinsky-Kor-'nkov), Wedding March (Dekoven), Proessional March (Schorwenka), Mill on 'he Cliff (Reissiger), Le Lac des Fees '.uber), Coriolnn (Beethoven), La Foret© -’erfidee (Gabriel Marie).

KING’S THEATRE REX INGRAM IN "TRIFLING WOMEN.” '‘Trifling Women,” the great attraction et the King’s Theatre this ’week, is one of Rex Ingram's very finest pieces ol jwork, and in it be is uupportoa by such jpopnlar stars as Ramon Navarro, Darbasra La Marr and Lewis Stone, whose names alone are sufficient- guarantee that the play is one beyond the ordinary. “Trifling Women” tells the story of Zareda, a crystal gazer, whose powers ci fascination enable her to cast spells over the men folk until she has .them within her net. Tn 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 plane to bring about bis death, but tins scheme 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 2000 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 shows 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 ae 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: —Valse Poudree (Popy); "Glorianna” selection (Frimlh Marche Militaire (Schubert); Valse Romantique (Dvorak); Forever (Tosti); When the Boy 6 Go Marching By (de Witt): Funeral March of a Marionette (Gounod); Elegie, from Trip (Arensky); Marche de la Cloche (Delibes); Legende (Melartin); Meditation (Tschaikovski); Le Seigneur de Kermor (Gabriel-Marie); Dreams (Warner); Reverie (McDowell); Allegro Precipitoso (Savino); Selection from "Die Walkure” (Wagner): and Prelude to "Azora,” Act 11. (Hadley). QUEEN’S THEATRE "THE TIGER'S CLAW.” The star attraction at the Queen's Theatre this week is "The Tiger's Claw,” a powerful Paramount play with a stirring plot 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 znlrse the young Englishman back to health after he has been mauled by a tiger. A marriage follows, and chiefly through the foul work of a charmer the Englishman begins to tread the downward path; hie morale falls, and he rapidly "turns Indian, as many a better man than he has done.” The feeling amongst th© natives is anything but friendly towards Semmels, and they plan as a means of driving him out of the land to destroy hiß 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 old sweetheart, who has come to India to make good the old sore she had left in SemmePs heart when he was refused by her in England. Such a state of e flairs 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. The fine ©oonio effects are wonderfully well managed.

In support there is a comedy as well as a travelogue by Burton Hdhnoe, which carries the spectator to the Philippine Islands. The latest gazettes complete on excellent programme. The Queen's Grand Orchestra, under the conductorehip of Mr A. H. Jerome, renders excellent incidental music, giving as an entr’acte, the celebrated “Scarf ance” by Cheminade.