ENTERTAINMENTS

New Zealand Times, Volume L, Issue 11663, 30 October 1923, Page 3

ENTERTAINMENTS

HIS MAJESTY’S THEATRE VAUDEVILLE AND REVUE. A BRIGHT ENTERTAINMENT. The change of programme at His Majesty’s last night was greeted by a packed hous?, and the many bright turns received a cordial reception. It was truly u feast of high-class vaudeville and revue. Claude De Car, the acrobatic waiter, made a welcome reappearance, and delighted tile audience by his burlesque juggling, his wonderful headspring's, somersaults, and other acrobatic performances. Eric Masters made his first appearance in Wellington, and cieated a favourable impression. He song several character songs with a pleasing baritone voice, and was en- : thusiastically encored. An. item of particular merit was provided by Pinto, who also made liis first appearance, and who amazed the large house by his marvellous contortionist feats. He combined strength with agility,, an.d his turn wa» the best of it.-, kind seen in Wellington for some considerable period. The Jubilee Trio showed that they had established themselves as warm favourites, and thev once more delighted the audience with their fine renderings of a number of plantation melodies. Their voices blended harmoniously, and their singing earned rounds of applause. The second half of the programme was a screamingly funny revue, "In Harmony Row,” by the George Wallace Company, which seems to be growing in popularity each week. The plot tells how a new policeman (George Wallace) endeavours to restore law and order in an Australian city slum, and the lud.icnpus adventures of this arm of the law keep the house in n continuous state of uproarious laughter. The remainder of the company ably support their leader, and the whole is one riot of fun, interspersed by tuneful music, catchy songs, and artistic ballets. Among the items were "Harmony Row,” a chorus by the company, "Lullaby” by Hilda Gifford, "Our ’Ouse” b 7 the company, "Nobody” by Nellie Hall. "Room Next Door,” by Reg. Coldins "Midnight Cabaret/’ by Hilda Gitfford, "Slogger liee,” by Tom Lincoln,

"Sal'y,” by George Wallace and Nell Hall and "Mammy,” by the Company. A screamingly funny feature ofAhe revue is the fight between Slogger Le.e (Tom Lincoln) and Dreadnought (George Wallace). and though it might not hare the thrills of a Dempsy-Firno encounter, it is just as interesting. The members of His Hajesty’s Orchestra again arose to the occasion and lent valuable aid to the artists. They a’so gave a fine rendering of Chopin’s "PoloI paisc Militaire.” The entr’acte was a selection from the "Cabaret Girl/’ entitled "Dancing Time.” The programme will be repeated throughout the week, and at a special matinee on Saturday. MISS STELLA POWER ANOTHER, FINE CONCERT. Charm of variety was maintained in the fourth concert at the standard set by its predecessors. And with this went all the other standards of tone, technique jnd finished artistry. It was a couple of hoars of very good, music, every item strong in its appeal/ heard, with rapt attention, and followed by recalls of ! genuine sincerity, an.l all honoured with ready responsp, all giving of their beet. I The soprano selected for her opening I the great bravura song, "Una Voce," ! from Rossini's “Barber/’ and gave us of j Rossini's best with its burets of delirious j joy, ir« fretful remonstrances, and gentle I complainings, in the beautiful capricious 1 alternation which makes this aria the 1 great test of capacity to which every j prima donna is proud to submit. It • brought down the house, and Miss Power followed her triumph with an exquisite rendering of Liza Lehmann’s "Cuckoo/’ Later she gave us delightful examples of English ballads, Rummell’s "Ecstasy.” Molly Carew's "Piper of Love,” Carey's Morning. The first remarkable for the graceful melody with its intense invocation; the eecond by the phenomenal rapidity of iU joyous rapture; the third breath ng the tender spirit of old English melody 60 admirably caught by the composer. She followed with Landon Ronald’s glorious "Down in the Forest.” Turning again to the operatic, the eopran > gave us the "Mad Scene” from "Lucia,” repeating, with the able help of Signor Truaa’s flute obbligato, her great success of a former concert of the series. Then sho gave us Bishop’s masterpiece, "Lo, Here the Gentle Lark,” in which the voice, the flute (Signor Trtida) and piano (Mr W. James) joined In th> glorio is way which that masterpiece requires, carrying the audience by storm. The storm was allayed by the gentle ripple of the waters of "Minnetonka.” The audience wanted more, refusing quite a while to be satisfied with bows, however gracious. But they had to acknowledge that to make further demand after three such numbers is to bo too exacting. Her number before this was Charpentier’s delightful "Depuis le Jour,” a charming love song of tenderest feeling rising to ecstatic rapture, requiring the gentlest legato singing and astonishing flights of intricate coloratura into the highest range. Her rendering was a triumph of temperamental artistry. She followed it with Burleigh’s song of the chariot, "Swing Low, Sweet Chariot/’ singing it with rare grace and delicacy. The ’cello again did its fair share with its fine singing tone in the hands of Mr Harold Beck, who admirably gave us a tender Arab melody (Glazounov), Cesar Cui’s fine "Orientate/' and a beautiful "Serenade” of Topper’s, acknowledging an imperative recall with Popper’s very spirited "Harlequin.” In his other bracket he gave us a delicious "Evening Song” of Schumann’s, and a tearing "Scherzo” of Van Goens, rushing on with the driven recklessness of a Tarantella. Recalled, as of course, he gave us Pergolesi’s "Son Tre Giorni,” realising to the full the exceedingly graceful dignity of the composer’s expression of his playing thought. The pianist’s solo contributions were all, as usual, masterly. Mr James filled his first bracket with Daquin’s "Le Coueou,” gracefully and with great smoothness, a "Scherzo” of Scarlatti at breathless speed, and at the same time realising perfectly the tender phrases of the old Italian school; and Alkan’s great study in octave /Lydian Mode) with perfect phrasing and the very clearest cleancut style. These he followed, being recalled, with a Minuet and Trio of Beethoven (from Op. 31), a great number, in tlio tender, flowing, decisive style of that master, showing the influence of Mozart upon lii* genius. The playing was simply perfect, as was also the playing of his second bracket, Moussorgsky’s "Gopak,” a fine serene movement; Poldini’s "Poupee Valsante,” a movement of elegant gaiety, a perfect dance ideal, and Chopin’s wonderful V Flat Waltz, ghen with rare skill and spirit. His recall number was Rickanoff's fine G Minor Prelude, magnificently played. Besides his solo work this fine musician played all the accompaniments splendidly, with perfect sympathy, mastery of phrase, and the delicacy of finger for which he has made himself remarkable in this series of concerts. Signor Truda was very artistic in all the flute obligato work entrusted to him, as wo have said. accurate, of perfect tone, and brilliant, a great help to the singer, who made a point of acknowledging his work In every recall. THREE EXTRA CONCERTS. Mr E. J. Gravestock announces arwnngnmcnts for Miss Stella Tower to give throe extra concerts in the Town Hall Concert Chamber (the large hall not being available) on Thursday, Friday, and Saturday evenings next. Special programmes will be given. The box plans arc now open at the Bristol.