ENTERTAINMENTS

New Zealand Times, Volume L, Issue 11686, 26 November 1923, Page 11

ENTERTAINMENTS

A NEW THRILLER "THE CAT AND THE CANARY.” HORRORS ANITHtWOUR. John. Willard, American actor, who tvas responsible for ‘'The -Cat and the Calvary/’ was a specialist in thrills. This unique iplay, which commenced its Wellington season at the Grand Opera House on Saturday, is more than, a mere shocker. It contains gome character study of a high order; it is enlivened by a humour no less necessary than welcome because of the manner in. which it relieves the intolerable tenseness of a strained situation. Founded on the same broad basis as the Grand Gugnol play* which terrified half Europe, the age-old precept of the Fat Boy, it rises to a pitch of perfection in its own particular line seldom equalled. It obtains the thrill of the theatre in time in a house of ordinary vnstness. And it achieves this by the very acme of production. The sense of loneliness, of impending tragedy, is marked; it is gained by such simple means as a few words solemnly spoken, or a slowly swinging door; but it is done so skilfully as to work the audience up to a remarkable frame of mind. There is no lack of action, but no over-loading of the play, and the fear of tho horror unseen grows so vivid as to be almost unbearable. Decidedly a play to score a big success. The story 0 f the scene for the play is 6ombre enough in all conscience. Imagine a gathering of the six surviving relatives of an eccentric old Croesus, twenty years dead, in a lonely house, far from any other habitation. A spectral servant, with more than a tinge of the supernatural in her, who has been guarding the house for twenty years, and who i* in constant communication with her ‘‘‘friends/' beyond the border of the 6ettw6«. A will, instructed to be read at midnight, the hew of the old man's death; and finally the knowledge that a homicidal maniac, who thinks himself a cat, has escaped from an asylum near by. The house itself is as eerie as any structure for twenty years unused to human occupancy may be. *lt is the scene of a tragedy, and the events subsequent to that tragedy are sufficiently thrilling to keep the audience sitting bolt upright in their chairs throughout. Not “The Bat/' in which the horrors were piled too deep, nor the spiritualistic “Thirteenth Chair/"’ nor “Shall We Join the Ladies P" nor the bewildering “Seven Keys of Baldgate," can rival this newer play in its own domain of mystery and of thrills. The unknown force, working t-wiftly and ruthlessly towards a definite end, .presents a problem to the amateur -Sherlock Holmes no less than it provides tense excitement for the beholder; and «he very definite humour of the production is in its way no less success-

ive company works together in admirable fashion in this newer play; one might suspect that the original casting had been made for “The Cat and the Canary, 9 and not for “If Winter Comes/' It is impossible not to be captivated by Mr Garry Marsh, Reuben horse-doctor, who, maybe, knows his own mind I —but maybe does not. He is an actor who understands to perfection the virtues of make-up and of every gesture. His very slouch spells character; his slow, undecided speech, not without its flashes of inspiration, flashes with which he struggles desperately to subdue before they vanish into some by-way of the mind; the moments at which he pule on his spectacles, his expressive feet, his continual combat with his very evident fear, go to make a man lovable in bis diffident loyalty to the woman he adores. Miss Isobel Wilfond is given some difficult work to do; she comes through it with credit.. The attractive, sensible little girl, with a flair for art, a devout belief in common-sense, and a sly humour, rests well in her hands. Wrought up to a pitch when the most ordinary incidents seemed to her fraught with a potent significance, she was alone too complaisant in her forgetting of the sudden disappearance of Crosby, too anxious to ignore the discovery of his dead body, which robbed her of her senses. With Mies Jane SaviUe, disagreeable women are at a premium. She has again the part of an unfriendly female; but how different from that of Mabel 1 Sabre. Her Susan Sillsby is a woman to whom good manners would be an encumbrance. She is of the kind tßat create a longing for the “ducking-stool"; a strident, latterday Katherina, marred by money and the franchise. Excellent work. Mr Sidney Stirling plays ill-fated Hbger Crosby with that air of quiet distinction which is so refreshing in his acting; Mies Georgia Harvey is one of the chief manufacturers of atmosphere in the part o? Mammy Pleasant, the sombre West Indian servant, and Miss Ailsa Graham© makes Cecily Young a very womanly and likeable young person, free from exaggerations. Mr Reginald Wykeham creates Harry Blyth, a man upon whom civilised restraints sit ill;, frank beyond the verge of rudeness, hating shams, and big-hearted; and: Mr Robert Geddes plays Charles Wilder, a presentable young man who concludes with some remarkable character acting. Mr Arthur Cornell is very good in a role of limited dimensions, but in which he finds great scope; and'Mr George Blunt gives to Hendricks, the asylum-keeper, a strong tinge of his own personality. The play will be repeated all this week. EMPRESS THEATRE “WANDERING DAUGHTER®/' There have been many pictures dealing with gay, jazzing loving daughters, who stray from sheltered homes, but in “Wandering Daughters/"’ which is now showing at the Empress Theatre, this fascinating problem is dealt with in an entirely different manner. The story deals with the adventures of an up-to-date daughter of old-fashioned parents, who gets the jazz craze, together with all that it means, an unnatural craving for excitement, and dissatisfaction with the simple things of life. Bessie Bowden has grown tired of her old friends, and a little ashamed of her home, and eagerly seizes the opportunity offered by an „artist given to dalliance to break into the fast life at the country set. For the timo being her faithful admirer, John Hargreaves, is tossed aside, and a period of hectic merry-making takes place. All night revels and early morning returns, cause the good - natured father deep anxiety, until, as a last resort, he spends the savings of a lifetime to make his hjome “up-to-date” for his daughter's benefit, so that she may be satisfied to remain in it. He is wise in his generation too, for he advises John Hargreaves to plunge into the fast set too, meeting his rival on liis own ground, and to win Bessie back to him again. The plan is successful, ar.d the story closes on a scene of wedding bells. Much of the comedy of the production was in the hands of Alice Howell, as the maid, whose aping of her mistress's pranks and escapades were at once exquisitely funny in itself, and served, moreover, as a caricature, which threw the mistress's follies into stronger relief. The cast throughout was a string one, including -mob. well-known stars ns Marguerite do la Motte, Noah Beery, and Marjorie Daw.; Tho supporting programme was a very strong one, including an excellent travel scenic of scenes from London, “Topical Budget," and a sparkling comedy. A much appreciated varietv attraction was a novelty step-dance by dainty Billie Murphy, who displayed ability of a high order, received a tremendous reception. The popular Empress Orchestra renders the incidental music. As there are sure to be crowded houses all this week patrons are advised to book their eeate at the Bristol.'

'‘KING OLAF” WELLINGTON CHORAL UNION. THIRD CONCERT OF SEASON. “There is a wondrous book Of legends in tho old Norso tongue Of the dead kings of Norroway, Legends that were once told or sung In many a smoky fireside nook Of Iceland, in the ancient days By wandering Saga-man or Scald." It is from this ancient wondrous book in the old Norse tongue that the story of King Olaf, who attempted to force eleventh century Christianity upon his frankly heathen countrymen, is taken. It is an old tale breathing the very [spirit of the north, the lines by Longfellow and H. A. Acwortih, set to music by our own Elgar, and selected by the iSoyal Wellington Choral Union as the third concert of its 1923 season. The extremely largo and appreciative audience in the Town Hall on Saturday night justified the wisdom of this choice. The principal artists were Miss Ethel Osborn, the Brisbane soprano, whose recent concert season in Wellington created such a favourable impression; Mr Hubert Carter, the Palmerston North tenor, who is by no means unknown to a Wellington audience; and Mr William Watters, also of the same town, whose line bass voice lent dignity to the lines of Ironboard, the defiant old heathen who sang the “words of mighty Thor, challenging the world to war." The performance was in every way a very interesting one, the readings of the principals good, tho orchestra decidedly above tho average, and considerable improvement noted in tho work of the numerous choruses. Mr Temple White, the union's conductor, has every reason to feel gratified with the presentation of “King If indeed it were necessary to go outside our own city for all the principal artists, the performance was essentially a British one, and the union is to be congratulated in bringing before the public of Wellington the "work of such a prominent composer as Sir Edward Elgar, who 6tands in the front rank of musical celebrities of the day. It is interesting to note that the production of “Kiner Olaf" at Hanley in 1893, for the North Staffordshire Musical Festival, was his first great success. As the years went by liis “Enigma" orchestral variations and -his “SeaTPictures" added muoh to an already growing reputation, which culminated in the composer receiving his knighthood in 1904, and some years later, the oherished Order of Merit. But it was at Hanley with “King Olaf," produced under his own baton, that he first came under the notice of the British public. The subject of the scenes from the saga was a Norgegian King, born A.D. 995, whose earlier years appear to have been passed in England at the court of Ethelred the Unready. After the country was taken possession of by Canute, the Danish conqueror, Olaf returned to Norway in or about 1019. He was accompanied by many bishops and priests from England, and was quite determined to establish the Christian religion among his own countrymen. The worshippers of Odin and the mighty Thor, however, naturally resented the new order of things, the pins Olaf meeting with considerable opposition from the phlegmatic Norwegians, whom he attempted, to force to accept the new faith with much unchiristian severity. After many vicissitudes by land and by sea, which included a visit to Russia and other distant lan<js, Olaf was killed in a battle against Ironbeard, who “by his geard was called of iron," the leader of the heather forces, on Julv 29th, 1030. The battle is known in history as that of Stiklestad. The king was canonised in the following century, and later recognised as Norway'e patron staint. The performance of “King Olaf" is intended to be looked upon as a gathering of “scalds" or bards. All in turn take part in the narration of the legend, and occasionally, at the more dramatic parts, oersonify for the moment one or the striking characters. The chief bard calls for such tales as he thinks fit. The work commences with an opening, chorus, followed by the bass recitative “Summon now tbe God of Thunder," in which Mr Watters was quite at home, and gave 6ome indication as to what was to be expected of him later. The audience was not disappointed. The chorus. “The Challenge of Thor" was another fine piece of work. Mr Carter sang the tenor solo, describing the king's return, clearly and distinctly, free from any restriction, and well merited the applause with which it was greeted. The next tale was of how Olaf bore the dross to the folk at Nidaros, of which Mr Watters samr with dignity, as was also the case when with Mr Carter and the chorus he rendered the tenor and bass soli, “The Conversion." The duet between Olaf and the turbulent Ironbeatd was another excellent contribution. With the exception of the verses of tho National Anthem (Elgar), with which she opened the concert, very little war heard of Miss Osborn in the first half of the programme, which ended with tho mighty ‘ Lord, Receive them, King tKvjno/' in which Mr Carter was at his best. The soprano, though showing somewhat the effects of a cold, gave a very fine reading of the lines of Gudrun in the duet with Olaf, and again in the Sigrid duet, in "which they were accompanied by the chorus of maidens., The “Wraith ©f Odin/' the chorus ballad, wa« one of the delights of tho evening. The 6Cprano and tenor duet towards the close between Tyhri (Miss Osborn) and Mr Carter also evoked much applause. The choral recitative “After Queen Gunhild's Death,'"’ the death of Olaf chorus, anfl the epilogue (soli and chorus) were all admirably rendered. Mr Watters’s last number was in tihe opening of the epilogue when he told of Astrid the Abbess in the convent of-Drontheim at midnight adoring. The exquisite trio, "It is Accepted,” in which all the principals toot part, was followed by the chorus, "As Torrents in Summer” (which was unaccompanied), and the final "Stronger than Steel.” Tlie last few lines, depicting tho death of King Olaf, the terror of all northern heathens, was of unusual beauty, bringing his many adventures to a final peaceful end. "A strain of music ends the tale, A low,. monotonous funeral wail, That with its cadence, wild and sweet, Miakes the long Saga more complete.” Before the Elgar composition, the choir rendered ‘‘ding Ye to the Lord” .Bach), a motet for double choir, unaccompanied, the words of which were adapted from Psalms cxlix and cl. The first section of the work consisted of an extended movement, jubilant in character, and worked out with tho master's contrapuntal skill. This was followed by a beautiful "Andante Sostenuto,” in which each line of the chorale assigned t> the second choir was answered by the first choir, principally by a reiteration of the prayer, "Almighty God, Preserve Us Still.” A series of responsive passages, florid in character, followed by a mighty fugue in four parts, concludes a magnificent work. "Sing Ye to the Lord" waa published by Breitkopf and Haertol m 1803. The English version was issued in 1850. This splendid composition by a great master was in every wav worthily presented. The conductor, Mr White, received an ovation at its conclusion. “The Messiah,” Handel’s immortal masterpiece, in which choral societies from Hawera, Stratford, and New Plymouth will take part, will be presented by the union under Mr White's talented baton in December. It will be the final concert of the season.

HIS MAJESTY’S THEATRE LINN SMITHjS ROYAL JAZZ BAND. Stimulating, seductive syncopation will bo an outstanding feature of the Cew programme to be presented at His Majesty’s Theatre this evening Linn Smith's Royal Jazz Band, organised by Sir Benjamin Puller a£ "Australia’s Answer to America," tumble into gay and gladsomo jazz with artistic finish. At times they are dreamy, but never draggy, whilst retaining tune and melody. Their grotesque trombone warblings and waltz oddities aro the real -thing in jazz. Linn Smith, the pianist, develops tremendous motive power, and the trombonist (Dave Meredith) presents an inebriated trombone, whioh joins in the happy hysteria led by the reokness saxophonist (Paul Joacle) The amazing drummer (Sammy Cope) smites out right and! left amidst his noise appliances; the violinist (Arthur Curaick) fiddles with zest, and the whole effective combination is spectacular jazz, which is calculated to tako Wellington by storm.. While there _is trickery and effective showmanship; music is always the motive of linn Smith’s Jazz Band. The band arrives here to-day from Auckland, where it has just concluded a phenominally successful season. Other items on the vaudeville section of to-night's new programme are to be Aston and Marshall, operatic dnetists, who are making their first appearance hero; Mahie and Malfe are to present a programme of new comedy; and the popular little soprano, Trixie Ireland, will bo heard in a selection of suitable song numbers. “Midnight Revels" is the title of the new- production of the George Wallace Revue Company. The piece portrays conditions in the slums in a manner oreative of boundless hilarity. Interludes really humorous will be offered by Mr Wallace, and musical and dancing specialties by various members of the company. .. The new bill should be one of the strongest seen hero for some considerable time AT EVERYBODY’S DOUBLE-FEATURE PROGRAMME. A huge double-feature programme is proving the drawer of large houses at' Everybody’s this week. Beautiful, and endowed with wonderful histrionic power, Norma Talmadge, the ever-ponular actress, fairly excels herself in XTie Voice from the Minaret/* while Mr Eugene O’Brien makes an ideal hero. Lady Carlyle, wife of the Governor - General of 4 India, Sir Leslie Carvle, revolted by 'his infidelities, eet sail for England determined to divorce him. On the same steamer travelled Andrew Fabian, a young fellow studying for the ministry. He advised her to delay seeking for a divorce and to accompany the pilgrims. In the romantic atmosphere of the East, love caught both in its toils, to be checked by a Muezzin in his minaret calling in prayer, summoning the faith which bdd flagged by day. How faith prevails; how Lady Adrienne returns at the call of duty; hew Sir Leslie, suspicious and revengeful, traps the tWo lovers, intending to blight their lives, but how malice is over-ruled for good, and all ends well, makes a wonderful story, wonderfully well told. , . As for “Boys Will Be Boys, I twin »• Cobb never wrote a funnier, kindlier, or more' human story and. that is saying a great deal: while Will Rogers never had a part tnat suited him better than that of Peep O’Day. It is a picture that mingles tears and laughter and leaves you in a glow of happiness. ; A special attraction at Everybody a Theatre this week is the unique and marvellously clever “coloured shadowgraphy" display given by the great “Cavolli,” direct from London, who made his first appearance in New Zealand on Friday night. Cavelli is not only a master hand as a shadowgraphist, but t.he remarkably fine colour effects which he introduces ■give to his act an originality and an interest which were greatly appreciated. “ONE SUMMER’S DAY** CONCERT CHAMBER, TOWN HALL. “One Summer’s Day/’ a splendid threeact comedy by H. V. Esmond, is to be staged at the Concert Chamber to-night and Tuesday evenings by “The Thespians" in aid of Rev. Fielden Taylor’s Mission. The production is in the hands of Mr Culford Bell, and a clever performance is assnred. The play is full of excellent comedy, and in pretty setting makes an ideal dramatic entertainment. The cast includes Messrs Stanley Airth, Harry Brown. Leslie Anderson, John Watchman, Chris. Tollerton, Charles Chapman, and Laurence Hanlon, and the Misses Queenie Semple, Ileno Dingle, Moira Young, Linnie Nicholas, and Phyllis Adams. Seats may be reserved at the Bristol. Turner’s orchestra will play musical selections.

“ THE BEGGAR’S OPERA” OPENING NEXT SATURDAY. Another J. C. Williamson promise will be fulfilled with, tha production on Saturday night next at the Grand Opera House for the first time in New Zealand of "The Beggar’s Opera/* which work, in the words of the cynical Dean Swift, fulfilled all the conditions of "a Newgate pastoral ” The "book** is by John Gay, a loading poet of the Augustan and early Georgian period, and the boon Companion of Swift, Arbuthnot and the bodily feeble, though mentally vigorous Alexander Pope. Early in the eighteenth centuiy, .when it was produced, it had the amazing run of 63 nights. As a fcvork of art, it is not an opera at all, in the general sense of the word, but a broad comedy of manners, dealing in a realistic way with the shady and very low life of a period that often thought "spade” a very mealy-mouthed name for the useful implement so entitled. In the literary sidle, it is a wonderfully spirited piece of work, and the songs are delightful in the combination of raciness and old-time elegance. The orchestra in the New Zealand production will use the instruments of the actual period, apd will be under the direction of that thorough musician, Gustav Slappovski. For the pfcrt of the fascinating Polly Peachurn, the services of Miss Pauline Bindley have been secured. The scenes and dresses will be a replica of those on the other side of the world, 200 years ago, whioh Were expressly designed by. a gifted artiste, Mr Lovat Fraser, who, all timely, died about eighteen months ago. Impersonating prominent characters will be Reginald Roberts and Hilton Osborn. Charles Mettam, Geo. Willoughby, Harry Schofield, Misses Eily Malyon, Beryl Waikeiy, Ida McGill. The box plans for the season opens Thursday morning next at the Bristol. QUEEN’S THEATRE “STREETS OF NEW YORK." There is unusual merit in the change at the Queen’s this week, and the large houses have been spontaneous in their appreciation of its excellence. The chief attraction is a powerful drama, entitled “Streets of New York," and tells how on the brink of ruin Goodblood, as a banker in' a small way. is the means of swindling a Captain FairWeather of his vast fortune Vhich was invested in the bank for his family. The captain’s death places the money in the hands of the banker, with the result that with the passage of fifteen years he is, a mighty Wall street magnate, whilst tho Fairweathers are starving on the New York streets. Forced to hunt for work, Paul, the old captain's son, is involved in an accident which renders him, for the sake of five hundred dollars the price of an operation, a cripple, perhaps for life. The turning point of a sorrowful life is, however, reached when Lucy Goodblood crosses lita path and makes her freewill offering to the minstrel. As far apart as the monetary barrier places them the two have nevertheless found their paradise, but. its attainment is far away, for invisible barriers separate the two. A vow that 'he will find his father's ruiner has placed an awkward aspect on things, and the outlook is not altered by the re-appearance of Badger, a former clerk in Goodblood’s bank, and who . knows of his cruel deed. The end is particularly unexpected, and the climax comes in a terrific storm. In support aie the latest gazettes and a comedy. While there is also the ninth episode of “The Social Buccaneer," with Jack Mulhall in tile lead. The Queen’s GTand Orchestra, under the baton of Mr A. H. Jerome, plays Wagner’s “Star of Eve." ORGAN RECITAL LAST EVENING’S PROGRAMME! The weekly organ recital given by the city organist (Mr Bernard F. Page) was held in the Town Hall last night, before an appreciative audience of music-lovers. Mr Togo's first number was a Sonata iNo. 6), by Mendelssohn. Tho movements in this eonata are: Choral, with variations, Fugue and Andante. The fugue is considered by some musicians to bo the lost variation of the choral. The second movement is written in tho form of a fugue. Rachmaninoff’s “Melodie” was played with delicate feeling. This pretty pieco is one of the "Mortepux do Fantaisie," Op. 3, written for piano. The Pastel, No. 3, Op. 02, by Karg-Elert, was much appreciated. Of all the three pieces called "Pastels," No. 3 shows the composer quito at his best. Cesar Franck's Produle, Fugue and Variation (Op. IS) was also given. This piece displays all Franck’s gonius, freedom and admirable development of his themes. The last number was Niemann’s guite CO.R. 87),

KING’S THEATRE DOUBLE-FEATURE PROGRAMME. Another splendid double-feature programme is being screened at the popular J£ing|s Theatre this week. The first attraction is a witty, sparkling comedy, entitled “The Heart Raider," and featuring lovely Agnes Ayres. The daughter respects a. fascinating one. The daughter of an extremely wealthy man, she causes endless annoyance and endless, expense to her father by reckless and eocentric behaviour. This goes on for some time to the worry of her father, and even causes an estrangement between the headstrong young lady and her fiance. Eventually, however, a reconciliation takes place, owing to a motor accident. The 6cene changes to Palm Beach, Florida, where the lovers again meet. Complications ensue wnen an insurance agent arrives. The girl’s father ha 6 taken out a policy which makes the company responsible for payment of all ber damages until she marines. It is a race then to the altar, and the maiden at last repents of her ways and becomes a very willing victim, though not before there are many humorous and ludicrous situations. It is indeed a relief to the distracted insurance company’s officials when tha wilful girl is at last well and truly wedded, and they are thus relieved of any further responsibility. In "The Forgotten Law” there is quite a different motive, for a note of tragedy is-struck. The popular Stilton Sills Is in the lead, supported 'by a strong and capable cast. It is the story of shattered domestio happiness through the infidelity of a young husband, who found that old habits were not so easily! shaken off as he at first so fondly imagined, and thereby causes an estrangement between his pretty young wife and himself. As the result, he takee advantage of an old forgotten statute, and, in a fit of temper, wills their only child—■ a daughter—to his brother until tha little one comes of age. Time, however, is a good healer, and softens the breech which this extraordinary old law has permitted, and finally the child and its mother are reunited, and the somewhat high-brow brother-in-law is also included in the little family circle shown at the conclusion of the drama. The supports are excellent. PRINCESS THEATRE “ON WITH THE DANCE" Mae Murray and David Powell are associated in “On With the Dance," in which Mae Murray appears to great advantage. “On with the Dance” is the' story of a dance-mad girl, quite a typical modern product in many lespects, who cares little as to what happens, so long as she is able to indulge in her favourite pastime. She was bora with rebellious blood in her veins, and errly begins to mako that fact manifest. Tho love of pleasure is in her heart, and her one aim in life is amusement, which principally consists in dancing away tha hours of her youth. This young lady also becomes extravagant after she has married Paul Dcrwyat, and what love ha originally had for this frivolous young person is eventually driven away by hex extraordinary behaviour, until finally a climax is reached, and the denouement takes place. The story is a powerful one, and the drama is not only movingly portrayed, but paints a strong moral to the pleasure-seeking young men and women of to-day and who place amusement before the high things of life. The second feature was “One Glorious Day,” in which Will Rogers was in the lead as a timid professor, whose bodv became tho tpmporary habitat of Ek, a fighting oonl. All are astonished by the sudden change, which gives this artist an opportunity to give one of his most amusing characterisations. As the leading lady, Lila Leo gives a very successful representation. Tho supporting uric turps are bright and varied, and the entire programme will be repeated this evening.