ENTERTAINMENTS: STAGE, PICTURES, MUSIC

New Zealand Times, Volume LIII, Issue 12354, 26 January 1926, Page 9

ENTERTAINMENTS: STAGE, PICTURES, MUSIC

GRAND OPERA HOUSE “LEAVE IT TO JANE.’ "Leave it to Jane,” the delightful musical comedy now being staged at the Grand Opera House hy the J. C. Williamson's Musical Comedy Company still continues to draw crowded audiences who thoroughly enjoy the refreshing humour with which the comedy abounds. Misses Mona Barlee, Dorothy Lena, Elma Gibbs, Ethel Walker, and other ladies of the company, with Messrs Athol Tier, Cecil Scott, Jack Cannot, Percy le Fre, Harry Wootton, and Leyland Hodgson, provided plenty of fun, with charming frocks and picturesque scenery, while the musical part went with a lilt and Swing which was most enjoyable The story of the rival colleges and the football enthusiasts was more consecutive than most of the plots of such comedies, and could be followed with interest, and should certainly appeal to the games section of the community, while the froeking will interest the feminine part. <c Leave it to Jane” will be repeated to-night, the season ending this midweek. In addition to the evening performances, a special matinee has been arranged Tor to-morrow, at 2 p.m., to which children will be admitted at half-rates. GUY BATeTpOST “THE MASQUERADER.” One of the greatest successes in the repertoire of Guy ; Bates Post, the world-famous actor, who will make his first appearanoe in this city next Saturday at the Grand Opera House, under the direction of J. C. Williamson (N.Z.), Lid., is “The Masquerader,” which will be the initial production of the season here. Not only has Mr Post gained an international reputation for his magnificent performance in the drama itself, but he was also the star in the big film production of the story, for the name of Post was associated so consistently with the play, that when the story was being prepared for the silver screen it was a foregone conclusion that no one but Guy Bates Post would he considered for the title role. In “The Masquerader’’ Mr Post plays the dual roles of John Chilcote, M.P.„and John Loder, the former a drugweakened politician, and the latter a struggling journalist. Referring to the recent eight weeks’ revival of the drama in Sydney, the critic of the “Daily Telegraph” says: “Mr Post’s work was a triumph of dramatic art, particular], in the scene of Loder’s level, where in a frenzied moment, he takes an overdoes of morphia and passes into oblivion. One almost ahud ileved at the sight of the pitiable wretch huddled and distressed, attempting to ward off the shadows of those who were chasing him; and whining for the light to be turned up ‘because they always leave me then.’ Mr Post played so skilfully throughout that many in the audience failed to realise for a time that he was doubling the characters. The changes were rapid—facials' and in action—and a remarkable piece of character acting was the result.” Included in the splendid supporting , company are Miss Eileen Sparks, who ■ will play the leading feminine role, that of Cbilcofo’s wife; Miss Cecil ' Haines, whose role of the Cockney maid at Loder’s boarding-house gives her ad- i miraoie opportunities for clever char- , ar.ter acting: Miss Jean Athol, wlio plays the role of the seductive siren, Lady Astrupp; Mr Winnington Barues, 1 as the faithful Brock; and Messrs Eric Maxon, Leslie Victor, and Ashton Jarry; The box plans for the six nights of “The Masquerader” will open at the 1 Bristol on Thursday.

KING'S THEATRE ■‘LORRAINE OF - THE LIONS.”

Picture-goers of Wellington have never before been granted the opportunity of seeing a more vivid, gripping drama of contrasts than “Lorraine of the Lions,” Universal-Jewel production, starring Norman Kerry, now showing at the King’s Theatre. Tearing down the rapid current of Em narrative the spectator is time and again caught in heart-stopping whirlpools of suspense, sitting taut in his seat as the drama unfolds. The story concerns the daughter of a circus owner. The ship is wrecked, and all hands perish save little Lorraine and many of the circus animals. Twelve years are passed in the jungle of a South Sea island, wheTe Bimi, a.giant gorilla, acts, as bodyguard to the girl, saving her from savages once and from an alligator in her favourite swimming pool on another occasion. Back in civilisation, the ' girl’s grandfather still believes the girl is alive. A young Englishman, who has studied Yogi philosophy, sees her in his crystal and they set out despite the objection of a cousin, who had hoped to inherit the old man’s fortune. It need not be said that the picture is crowded with thrills. The cast supporting Norman Kerry, with Patsy Ruth Miller, includes Fred Humes. Joseph J. Dowling, Philo McCullough, Hariy Todd, Doreen Turner, and Jack Goodrich. The story was written by Isadora Bernste’n, and wns directed b.v Edward Sedgwick. A comedy, a gazette, and beautiful musio by the orchestra, under Mr A. H. Jerome, complete an excellent programme. QUEEN’S THEATRE “SPOOK RANCH.”

Polishing his Bhiny new deputy sheriff’s star. Bill Bongs, a Texas cowboy by trade, meandered onto the grounds of an apparently deserted ranch house on tho edge of the Mojave desert. The creaking of old weatherbeaten boards occasionally rent the air with shrill barks. A low mumble came to tho ears of Bill and he trembled. An owi hooted dismally and the bushe3 swayed gently in the desert breeze. Bill fell to the ground and slyly approached the building. There was a shot followed by the ?lunk of a bullet a few feet away. lion, again, the stillness of death fell over the sandy mesa. Taking his life in his hands Bill entered roe house and came to a closed door. With a rush he opened it and plunged into the room, finding lnmself in the midst of a circle of evil faces, members of a bandit gang, who were holding the rancher and his daughter prisoners in an infamous plot to errtort their entire wealth. Tho incidents following Bill’s unceremonious bursting into the room are told at the Queen’s Theatre where Hoot Gibson will appear in “Spook Ranch,” a Universal. Gibson Spcc'al, whlih is said hy those who have seen it, to bo the best Gibson has ever produced. The supporting programme includes a further instalment of the popular serial, “Samson of the Circus.” A specially selected musical programme is rendered by Miss Eileen Dennehy and her orchestra*

HIS MAJESTY’S THEATRE MOON-MORRIS “SNAPSHOTS.” The Moon-Morris Revue Company has established itself so thoroughly in tli© favour of Wellington audiences through the generally high standard ot the fare they provide that criticism of their efforts becomes merely a distinc tion oe tween their many excellences. The company has introduced something new to Wellington in bright, snappy scenas, each distinct in itself, but bound into a complete whole by a dainty ballet and excellent orchestration. Such a style of entertainment demands that each individual item shall bo of a higher order if a hiatus is not to occur in the smooth current of the presentment, and in "Snapshots,” the latest and best of the Moon-Morris productions, this effect has been happily achieved.

"Snapshots” opens with a prologue by Syd. Burch all, the second “exposure” being a chorus by the very dainty and shapely ballet. Moon and Morris, Syd. Burchall and William Beresford were good in 4< We're Feeling Thirsty So Let‘s Have a Drink,” in which Moon’s ability as a comedian has full scope.

A very pretty and unusual sketch was “A Dainty old English Morsel,” in which Ena Gordon and Vera Sewell, dressed in Early Victorian costume, gave a clever representation of a girl standing in front off a inirror, the actions of the one standing within tho frame sychronising faithfully with tho the other member of the duo. Syd. Burchall, whose recent indisposition robbed the company of one of its brightest lights during the past couple of weeks, was on deck again, and his of weelis, was on deck again, and his excellent baritone voice was heard to advantage in a number of items. He was heard also in a particularly effective monologue, "The Sphinx and the Woman,” in which the action of the poem was mistily indicated # back stage, the Egyptian scenes being faithfully reproduced. In "A Screen Novelty,” by Wm. Beresford and the company, some novel silhouette features are introduced, some very comic effects being achieved. A domestic sketch, "All For Tony,” featuring Nell Fleming as the wire, Syd. Burchall as the and Durham Maroel, the lover, has in common with most of the other sketches provided an O. Henry twist in its tail, relying, despite convincing acting, on the element of ultimate surprise for its chief appeal. * Of the many hallet features "Kentucky” was perhaps the most effective, the charming simplicity of the setting and Nell /Fleming's spirited rendering of the song making a strong appeal. Moon and Morris in some comedy and dancing must not be overlooked. Their dancing is to a large section of the audience the main attraction of the evening,’ and could not well be dispensed with. In the first part of the programme "Tho Four Little Kellys” still maintain themselves as firm favourites. It is doubtful indeed if a more popular turn has appeared on Fuller’s for many years. Last evening the quartette received a remarkable ovation at the conclusion df their turn, and despite recalls the audience was far from satisfied to let them go. The Romano Bros, appear in a beautifully effective series of representations of famous statuary poses. Their eprfecb symmetry - and physical grace was wonderfully dis?layed in such poses as "The Discus hrower ” Man,” and "The Wrestlers,” whilst their demonstration of physical culture at the conclusion of the act was a revelation of muscular development. Sam Stern, the English character comedian, needs no <■ introduction to Wellington audiences. He has lost none of the. ability which has characterised his former appearances, and was particularly good in his representation of a young Italian on' his wedding morn. Slavin and Thompson, in song and comedy numbers, and. the . Janetski trio, in Marimba musical specialties, complete a first-class bill.

(THEATRE DE LUXE •THE GOLD BUSH.” In ‘‘The Gold Bush,” called Charlie Chaplin’s greatest comedjv now showing, twice daily at the Theatre De Luxe, the world’s most famous comedian is seen as a pathetio tenderfoot struggling along with hundreds of others who are in search of gold in the Klondike. Poetic pathos and whimsical comedy are cleverly blended in this film. There is one scene in which Charlie, a bedraggled bit of humanity, finds a sympathiser and sweetheart—a. girl in a dance hall. She dances with the little tramp who beams over her shoulder into the eyes of his rival, a wealthy miner. There' is Jim McKay, a giant as strong as an ox. McKay is enraged, and Charlie trembles as the big man menaces him. The little man thinks after all that death is better than the loss of the aueen of the dancehall. Then in another stretch there is Black Larsen, who lives in terror of the police. He builds a hut in the Alaska mountains and lives as a hermit amid snow and ice. To this hut comes the pathetio Chaplin. He knocks at the door for a rest before plodding along to the land of gold. Larsen does not care who starves, as he is not going to take any chances of the police apprehending him. / Tne scenes aboard a big steamship ; are full of human interest. The luxury and comfort of the first cabin are contrasted with the misery, want ness in the steerage. There is the little man, who a few years before went on the long hike to the Klondike, and who now aboard the great vessel is seen wrapped in costly furs. He is unhappy because he has lost his girl. But in the steerage there is a girl returning home from Alaska wishing she could find her dear little tramp again. There is a special musical programme which is played by the De Luxe Orchestra, under the efficient leadership of Mr L. D. Austin. , PARAMOUNT THEATRE THE POPULAB FUTURISTS. The popular English company, The Futurists, continue to draw big bouses at the Paramount Theatre for the final week of their season. Mr George Corelli’s splendid tenor voice has no difficulty with “Qucsta e Quelka,” from “liigoletto,” and his encore, “Come to tho Fair,” is well received. His duet with Miss Ira Love in the “Miserere’’ Is an excellent number. Miss Winnie Edgerton’s number with Miss Love, “Moonlight and Boses,” is heartily applauded. Mr Gus Dawr-xra had a bright turn to offer in “Don’t Believe a Word” with the Cabaret Kittens, and Miss Eily Dalgleish sings “There’s Yes, Yes in Your Eyes” very tunefully, and also dances gracefully with Mr Dawson. Mr ' G. IV. Desmond is highly amusing in the police farce, “A Windv Day,” and “One Word Drama” and “The Trenthnm Tragedy” are successful sketches

with clever topical refernces. A feature of the show is the singing of “All Alone” by Miss Gladys Thomas, an attractive contralto, who also displays unusual skill at the pianoforte and in conducting the orchestra. The i picture which completes the bill is “The Making of O’Malley.” The box plan is at the Utility Stationery Shop, next to the theatre. DAME CLARA BUTT TURNING POINT IN CAREER. Box plans for iha Dame Clara Butt concerts are now epen at the Bristol. The season of three concerts will commence in Wellington Town Hall next Saturday night. The turning point of Clara Butt’s career was when a big, thy, awkward schoolgirl of sixteen, she faced the examiners at the Royal College of Music for the first time, to try for the coveted scholarship that would he her passport into the world of music. How she passed, makes an interesting story; and what heights she has since nsep to most people in New Zealand know, or soon will know, as Dame Clara Butt is shortly to tour the Dominion. “I behaved shockingly that day,” said* Dame Clara in the course of an interview recently. “I was furious because I thought the examiners were laughing at me. They talked and gesticulated and even shouted while I was singing. (X did not know it then; but later I learned that they were more or less hysterical about my voice). “I thought that even though I were funny, they needn't be rude about it. At the time X was singing Hatton’s ‘Enchantress’ and when I came to tho words ‘King’s have trembled when I came* I let thorn have it dc-ep and full. I really made them* tremble—and I meant to. Then they made me still more annoyed by asking if there wasn’t something quieter I could sing. By thea X was utterly reckless, being quite sure I had lost the scholarship, and so X said rudely, when none of the scores i wanted* could he found: ‘Surely one of yqu gentlemen could play “Oh, Rest in the I>ord” frbrn memoir.’ No one was eager; but finally Sir Walter Parratt played. They told me to tome back at 2 o’clock, and X did, feeling very tired and ruffled. I was sure I hadn’t won it; but I heard an attendant say ‘Some big, tall girl won—don’t know her namel’ It was me!”