ENTERTAINMENTS: STAGE, PICTURES, MUSIC

New Zealand Times, Volume LIII, Issue 12395, 15 March 1926, Page 4

ENTERTAINMENTS: STAGE, PICTURES, MUSIC

“THE FARMER’S WIFE” GRAND OPERA HOUSE, TO-NIGHT. To-night at tho Grand Opera House J. C. Williamsan, Ltd., present an entirely new English company, including ten noted London artists in Eden Philpott’s comedy of rustic manners, “Tho Farmer’s Wife.” It is a play of homely wit and sparkling dialogue and the atmosphere is English to the last degree. It has been running at the Court Theatre, London, for throe years, and is the biggest comedy success in England since the war. Due Australian critic says: “Sydney is ill laughing over the rich humour provided bv that clever comedv, “The Farmer’s Wife.’’ It is the reigimi attraction at the Palace. It is really full of laughs, and what more does one want? A. play different in type from anything previously seen here. It is one that onefc seen, will never be forgotten.”

It is a comedy of old Devonshire, rich in local humour and tinged Here and there with sufficient pathos to make the story worth while. “Why are old maids?” once said a guileless youth, and the answers according to the farmer in the play would seem to be legion. “Because they are too nervous to show tlieir feelings—because they become too independent—because they giggle, because they cannot grasp a good chance when they get it.” All these answers apply to all spinsters in this play, who say “nay n to their first offer of marriage, and the sensible one of the lot is the one who eventnally claims the coveted title, “The Farmer’s Wife.”

The company presenting the play includes many ’English artists who appeared in the original production in London. Prominent in a big cast are Miss Doris Johnstone, eventually the farmer’s wife, Townsend Whitling, the farmer, Susan Richmond, a pernicketty old maid, Edwin Brett, as the farm hand, and clever character studies are presented by Douglas Vigors. Frances Cave. Reginald Newson, Graham Stuart. Violet Ley, Millie Engler, Peggy Welch 7 Doris Tasselles, Danhne Bain, Emmaline Oxford, Arthur Greenaway, and Eardley Turner. The scenery effects and music will all be typical of the atmosphere of the story, distinctly English. The box plans are at the Bristol and day sales at the Opera House Confectionery.

NEW PRINCESS THEATRE “PATHS TO PARADISE.’* * Safe across the border, with & vsuitable haul, and the girl he loved- with the police baffled and far behind, this seemed just paradise to a crook. But then Molly, his confederate, was not satisfied. Sne wanted to return the loot. Happiness, the path to paradise, could not be brought about with stolen goods. So they raced the police back again, and returned the goods, but while these two crooks are doing it in Paramount’s comedy hit, “Paths to Paradise,” the audience has two hours of unrestrained laughter. “Paths to Paradise” will be at the New Princess all this week. Gwynne Evans, with all the monev in the world, wanted a career, and her husband, thinking, she would get tired of it, gave her three months’ freedom to get over it. Eva Graham would hove been mistaken for her twin sister, had a career and wanted peace and quiet. So they swapped places. “Changing Husbands” is the name of the picture that tells of the complications that followed when hubby appeared on the scene suddenly. It is a delightful, delectable comedy of a matrimonial mixup. Beatrice Joy, Victor Varconi, Raymond Griffith and Zasn Pitts are in the cast. This comedy de luxe will be screened at the New Princess Theatre as the second feature. There is an equally good supporting bill, and excellent music by the orchestra. The “Rose-Hahn sports film” finished oii Saturday, and will not be repeated this week.

HIS MAJESTY'S THEATRE PHIL. SMITH IN “AT THE PARTY.” Tho brilliant success of the Phil Smith Musical Comedy Company at Hjs Majesty’s is certain to be repeated this week, when they will be ;n their fifth production. This new show is entitled “At the Party.” By way of a change, Mr Smith will depart from his usual show, in which a distinct plot is maintained all through. “At tho Party” is a series of tabloid sketches interspersed with songs and dances, all, however, carefully chosen so as to give each member of the company a chance to appear at his or her best. The dressing is said to be exceptionally good, while the musical numbers are such as will please all tastes. In this new show, comedy is said to be the keynote, and with such cheerful comedians as Phil. Smith and Nat Hanley, the going should be good. In tho vaudeville section there are several striking acts that have already proved themselves winners in the various Fuller theatres. Doris Brunton, -i charming,, soubrette, makes her first New Zealand appearance. Queenie and David Kaili, tvlio are. immense favourites with Fuller audiences, will give an entire change of program ne, which is sure to be successful. Wendling and Malloy, a pair of clever all-round entertainers, will appear in something that is quite now to local audiences. Bert Elliott, who made his first appearance in New Zealand last Tuesday night, immediately registered a success with his clever manipulation of bell-toppers and cigar boxes. Mr Elliott is undoubtedly one of the cleverest performers in his line that has as yet been seen in these parts. To-night he will repeat his brilliant act. To-mor 7 row night a new; act—Florence and Clifton, comedy jugglers—will make its first appearance and further augment an already strong programme. STRAND THEATRE ' “THE STORM BREAKER.” A terrific battle with the waves features “The Storm Breaker,” Uni-versal-Jewel production to be seen this week at the. Strand ITieatre, wt<h House Peters as the star. It i§ a wonderfully realistic scone as John Strong, tho role played by Peters, seeks to master the ocean as he has mastered oil men. His brother stranded an a rock, beaten and pulled by an angry sea! Urged to rescue him by his own wife! With the bitter knowledge that this wife had been unfaithful—had taken as lover this same brotherl It demanded heroic determination, bigness of character, fearless disregard of the sea’s dangers. This is but one of the thrilling . incidents in a picture crowded with romance and adventure. “The Storm Breaker” shows Peters at his best. The star has been given a great supporting cast, the playing ini « hiding Nina Romano, Ruth Clifford, 'Hallor, Jere Austin, Lionel Bel:i c Ed. Brown, Emmett King, Gertn:cb Claire. William J. Colvin, Mark Fenton, and Lon Poff. Edward Stamen directed the picture. A ? su screening is “This Woman,” an intensely vital indictment of post-war society in New York, and specifically the story of a remarkable young woman, Carol Drayton, who tries to live down a ragged past. There is a Stan Laurel comedy as well as nn interesting gazette and tuneful music, KING’S THEATRE “THE WA’ToF A GIRL.” Some clever person once observed that oil and water do not mix, bub eince then the theory has been occasionally disproved. Comedy and drama in equal doses are also not supposed to mix, but this theory is forever spiked by Robert G. Vignola’s production, “The Way of a Girl.” which heads tho hill at the King’s Theatre this week. It is a film version of Katherine Newlin Burt’s novel, “The Summons,” whicli does not use either comedy or drama as a mere adjunct to tho other, but features bath alike, and does it most successfully. The story is of a girl who spends her life in quest of excitement. Prize fights, an artists’ ball, reckless motor . driving, and slumming parties are some of the things she uses to inject thrills into her life, overriding the many protests of her devoted but conservative suitor. Eleanor Boardman plays the girl in a fascinating manner, and adds another characterisation to her list which, is increasing her already large following of fans. It is her second attempt at light comedy cm the screen (the first being “Proud Flesh”), and she plays it most deftly. Matt Moore gives a fine performance. He, as the staid suitor, has the type or role which he has made most popular on the screen. The programme includes a Path© News, a chapter of screen snapshots, a cartoon, and a good comedy. The King’s Orchestra contributes appropriate musical selections. PARAMOUNT THEATRE PICTURES "AND DANCING. A theme of unusual interest is interwoven in tho production, “Borrowed Finery,” which is the star attraction at the popular Pararpount Theatre. Through her urge for a pretty dress to wear at a party many complications ensue that are of great import to the winsome little heroine, as portrayed by Louise Lorraine. The story tells cf a cute little model employed in a wholesale dress house, who Borrows an evening dress to attend a party. During the evening the dress is ruined, which Icqvc-s the girl in a rather uncomfortable predicament. How she evades the penalty of lier rashness and the complications that follow gives tho pictuio its great entertainment value. In the cast of players, in addition to Louis) Lorraine, rrc Ward Crane, XiOii Tcllegen. Taylor Holmes, Hcdda. Hopper. Barbara Tennant, Hlortrudc Astor, Trixie Friganza, Otto Lederer, W. H. Strauss, and Pat Pondergrast. A novel feature on the prograrmne Miss Mona Clive, the girl with the glorious form, assisted by lier Wellington hallct. presenting the second of her daring Oriental dance creations, “Tho D A ath Dance ” a dramatic attraction. “Tho Death Dance” is symbolic of the arjr-ionl law of the Fast, which decreed that *n dancer at tho zenith of her career most either give lip her profession or die. Amaru, as impersonated hy Miss Clive, preferred death rather than forsake her life’s passion. On tho hill are also a gazette, a and an nnusiml epenic. There are excellent orchestra] items tWrmob-ujt the orocramtti©

THEATRE DE LUXE "CALIFORNIA STRAIGHT AHEAD.” With tli« unusual situations presented fn a transcontinental motor trip, Denny and liis director Harry Pollard, lrave managed to make “Cali- ' .forma Straight Ahead,” which is the principal picture in the De Luxe programme, possibly the most entertaining of Denny’s recent series of feature farce comedies. Travelling in a palatial bungalow-on-wheels, Denny, in the role of a jilted suitor, attempts ‘‘to forget” by journeying across the' country by motor. Instead ■ of finding solitude* and peace, he finds everything else, including his ex-fiancee, various accidents and. mishaps, a storm in which several wild animals escape ami invade an auto camp, and numerous other diverting things. From the appearance of the scenes it is evident that the transcontinental trip scenes were filmed out on the open road, for we see shots of tourist camps, and the rssual caravan of cars of all descriptions loaded with odd-looking baggage, and passengers who rival them in oddness. All in all, the picture is most entertaining, and presents an unusual combination of comedy and , thrills, ending with a punch which is too good to miss, but also too good to spoil by tilling here. Gertrude Olmsted makes an appealing igTroine opposite the star, and the supporting cast, including Lucille Ward, Charles Gorrnrd, Tom Wilson, Johri Steppling, Fred Esmelton and Leon Nomas, add many hits of eomedv to the production. The duality of the minor films is well up to the standard of the star picture. The orchestra, under the baton of Mr L. D. Austin, is heard at its best in many numbers, the overture from “Maritnna,” and the “Turkish Patrol” (entr’acte). EMPRESS THEATRE “THE NARROW STREET.” Dorothy Devore heads the impressivo cast in “The Narrow Street,” which is being presented at the Empress Theatre this week. Matt Moore plays the male lead, and the supporting players are Gertrude Short, Texnpe Bigott, lvate Toncray, Madame Suitewan, David Butler, Russell Simpson, George Pearce. The . story begins when, out of the storm, a girl walked into a bachelor's house at night and fainted in his arms. He didn’t know a thing about her —not -even her name—but she brought a whirlwind of romance, adventure, and mystery into his bashful bachelor life. One way of carrying a law case to a higher court is to elevate the judge’s chair. That is the means employed in James Cruze’s production, “Beggar on Horseback.” which is the second feature at the Empress Theatre, when Edward Everett Horton appeals his case. No ono could blame Horton for wanting a different court, because the members of tho jury are dressed like undertakers. The judge smokes a cigar, a foot long, while the jury pours tea. One of the women lie is charged with killing sits in the courtroom and knits with an . enormous pair of needles. The whole thing is not as scandalous as it would seem, however, because Horton is dreaming. The dream sequence is the big feature of this novel and lavishly produced photoplay. Also screening is “Rupert of Hee-Haw, ” featuring Stan Laurel, and a gazette. Mr M. Dixon’s orchestra plays appropriate music. AT THE TIVOLI “WILD ORANGES.” At the Tivoli Theatre this week is a film 'worthy of great praise, entitled “Wild Oranges.” The story deals with a man, embittered against society by the death of his wife, who sails with .one sailor on his yacht to t.he Georgia ' roast, and there meets a strange trio—two men, ono of them mad, and a beautiful girl. The experiences of the fivo during the brief stay in the lagoon make up one of the most gripping stories filmed in years. - Frank Mayo plays admirably tho rolo of John Wnolfolk, the man who seeks Virginia Valli as the beautiful girl who has lived her life in the Geor-* gia swamps, seclusion from the world, on his yacht. Nigel de Brullier as the aged grandfather who has brought his granddaughter to the swamps because of his unexplainable fear of humanity, Charles A. Post as the giant Nicholas, the half-wit who lives with the other two in the swamns. and Ford Sterling as Halyard. Woolfolk’s sailor, make no the cast. Only five persons appear in the entire picture. Also screening is “The Girl in the Taxi,” a screen version of the famous musical comedy. There is also a good supporting programme. QUEEN’S THEATRE “THE PHANTOM OF THE OPERA’.’ “The Phantom of the Opera,” the most sensational film of the year is now screening at the Queen’s Theatre. Lon Chaney plays “The Phantom,” a strange creature otf the shadows,' in a makeup that eclipses his weird disguise as “Quasimodo” in the Hugo classic. Mary Philbin plays the opera singer whom ho kidnaps into his underground stronghold, and Norman Kerry plays her lover and rescuer. A remarkable cast is seen in the principal roles, and fully four thousand pecnlo take part in the mob scenes, the brilliant spectacles on the Grand staircase of the Opera, and the gala performance of “Faust” staged in the opera house prope:. Much of this action is taken in colour photography, which gives a vivid aspect to the kaleidoscopic scenes. In tho cast are Virginia ,Pearson, Gibson Gowlund, Snitz Edwards. Cesare Gravina, Arthur Edmund Carewe, Alexander Bevani, Anton Vnverka, George B. Williams, Edward Cecil, and many other noted screen players. The dropping of a huge chandelier of the Opera House on the heads of the audience, the remarkable chases through the dark underground cellars, , and tho strange adventure on the. , underground lake are among the big scenes of the story. " ' A matinee will be held daily. A < special musical programme has ' been • arranged for this fine film. Box plans ] are at the Bristol, or seats may he re- , served by ringing the thentre’ ’phone , 22-331, !