ENGLAND’S MASTERPIECE

New Zealand Times, Volume LIII, Issue 12464, 4 June 1926, Page 4

ENGLAND’S MASTERPIECE

WONDERFUL FILM PRODUCTION SUNBEAMS FROM SYDNEY. True to label, the advance notices of “The Only Way,” the First National film featuring the eminent English actor, Sir John Harvey, is here, and it more than justifies the many good things said about it in advance. At last -we have.an English picture that sets a new standard—marks an epoch —and which we may proudly label British. When it is screened at the Opera House there is many a tearful eye far perhaps the noblest character in literature, Sidney Carton. Charles Dickens was an Englishman. He breathed English air, and thought English thoughts, nnd thus, when he put pen to paper he wrote of the men of bis own country. No better author could the producers have taken when - fashioning their masterpiece

that was to show the rest of the world that England could produce a picture that/ would win back her dramatic prestige that was founded by Marlowe and Shakespeare. These also made an ideal choice when they chose Sir John Martin Harvey to take the leading role. Here was a man imbued with the best traditions of the English stage, carrying on the torch lighted by men •uch as Sheridan. What a wonderful character he makes of Sydney Carton —oh, that Dickens could have lived to see this drink-sodden law clerk saturated with the chivalry of days when knighthood was in flower, mounting the scaffold to La Guillotine, glad that he might lay down his life for the happiness of one he loved. There are no embellishments needed for ting great theme, and none is provided. The story is unfolded in a simple, straightforward manner that is typioally British, and must strike home to all British hearts. Not that “The Only Way” is not a stupendous production—it is—but it contains nothing lavish; nothing gaudy—it is sincere.

But this is not the whole of the programme, by any means In the first half we have the Sunbeam Children from Sydney, who are presented by Frances Scully in “The Wedding of Baby Kerr.” It is hard to believe that children of such tender years could be so talented. They have all the tricks of the trade known to many much older than they, but they retain their charm and their naturalness, their freshness, and, above all, their simplicity. They are actors and actresses, singers, and acrobats all in one, and last night they received a wonderful reception, and had encores been permitted, the show would not be over yet. They take as the theme of their entertainment “The Wedding of Baby Kerr.” On the conclusion of the overture the bridal procession marches from the hack of the stalls on to the stage amidst the singing of “Here Comes the Bride.” Then follows the wedding breakfast and the usual toasts —or, rather, a little unusual, but decidedly laughable. The bride, Baby Kerr, and the groom, George Foster, sing “In Our Bungalow,” a catchy little air that they infuse with some delightful by-play. “Cupid’s Dance,” by Dulcie Kerr and the baby ballet, is prettily staged, and Stella Lamond, who tenders some amusing advice to the newly-weds, scores with a humorous song, “It’s Rough.” The languishing best man sends ’ the house into roajs of laughter, with his item, “I. Ain’t Nobody’s Darling,” and the flirtation dance, by Gladys Cave and Hazel Jenning, is daintily executed. In an acrobatic speciality a troupe of girls perform a number of surprising feats-of strength and agility. Their hand-springing is done in whirlwind fashion. A song, “Just Married,” by the bride and bridegroom, closes the delightful entertainment. The settings throughout reveal the hand of an artist, while the frocking is particularly fine."' EXTRAORDINARY SCENES PHENOMENAL CROWDS. There were phenomenal crowds endeavouring to obtain admission to the Grand Opera House at both sessions yesterday, and of course hundreds had to be disappointed. It would have taken Athletic Park to accommodate all those who desired admission. At one stage the police had to intervene in their endeavours to control the crowd, and in this they were afforded every assistance by the manager, Mr Stanley N. Wright. Evidently good news spreads quickly. The season extends for another six days, and two performances in each will be given. The matinee in future will commence at 2.15 and the evening programme at 8 o’clock. The prices for the matinee are from Is upwards, and in view of the unprecedented interest being taken in the season patrons would be wise to note that reserves may be made at the Bristol.