ENTERTAINMENTS: STAGE PICTURES MUSIC

New Zealand Times, Volume LIII, Issue 12617, 30 November 1926, Page 8

ENTERTAINMENTS: STAGE PICTURES MUSIC

iiiiimiiimimiiimiiiiiiiiiiiiiiiiiiiiimtHii MISS KNIGHT'S CONCERT A TALENTED ARTIST. When any of our people leave our shores for tho great Old World centres of oulture, to study tho art they have selected for a career, we speed them with solicitous hopes. When they return after successful study wo give them warm welcome. .Miss Millicent Knight has had this experience of going and coming. Her reception at the Town Hall last night was more than conventional. It took its place among things of good desert At the outset the singer proved that under good direction, seconded by individual careful work, her natural talent for her chosen art of song has attained to artistic rank. At the outset of the programme she was convincirig, and convincing she remained to the end. The appreciation of her audience was secured at once, was maintained throughout her numbers, and expressed definitely at the end in a sincere ovation. If the pleasure she received was equal to the pleasure she gave, she lias good ground for the expectation of a brilliant career. Her voice is glorious—a mezzo of oven, full tono throughout, of sonorous power, sympathetic, and equal to every emotion; the full strength lying in the upper middle and top registers. Her production is in the very best style, and her stage presence is imposing. One thinks of her in opera, and of Mozart for preference, realising how splendid a “voi che sapehe.” She would sing, and how she would shine the Elvira of “Don Giovani,” and the Cherubin of the “Nozze.” A long programme of nineteen numbers tested her full capacity and considerable versatility; also heT linguistic accomplishment, for she sang Italian, French and German with excellent pronunciation, and in English she did fine justice to her native language. She gave at music of the early and middle eighteenth century in Italian (Astorga, Scarlatti, Marcello the great, and Gluck), and musio of our own time, in French (Duparc, Pierne. Vuillernoz, Pudget), in German (Schubert, Brahms and Wolf), in English (John Dowland, Robert Jones, Frederic Keel, Gustav Holst, John Ireland, Harold Craxton, Herbert Hughes)—all the languages in choice songs, iu many modes from the solemn dirge to the most light-hearted tripping gaiety, often rising to fine heights of declamation, sometimes shining with martial ardour, generally displaying a fine dramatic instinct, and always there was the warmth of temperament. Some of these numbers she had to repeat, and one encore-number was O’Connor Morris’s great “Alleluia,” in which she achieved her most remarkable feat of broad, dignified declamatory power. Another encore number was the ever-fresh “Drink to Me Only,” given with perfect smoothness and tender expression, closing with an exquisite singing of the final words. Close attention and hearty applause attended the singer throughout, and flowers arrived often at the stage in procession. M. de Manny contributed three violin numbers. Handel’s sonata in A flat, Rimski-Korsakoff’s “Hindu Song,” and Kreisler’s “Chinese Tambourine.” No need to detail the ample justice this capable musician did to other numbers. Recalled twice, he complied with Bach’s “Loure” and Jame felt’s “Berceuse.” A very pleasant concert to the sterling excellence of which Mr Harold

Whittle’s sympathetic artistic accom-

paniments were a fine contribution. “THE GIRL BEHIND THE COUNTER” TO HELP ST. MARY’S HOME KARORI. A feature of the musical comedy will be the work of the ballet and the specialty dancers. The ballet have been working together for some considerable time, their work being similar to that of the famous Tiller Girls. Ten clever girls comprise the ballet. They are Beryl Hunter, Margaret Hey worth, Gina Pedder, Alice Walker. Florence Walker, Joyce Hawkens, Nancy Williams, Roma Bitossi. and Leah Beadnail. Alice Harris and Norman Byrne are entrusted with the leading singing parts—the comedy element being in tlie capable hands of Joseph Hunt (a Cockney errand boy), Robert Charlton. Jack Cameron. James Mcßryde, Leslie Anderson, Mollie Plimmer, Kathryn Murie, Lillian Grey and Mabel Robertson. Len. Barries is musical director. A splendid orchestra has been engaged, Mr Andrew Williams as leader. The Scoullar Company. Ltd., are kindly supplying furnishings, and Messrs Kirkcaldio and Stains are arrange' - the showroom display in the t act. Holders of tile shilling tickets may reserve their seats at the Bristol.

EMPRESS THEATRE j “THE SEA BEAST.’’ The old whaling days arc gone. No longer do four-masters sail forth to scour uncharted seas for the leviathan of th© deep. The breed of salt water men who feared neither the gales which swept the sky, nor the monsters beneath the sea, has passed, but in “The Sea Beast,” now showiug at the Empress Theatre, these stirring adventures of bygone days arc vividly brought to life. Taken from Herman Melville’s classic story, this picture is one of the greatest that has ever reached Wellington. John Barrymore is starred as Captain Ahab Ceely, and in this role, which calls for strong, sterling acting, the famous star gives what is probably his greatest performance, changing as he does from a young man, loving and full of hope for the future, to a cripple, hopeless, and possessing but one thought, the destruction of the beast which had robbed him of all that life held dear. A gazette and most amusing cartoon are also shown, while at the day sessions only is seen “It’s the Old. Army Game,” a Paramount comedv featuring W. C. Feilds and Eouise Brooks. KING'S THEATRE “THE SKY~RAIDER.” A great double-feature bill is now at the King’s Theatre, comprising “The Sky Raider’’ (Paramount .release), which introduces the world’s greatest living Ace, Captain Charles Nungesser, to the screen. He plays the role of himself, the French aviator who brought down one hundred and five ’planes during the war. One day, while paying tribute to the tomb of the Unknown Soldier, the Ace meets an American girl (played by Jacquelin Logan), who is trying to trace her brother. The captain recognises him from his picture as a flier sentenced to twenty years in prison. In love with the beautiful American. Nungesser effects the release of her brother. Then follows Rupert Hughes’s great comedy thrill, “Don’t,” the story of a young girl who returns from college to a home where life is a succession of prohibitions. After eloping with her sweetheart she is embroiled in a series of adventures. Sally O’Neil is cast in the role of the college girl, and Patrick as her sweetheart. Excellent music is rendered by the King’s Orchestra. PARAMOUNT THEATRE

“THE GREATER GLORY.” i Anna Q. Nilsson, one of the screen’s most popular stars, is to be seen in “The Greater Glory” at the Paramount Theatre. “The Greater Glory” is an adaptation of the famous novel. “Viennese Medley,” by Edith O’Shaughnessy, wife of the American minister in Vienna. The fate of this once gayest city of the proud Austrian empire is followed in the fortunes of a fine old Viennese family. Reduced from prosperity and happiness to poverty. by the war, the conclusion of the picture finds them on the road to happiness again, thanks to the heart of a girt who was cast from them for a fault which she never committed. Anna Q. Nilsson and Conway Tearle play the leading roles. Other principals are May Allison, lan Keith, Lucy Beaumont and Jean Hersholt. More than 1600 extras appear in “The

Greater Glory” in addition to a largo cast of supporting players. The production has been filmed along epic lines. Miss Mathis, who worked on the picture for more than a .year is responsible for “The h'our Horsemen.’’ hhc considers “The Greater Glory’’ one of the finest accomplishments of her career. .Excellent supports and delightful music complete the bill. DE LUXE THEATRE

“BEVERLY OF GRA IST ARK.” Marion Davies plays one of her most remarkable roles in the new oroduction, “Beverly of Graustark,” based on George Barr MeCutcheon’s famous novel of modern European intrigue. and now playing at the Theatre Do Luxe. She plays not only the heroine, Beverly, but also masquerades ns s. crown prince and goes through a coronation to save a throne in a daring imnersonation. The star had her nair clipped, removed all vestiges of feminity from her face, and so perfectly enacted a man’s role that the deception is uncanny. Plotters attempt to prevent, the apucarance of tho Graustark Crown Prince for coronation, hot are, foiled bv his pretty cousin, who impersonates him. She accompanied Tier cousin to Graustark to see him crowned king, hut somebody crowned him before he got,

theiel So she had to be to save the throne ior the family until the real auig recovered. Here’s the merriest, snappiest masquerade ever played on the screen, a whirl of fun, thrill and melodrama. j Antonio Moreno plays the principal j inaio roi© of “Danton,” and lioy ! D’Arcy, Creighton Hale, Paulette Du- | val, Max Barwyn, Albert Gran and I other notables appear. | Tlie play was staged under the direcI tion of Sidney Franklin, director of ' many of tlie TaJmadge successes, and • tlie Metro-Goldwyn-Mayer studios. There is a good supporting bill and tuneful music by the Orchestra De Luxe. a brighTshow FULLERS’ NEW BILL REVUE AND VAUDEVILLE. Although the new bill at Fullers—which commenced last evening—shows few changes in the artists themselves, the popularity of the show increases as the season progresses, and for variety it is one of the happiest programmes that has been on for some time. Hector St. Clair, though perhaps not quite at his best, provided a hotch-potch of revue in a series of pocket sketches, which he labelled “Hall Marked.” Some of the humour was good and some of the stuff was so near the line that it made one feel fresher and happier to get out into the cold night air again. Hector, you’re getting risque. But there were many bright spots in his collection of playettes, one of the best of which was “The Goods,” in which the fed-up hubby undertakes to get a servant whom he says will be “the goods.” He gets her—a flighty lass, too—and then the fun begins at home. It ends at home too, for poor hubby. His other sketches were “The Unkissed Man,” “Found Out” and “Roads Up,” all of which i provided some good fare for the audience. All members of the company take their part in the show. The Rodney Girls sing “After I say I’m Sorry,” to the accompaniment of » few gracefully executed physical movements; Leslie Pearce gives “Just Round the Corner, V which took on very well; and Hylton Osborne appeared with some new numbers; and with Maylin Magill, he blended well in duets. Ray McLean anil Dot Cresswell dajifce nicely together, while at the back, and right through the revue St. Clair himself provided the laughs and the snap. It is a pity that we see Lorn a Lance and Co, for the last time on this tour. Their stay has been popular, and the troupe of juvenile musicians has been thoroughly enjoyed. The trio sing “Roll ’Em Girls,” and follow it up with a clever duet of domestic trouble by Lorna and Lance. Then little Leslie, the midget drummer, astounds with his knowledge of the orchestral effects and his ability to wield them. The company wind up with a bright musical medley with Charleston effect. Carthy Brothers also play for their last week. They give a very pleasing turn of song, banter and joke; sing well together, and amuse greatly with: “He Gets More Like His Daddy Every Day,” with perambulations. Clyde and Yvette, described as a delightful dancing duo, occupy an enjoyable few minutes, and besides some clever eccentric dancing, put over one or two clever gags. Fullers is worth recommendation for the current week. “A TRIPJTO CHINATOWN” DE LUXE THEATRE FRIDAY. The De Luxe Theatre will on Friday, December 3rd, commence screening the comedy of comedies, “A Trip to Chinatown,” being the rollicking, thrilling picture version of the worldfamed play liy Charles Hoyt, with a Mst comprising Margaret Livingston, Earle Foxe, Anna May Wong, Marie Astaire, J. Farrell MacDonald, and Hazel Howell, and a cast of American beauties. The entertainment value of this picture is several hundred paces ahead of the stage piece. It is one hilarious howl from start to the finish. The story is concerned with the complications that arise when a beautiful widow invites a young millionaire, who imagines himself an invalid, to’ take her on a sight-seeing trip through the Chinese quarters. Every element of the production blends into perfect comedy the situations themselves, the manner in which Director Robert Kerr has developed them, and tho interpretations which the oast has imparted to each character. Try to recall the funniest picture you ever saw multiply the humour by ten, and you will be somewhere near an estimate of what you can expect when you see “A Trip to-Chinatown.” It "is easy to appreciate how the original stage piece was hailed everywhere as the greatest comedy of all time. The picture is most certainly among the most laughable farces ever screened. The box plans are at the Bristol Piano Co. and Aitken’s Book Arcade.

ROWE-BENNETT PIANO RECITAL A dual pianoforte recital is to be gven in the Art Gallery by Miss Ehylhs Rowe and Miss Eileen Bennett to-morrow evening at 8 o’clock. Both these young artists are Wellington students, and both are pupils of Miss Valerie Corliss. At a private recital at which the whole programme was heard, both these clever young artists showed remarkable executive ability and interpretive power of no mean order.