ENTERTAINMENTS

Southland Times, Issue 19124, 17 December 1923, Page 7

ENTERTAINMENTS

ALBION THEATRE. MAGNIFICENT PROGRAMME. It was not to be wondered at that the comfortable Albion was well filled at an early hour Saturday night, the artistry of the leading stars would make many leave their firesides to see them in features worthy ) their art. All who enjoy reading or seeing such imaginative romances as “Rupert of Hentzau” will find “If I were Queen” excellent entertainment. The story is set in a mythical kingdom of the Balkans. (Why not the McGillyouddy Reeks for a change?) All the intrigues and diplomacy, adventures and romances which seem customary in that part of the world are included in this picture, and despite oneself, rouse the interest and hold it in suspense, while the desired atmosphere is produced. Ethel Clayton is delighted in her part of the modern girl, staying in Paris, eager for adventure. Like most adventures, her escapade leads her to unexpected places, and consequences follow which are hard to face. However, a picture would fail in its object if the emotions were not roused, and if we were not transported to some exciting place where mundane matters fade into oblivion. Henry B. Walthall, who plays the star role in “The Face on the Barroom Floor,” portrays the character of “Robert Stevens,” an artist, who sacrifices his career and strays temporarily into the wrong path until circumstances reveal his innocence. “The Face on the Barroom Floor” is not only a great drama but a great moral lesson. It isn’t preachy—quite the reverse, in fact, but it unfolds a story that causes every person who sees it to recall some moment in his own career when he might have made a similar sacrifice as Stevens does, and to wonder whether in the final analysis he would have the courage to undergo what the screen star characterised. The direction and photography of “The Face on the Barroom Floor” are perfect. An exceedingly funny Mermaid comedy completes the programme. Seats may be reserved by ’phoning the Albion (738). TWO THRILLING DRAMAS. a CIVIC PICTURES TO-NIGHT. The managament of the Civic Pictures has scored again with the programme presented on Saturday night. The two big pictures are really outstanding productions —“big” in every sense of the word—and they both gained the approval of Saturday’s big audience was evident right through the , period of screening. It is a difficult matter I to say which one should take pride of place on the bill, as both are really strong pictures. Priscilla Dean is seen first in her Universal Jewel production “The Flame of Life,” a virile story of life on the Lancashire mine fields based on “That Lass o’ Lowries’ ” by Frances Hodgson. Burnett The story is thrilling, but human; fast moving, but complete. It pictures a novel atmosphere, the mining country in the northern part of England. Its people are the toil slaves of a mining village, its action the big and little events in their simple lives. A smashing clmax is engineered through a mine catastrophe which is realistic in the extreme. Displaying his masterly hand in every scene, George Fitzmaurice has produced another picture of supreme merit in “Kick In.” The play, one of the best crook dramas ever produced in New York, created a furore and that it should reach the screen is not surprising. Presenting Betty Compson, Bert Lytell and May McAvoy in the featured roles, “Kick In,” has every requisite essential to success. It is beautiful and massive, action is rapid and thrilling, the photoplay superb and the character portrayals all that the most artistic taste can demand. “Kick In” is a cinematographic triumph and as such will be acclaimed by every Invercargill patron who sees it. “Perils of the Yukon,” an Alaskan thriller, is also on the programme to-night.

LIPKOVSKA. FAMOUS RUSSIAN’S VISIT. The advent of Madame Lydia Lipkovska (Lip-kov-ska) to Invercargill this evening is causing considerable interest, not only amongst musical people, but also amongst the general public, to whom a world-famous personality always has a strong appeal. It seems may years since the name of Lydia Lipkovska first flashed across England, after a memorable debut at Covent Garden. As a matter of fact, it was only twelve years ago, during the- eventful season of Russian opera there. Subsequent seasons at the historic theatre found her firmly established as a prime favourite with opera-goers in London. Interspersed with triumphs at La Scala, Milan, Grand Opera, Paris, and at Monte Carlo, were visits to the Metropolitan, New York, and also the Chicago and Boston seasons of grand opera. A Royal command to appear in Petrograd for a gala performance in honour of the visit of the French President, M. Poincare, resulted, unfortunately, in her being enveloped in the terrible conditions in Russia during and after the war. It is hard to get the beautiful prima donna to talk of those days—it is only when the spirit moves her that she will discuss them. The idol of many continents, she has received some wonderful tributes from the world’s greatest critics. An added attraction to Lipkovska’s concerts will be the appearance of the famous singer in some beautiful costumes of, the period and nation of the music she' interprets, an ! innovation that has been acclaimed everywhere. Only one concert will be given, this (Monday) evening. The box plan is now open at the Bristol. “THE MAN FROM TORONTO.” The plot of “The Man from Toronto,” which will be staged by the Invercargill amateurs at the Municipal Theatre to-mor-row night, is one which lends itself to humorous situations and dialogue. The scene is laid at the home of Mrs Calthorpe—a young widow. Mr Priestley—the family solicitor and uncle by marriage—calls to tell Mrs Calthorpe that she is overdrawn at her bankers, and incidentally mentions that a certain wealthy gentleman of Torronto—who had met Mrs Calthorpe on board a liner—had died and left Mrs Calthorpe a large sum of money on condition she married his nephew—Fergus Wimbush. Around this plot the author has written an amusing play, and there is not one dull moment throughout the performance. The cast is an excellent one, and in the order of their appearance are:—Robert Gilmour —a blase young man with an artistic temperament and a taste in skevvies—Mr E. Miller; Martha—a saucy housemaid, who knows how many beans make'five—Miss H. Brookesmith; Mrs Calthorpe—a young widow who can look things and do things, and is what old Priestley calls an incorrigible, an irresponsible, an insufferable little monkey—is played by Miss V. Green; Mrs Hubbard, mother of Minnie, a largehearted lady, is admirably played by Miss E. Munro; Minnie Hubbard, a young giggling miss who, before going for a holiday, gives Mrs Calthorpe a photograph which creates some amusing situations, is in the hands of Miss F. Green; Priestley—lawyer, guardian, uncle by marriage, a good friend of Mrs Calthorpe, a short temper, but a good old chap—Mr A. F. Grenfell; Fergus Wimbush—from “Toronto,” a likeable young fellow from the Canadian back-blocks—Mr P. Longuet; Ruth Wimbush—looks as if she had swallowed the kitchen poker—Miss A. Brookesmith; and Ada Wimbush—a jolly younger sister of Fergus—Miss F. Green. The scenery is being specially painted byMr R. Nash, and the setting will be pleasing. All tha'i is wanted is a full house, when every patron will enjoy the play and at the same time assist the Southland Cricket Association, on whose behalf the play '•> being staged. The box plan is now open at the Bristol and patrons would be wise to book their seats.