ENTERTAINMENTS

Southland Times, Issue 25362, 14 August 1935, Page 3

ENTERTAINMENTS

CIVIC THEATRE DOUBLE FEATURE PROGRAMME Apart from the fact that “Evensong,” which heads the programme opening to-day at the Civic Theatre, has been banned in Australia and will therefore draw the crowds to see why, the picture needs no such recommendation to ensure its success in Invercargill. _ Its thrilling music alone would put it in a foremost place, but, equally, so would its dramatic quality. A distinguished cast provides some first-class acting, but to any music lover the major attraction lies in the singing of Evelyn Laye, Conchita Supervia, and Browning Mummery. The story tells of Maggie McNeil, an Irish girl gifted with a lovely ‘voice whose early romance with an egotistical young musician carried them both to Paris, he to pursue his career, she to train as a singer. But George’s career was more to him than the girl, while it was plain to Kober, an impresario, that Maggie’s voice was so wonderful that fame awaited her. He was deeply interested in her, not as a woman, but as a singer, and his counsels prevailed. She was persuaded to cast aside love and the laughter of life, and to deprive herself of every pleasure, replacing it all with unremitting study, devoting herself unreservedly to the struggle of gaining her place as the greatest of operatic singers. She achieved her ambition, but at a great cost. Victor Saville has directed with his powerful flair for pictorial and dramatic values, using Venetian and other Continental scenes with magnificent effect, and skilfully spinning a web of glamour around the central figure. Through the whole dramatic story, too, music has its place in delightful variety, the numbers ranging from operatic excerpts to the homely songs the soldiers used to sing. In support of the featured player, Evelyn Laye, who holds the screen throughout with her appealing portrait of the unhappy singer, are Fritz Kortner in a finely sympathetic study of her faithful but sardonic manager ; Carl Esmond as the luckless archduke; Emlyn Williams as George Murray, the youthful composer who induced the little Irish girl to go with him to Paris to begin her career; Conchita Supervia as Irela’s eventual vocal rival; Browning Mummery with effective tenor solos; Muriel Aked as Irela’s faithful maid; and Alice Delysia as a vivacious French music mistress. “Mystery Woman,” which will be shown in support of “Evensong,” is the story of a woman who dares a life of intrigue for the man she loves. She feels that the life of this one man belongs to her —and recklessly she searches ‘ out the secret that has separated them. Mona Barrie, in the leading feminine role, appears as the beautiful and glamorous Marguerite. Other members of a very able cast are Gilbert Roland, John Halliday, Rod Laßocque, returning to the screen after an absence of three years; William Faversham, Mischa Auer, and Billy Bevan. The box plans are at Begg’s and the theatre. THE REGENT. “THE NINTH GUEST.” EXCITING MYSTERY PLAY. The sensational and well-deserved success that Owen Davis’s “The Ninth Guest” enjoyed as a stage play was hailed as the finest mystery play presented to blase Broadway audiences in years, is well-nigh surpassed by the screen version of this same play as produced by Columbia Pictures, to be presented at the Regent Theatre today. In its stage form the play ran for two consecutive years to a comparatively small audience. By “comparatively” we mean that thanks to the motion picture, millions can now see and enjoy this impressive mysterydrama, where as a stage play only thousands could view it. The producers were careful and consequently successful in improving the original work in its transcription to the screen. They procured the fine talents of Genevieve Tobin and Donald Cook for the allimportant leading roles, and arrayed a supporting cast of truly stellar screen lights. In its screen form, the Davis story is enhanced by the advantage of the camera and studios over the limited facilities of the stage and many of the points of the drama are driven home from the screen with a force impossible over the footlights. Briefly, “The Ninth Guest” tells the story of eight persons mysteriously invited to a dinner party atop a modern skyscraper in a lavish penthouse apartment. The various guests are surprised and shocked to find among their number only those whom they have reason to hate or fear. A truly hand-picked gathering. Among those present are a millionaire, still smarting from his recent political defeat at the hands of the town . boss, also a society leader with a deep and damning secret; a woman attorney; a young man just discharged from his chair at the university and the dean of the university. There are also a young novelist and a motion picture star. No sooner have they all arrived than an unknown voice from over the radio announces that the party has been tendered in order that their host, “The Ninth Guest,” might engage in a battle of wits and death with each of them. All communication with the outside is cut off. The doors are charged with death-dealing electricity; no escape is possible. It would not do to reveal the details of this amazing drama, though the arch-fiend succeeds to a large degree in his grim mission. THE MAJESTIC. . “NAUGHTY MARIETTA? AN OUTSTANDING PRODUCTION. “Naughty Marietta,” Victor Herbert’s classic operetta, as the vehicle for filming the screen’s first great musical adventure story, will continue its screening at the Majestic Theatre today. Produced on a spectacular scale by Metro-Goldwyn-Mayer, with Jeanette MacDonald, the Sonia of “The Merry Widow” and acknowledged one of the greatest singing stars of the American screen, and Nelson Eddy,

American operatic baritone, hailed as a sensational “discovery” among dramatic leading men, “Naughty Marietta” was filmed as a thundering drama of the romantic Creole days of St. Louis. “Naughty Marietta” is acknowledged one of the five greatest operas composed in America, the others being De Koven’s “Robin Hood” and Herbert’s “Serenade,” “Fortune Teller” and Mlle. Modiste,” Metro-Goldwyn-Mayer’s screen transcription of “Naughty Marietta” takes on as much importance as its original stage premiere in 1910, because of the unique handling of the story. Among the dramatic highlights are the flight from Paris, the battle with the pirates at sea, the capture of the casquette girls, the rparch of the scouts through the Everglades, the routing of the pirates, the New Orleans marriage market, where the girls are sold in marriage, the sensational “confession” of the princess, and the disillusionment of her officer lover. Miss MacDonald plays the princess, who masquerades as a casquette girl, and Nelson Eddy, a British officer in New Orleans. Their songs are - backed by huge symphony orchestras, a chorus of a hundred voices, and many musical novelties. An elaborate cast surrounds the famous singing principals. The story is briefly that of the lovely Princess Marie de la Bonfain (Jeanette MacDonald) who is being forced by her uncle (Douglas Dumbrille) to marry the odious Don Carlos de Braganza. To escape this marriage, which is sponsored by. King Louis XV., she exchanges identities with her servant, Marietta, and, armed with the latter’s credentials, leaves France as one of forty “casquette” girls bound for the French settlement of Louisiana to find husbands. The ship is captured by pirates, who land with their fair captives in the Everglades, but are routed by a band of woodsmen under Captain Richard Warrington (Nelson Eddy), who commences a quaint courtship of Marietta. On arrival at St. Louis, Marietta discovers that she cannot go through with her contract of marriage, and in getting out of it places herself in a very awkward position, from which she is rescued by the captain. When all’is going well for the young couple, a ship arrives with the uncle and Don Carlos aboard. The real identity of Marietta is disclosed, and she is ordered back to France. Captain Warrington is threatened with execution if he so much as sees her again, but in a burst -of melodious dare-deviltry he breaks in on the schemes of Don Carlos and Louis, and substitutes his and the audience’s idea of a perfectly happy ending. As the governor of the settlement and his consort, Frank Morgan and Elsa Lanchester reveal themselves as stars of no mean magnitude. The supports include newsreels, a travel-talk and a new and amusing Laurel and Hardy comedy. There will be a matinee this afternoon. “FORSAKING ALL OTHERS.” A NOTABLE CAST. Far, far too many feet of film have already been wasted in portraying the bewildering complexities of modem life, and far too few employed in revealing its lighter side, but in “Forsaking All Others,” which begins at the Majestic on Friday, much lost time is made up, for it is one of the finest and funniest modern comedies ever produced. Quite apart from the comedy it provides, this production could stand for the acting it provides alone, for the cast is a superb one, being, headed by Joan Crawford, Clark Gable and Robert Montgomery, while important supporting roles are handled by Billie Burke and Charles Butterworth. Never before have the three principals been seen, even separately, in such a farrago of fun and laughter, but such is their success in this new setting that filmgoers will undoubtedly clamour for an encore to “Forsaking All Others.” It cannot be denied that the humour of the story depends as much on dialogue as on action, but the sparkle of the dialogue translates what might be under other circumstances a criticism into unqualified commendation. There is a laugh in every line of this delightful story. Joan Crawford makes a great success of her first big chance as a light comedienne, in a harum-scarum role that carries her back to het “Dancing Daughter” days. Bob Montgomery, as usual, has the part of an attractive light-o’-love, but one which shows him in a much more favourable light than usual. One cannot help "chuckling at his escapades, even that one in which he leaves one girl at the very altar to rush off and marry another. In the part of the ultimately successful contestant for Joan’s favours, Clark Gable is seen in a new and welcome light. He has shed the rather cumbrous, though essentially masculine, characterization which marked him out in the past, and he now appears as a master of the art of wisecracking, with an unbridled sense of humour. The excellence of W. S. Van Dyke’s direction never falters for a moment and the performances of the three stars simply could not be bettered. Zest is added to the entertainment by the presence of two such attractive males as Gable and Montgomery in the leading parts opposite Miss Crawford, for the audience is kept guessing up to the last moment as to which will be ultimately successful. The supporting programme is of a standard in keeping with the main feature.

VOCAL RECITAL.

MR KENNEDY BLACK’S PUPILS.

Next Saturday, August 17, in Smith’s tea rooms, which will be converted into a concert chamber, Mr Kennedy Black, assisted by Mr Robert Henry, will present a recital programme by 36 performers. Miss Winnie Strachan (lyric soprano) will sing “Poor Wandering One,” from “The Pirates of Penzance,” with the senior quartet, and Mr Jack Matheson Will sing “Captain of Pinafore” with the junior quartet. The box plan is open at Beggs.

EMPIRE THEATRE, RIVERTON.

The Empire Pictures, are screening “Charlie Chan in Paris ’ tonight at 8 o’clock. A Chinese actor who plays an important role is something of a novelty in Warner Olands picture. He is Keye Luke, Oriental actor.' He is supported by Mary Brian, Thomas Beck and others. The supporting programme consists of “Geneva by the Lake,” “Magic Carpet.” etc.