ENTERTAINMENTS

Southland Times, Issue 22750, 28 November 1935, Page 13

ENTERTAINMENTS

REGENT THEATRE “VIENNESE NIGHTS” “Viennese Nights” has lost none of its popular appeal. In fact it has gained because of the wider knowledge of the delightful musical numbers and melodies which run through its entire length. “Viennese Nights,” the most passionately tender love story ever told was the first romance written directly for the screen by those past masters of the art of entertainment, Sigmund Romberg and Oscar Hammerstein 11. Its scenes, all in natural colours, are laid in Vienna and New York. The story is that of Elsa daughter of a cobbler to royalty, whose selfish ambition for her changes the course of her whole life. He insists on her marriage to Franz, a wealthy and dashing young officer, while her heart goes out to Otto, a poor musician. Otto comes to America after Elsa’s marriage, and. many years pass before they meet in New York, when he is playing second fiddle in an orchestra. The old love reblossoms and they plan to go away together, but Elsa renounces this hope when she finds that he has a young son who needs his care. She goes back to Vienna and they never meet again. But the strange and unexpected denouement comes when the symphony inspired by Elsa so long before, is completed as if by miracle. No more need be told except that the music of “Viennese Nights” is without doubt the most beautiful, of the man who has given the world “Maytime,” “Blossom Time,” “The Magic Melody,” “Rosalie,” “The New Moon,” “Nina Rosa” and so many more. Oscar Hammerstein 11, whose fine lyrics and books are evidenced by “Rose Marie,” “Show Boat,” “The New Moon,” “Sweet Adelaine” and others—did the story and the songs for “Viennese Nights.” Three of the captivating songs are “I Bring a Love Song,” You will Remember Vienna” and “Here We Are.” Those who have not yet seen “Viennese Nights” have further opportunities offered them this afternoon and evening and tomorrow, while all who have seen and enjoyed it will find further pleasure viewing a real delight. THE MAJESTIC. “THE LIFE OF JENNY LIND.” GRACE MOORE TRIUMPHS AGAIN. Grace Moore needs no introduction to the picture-going public of Invercargill, and “The Life of Jenny Lind,” which opened at the Majestic Theatre yesterday, can only add to her reputation. One can safely say that the picture—a romantic drama based on the life of Jenny Lind—has all the remarkable appeal and fine music which made “One Night of Love.” The songs Grace Moore sings show the exceptional operatic qualities in her voice, and her dramatic ability is also given some scope. The story is principally a recounting of the attempts of a highly-captivating young musician to win her, and at the same time avoid the responsibilities, of a conventional romance. Jenny Lind remains moral, but falls to a certain extent rather easily to the blandishments of this lover with the amusing and insistent technique. The drama in the story is the discovery by the man (Paul Brandt) that he has lost his sight. He must end the affair, of necessity. But naturally that does not end the affair for Jenny Lind. This interesting story gives many opportunities to Grace Moore. She sings frequently and always delightfully—operatic airs from “Norma,” from “Daughter of the Regiment,” and several fine melodies composed by Oscar Strauss. These Strauss songs include one charming and catching chorus. The excursions into opera give the film a real living touch, which is much of its appeal. There is an excellent character study from real life of the mighty Barnum, showman supreme, whose part is taken by Wallace Beery. Once again one must love the work of this swashbuckling and delightful fellow. But of all the cast playing with Grace Moore, the palm for natural acting must go to Reginald Denny, onetime pure comedian, and now one of the best character actors on the films. Denny is Paul Brandt, the imperious but amusing lover, whose excellent way with women would be successful anywhere. When he must slip into drama he is not at any loss, but makes the transition with the ease of a very accomplished actor. Late in the picture one becomes aware of another interest than the romance or the drama. The scene shifts to the fiords of Scandinavia, and there is real beauty in the natural setting selected for many lovely and touching sequences. Charming folk songs and dances by peasants of this country are a diversion, but a pleasing one. All these are incidental to the one great attraction, the singing of Grace Moore. This itself makes the picture outstanding; her songs carry one to a state of enjoyment rarely given by any film. An excellent supporting programme completes a first-class allround offering.

CIVIC THEATRE. “D’YE KEN JOHN PEEL?” At the Civic Theatre yesterday at both sessions “D’ye Ken John Peel?” attracted large and enthusiastic audiences. It is delightful entertainment, a refreshing original and novel medley of music, romance, and adventure, set against a picturesque background composed of the English countryside in the days of highwaymen, hunting carousals, gavottes, and minuets. Its story is a full-blooded drama, replete with pistols and rapiers, galloping horses and dashing cavaliers, with, of course, the inevitable and indispensable blushing maiden, a bride of Old England, all flounces and furbelows and so far from modem emancipation that she considers it her duty to marry the villain to save her family estates and fortune. It is an old story told in the old way, but embellished with the lilting music of familiar old ballads and airs. “D’ye Ken John Peel?” has been built around the colourful figure of the old song, and the producer has contrived on many occasions to introduce songs of appropriate character for the dual purpose of giving verisimilitude to his atmosphere and conviction to his tale. Winifred Shotter has the leading role, and is ably supported in the principal male part by John Garrick, whose brightly easy style and attractive singing voice make his performance one of the features of the production. Winifred Shotter, however, is never in danger of having the film stolen from her. She makes the fullest use of all the opportunities that come her way, and, in addition to acting beautifully, she sings delightfully. John Garrick has the part of the dashing hero, who is first discovered as one of the heroes of the Duke of Wellington’s staff at Waterloo and then as the master of the finest pack of hounds in the county and squire of Sainsbury Hall, in which latter capacity he saves the heroine from dishonour with a bigamist, fights a duel with the villain, is very nearly hanged as a footpad, and eventually marries the lady of his choice to the strains of a vigorous rendering of the old hunting ballad. The supporting roles are all well handled. John Stuart makes an excellent roistering captain of horse, and after the war is over he appears in the even more picturesque role of Captain Moonlight, the footpad. Stanley Holloway provides the best of the comedy in the film. It is typical Hol- (

loway drollery and most enjoyable. The famour radio entertainer is heard in one or two of the diverting monologues which have endeared him to thousands of listeners, and his competent fooling throughout the piece relieves its melodrama just enough to make it human. There are several excellent renderings of old familiar song numbers, the most prominent being the ballad after which the film has been named, and which forms the theme song of the production. Then there are such old favourites as “Drink to Me Only With Thine Eyes,” “The Old 23rd,” “A Soldier s Toast,” “Vivandiere,” and The Wines Flowing Strong.” There is an excellent supporting programme. The box plans for the season will be found at the theatre and at Begg’s. ______ J. C. WILLIAMSON’S COMPANY. “ROBERTA” AND “HIGH JINKS.” Great interest has been aroused uyer the approaching season of the J. C. Williamson, Ltd. musical comedy company, which is headed by Madge Elliott and Cyril Ritchard, and which is to open at the Civic Theatre on Thursday Friday and Saturday, December 5, 6 and 7. On the first two nights the company will present the stupendous musical comedy triumph Roberta, which has enjoyed a triumphant tour of New Zealand, and on Saturday, December 7, the exquisite and tuneful comic opera “High Jinks” will be produced. Playgoers of Gore are to be given an opportunity to witness a production of “Roberta,” as the Railway Department is arranging to have the late train from Invercargill delayed until 11.15 p.m. on Friday night, December 6. The following is an excerpt from an Auckland paper regarding the initial performance there of “Roberta : The audience grew enthusiastic as it got the full bouquet of an exhilarating blend of comedy, melody and tender sentiment with opulence of dancing colour and design. At the final curtain Madge Elliott, Cyril Ritchard and the other players got what amounted to a wonderful ovation. Madge Elliott imparted a rare delicacy to the role of Stephanie to enhance the romanticism and tender sentiment of the play, with a sweetness of voice in her song numbers that was attractive and interludes of rhythmic steps reminding patrons their well-remembered danseuse was again with them. There was talented expressiveness in her songs ‘Touch Of Your Hand,” “Smoke Gets In Your Eyes,” and “Lovely To Look At.” But real magic stirred when Cyril Ritchard (Huck) and she teamed up in the song and dance, “Let’s Begin,” to awaken memories of their earlier alliances and reveal terpischorean talent ripened into mellow grace. Cyril Ritchard was ever in the picture as the haunting Huckleberry suiting his outstanding personality to the general sparkle of the play of creating the spirit as required with unexpected, unkind but witty words, a tuneful ditty at the piano or a few equally diverting steps to keep the party moving. He set a-rolling the catchy set theme song “You’re Devastating,” which merrily went the rounds of baritone, tenor, soprano and chorus. Leo Franklin strongly enhanced the comedy with quaint eccentricities which established him a firm favourite. But he was rivalled for favour with the house in the comedy line by Marie Le Verre, whose study of the temperamental Clementina Scharwenka kept the audience thoroughly amused and whose songs “Something’s Got To Happen” and “I’ll Be Hard To Handle,” sung with Grace Field’s effect were outstanding features. Though appearing only in one scene Ethel Morrison, in a character study as Aunt Minnie, set a standard for the tender sentiment running through the play, and her contralto song “Yesterdays” was one of the gems of the play. Frank Leighton’s John Kent was another of the very good character studies of the play, and Miss Diane Du Cane, a new arrival from London, achieved an outstanding success in the role of Sophie. Those mentioned are only a few of the brighter lights in a great cast for the play is a tremendous production with nearly a dozen scenes, constantly changing choruses and ballets, and a continuous progression of striking stage pictures.. The mannequin parade is a play in itself, with a dozen picturesque scenes, and the “Shadows of Silver” group finale a most arresting climax. The frocks which form the motif of the play appear continuously as a woman’s vision in their magnificence. “Roberta” the stage play last night undoubtedly captured the audience as a sparkling memorable entertainment as well as a procession of magnificent features. The box plans for “Roberta” and “High Jinks” will be opened at Begg’s on Tuesday morning next at 9 o’clock.