ENTERTAINMENTS

Southland Times, Issue 23000, 21 September 1936, Page 12

ENTERTAINMENTS

CIVIC THEATRE RALPH LYNN IN “DIRTY WORK” “A night of glorious song and sparkling comedy” ran the advertisement of the Civic Theatre on Saturday when announcing to the public that Senia Chcstiakoff, the celebrated Russian tenor, had been specially engaged for that evening and also that “Dirty Work,” another of those riots of laughter from the pen of Ben Travers, would be screened as an entree to the feast of song. The enterprise of the management was fully appreciated, for the theatre was packed to the doors and so many were disappointed at being unable to gain admittance that a further appearance of the famous soloist of the Don Cossacks choir has been arranged for to-night. Chostiakoff has been a box office draw wherever he has sung and his glorious voice, allied to his magnetic personality and his essentially human personal touches, again completely captivated his audience. The tenor knows his public and studies it, hence the selection from his repertoire included gems that could not but delight all musical tastes. Virtually his feast of song was a “request” programme, for he disclosed that he had received almost a hundred requests for special numbers. To comply with that number was, of course, impossible, but Chostiakoff delighted the audience with almost a score of songs. Equally generous were the rounds of applause that greeted the singer. Again he showed wonderful voice control and a sympathetic interpretation of his numbers, which ranged from beautiful English ballads, and Irish folk songs, to the ever-popular “La Donna e Mobile” and the “Song of the Volga Boatman.” The audience, despite the late hour, was loath to let him make his final bow, but the announcement that he would appear again on Monday night, when he intended singing further request numbers, was a compensation. He is assured of another packed house for, as elsewhere, he is a firm favourite with the Invercargill public. While it was Chostiakoff’s triumph, mention should be made of the work of the accompanist, Mr Gordon Lindsay, and of Mr A. Lindsay, who played the violin obbligatos. Each, in addition, gave enjoyable solo items. As for the picture programme, it was fully in keeping with what was an outstanding night of combined entertainment. Particularly interesting was an arresting film depicting a reconnaissance flight over Everest. The photography was excellent and the courage o fthe aviators stood out as their machines climbed over the top of the world. That precious ass, Ralph Lynn, assisted by Robertson Hare, Gordon Harker and others, is absolutely irresistible in the farce “Dirty Work,” directed by Tom Walls. The film consists of a series of highly . amusing situations. Lynn is cast as a salesman in a large jewellery store, the manageress cf which is seriously perturbed about many thefts of precious stones. In an endeavour to thwart the evil intentions of a gang of criminals, Lynn and Co. turn crooks and the absurd sequences which follow the man hunt can better be imagined that described. It is one of tire best of the Ben Travers’s farces and that is its best advertisement. The whole programme will be repeated to-night.

STATE THEATRE. “CAPTAIN JANUARY.” RECORD CROWDS SEE SHIRLEY TEMPLE. A policeman was needed to regulate the crowds desiring to see “Captain January” at the State Theatre on Saturday afternoon. Admittedly the crowd was composed chiefly of children, but in the evening adults showed the same enthusiasm over Shirley Temple’s latest picture. Nor was this enthusiasm misplaced. “Captain January” is one of the merriest, brightest and most delightful films that the screen has yet brought to Invercargill. A genuinely dramatic story underlies the song, dance and comedy delights of “Captain January,” in which Shirley Temple plays the part of the much-loved friend of two old sea salts. Guy Kibbee, in the principal supporting role, plays the part of the lighthousekeeper,

the man who had rescued the child from the sea years before, and now fears that someone will take her from him. Due to the efforts of Sara Haden as the truant officer, this almost comes about, but in the end Slim Summerville, Buddy Ebsen, and June Lang conspire to make Shirley and her foster father happy. The film contains a number of catchy tunes and delightful dances. “The Right Somebody to Love,” composed by Jack Yellem and Lew Pollack, is the song hit of the new picture. There are, however, two other delightful tunes sung by Shirley, as well as a fascinating series of new tap steps, many of which are danced in company with Ebsen, a former star of the Ziegfeld Follies. Summerville and Jane Darwell are outstanding in their comedy characterizations in this picture, which is ably directed by David Butler. Shirley’s new dances include a novelty called the “Multiplication Table” dance and a group of intricate steps. One of the features of the picture is the comedy of the inimitable Slim Summerville, who can always command a hearty laugh. Shirley, however, is the central character in this pleasing modem tale of laughter and romance. Her singing and dancing have never been better, ’while her simple, unaffected acting is several planes higher than many screen performances.

THE MAJESTIC.

“THREE LIVE GHOSTS.”

SUPERB ENTERTAINMENT.

Twelve hundred animated people saw “Three Live Ghosts” at the Majestic on Saturday evening and enjoyed themselves so much that laughter often drowned the witty dialogue. It is the most entertaining picture that has come to the Majestic in recent months; and the supporting programme is superlative. People had to be turned away from the theatre on Saturday evening, and this should happen again to-night and to-morrow if the programme receives the patronage it merits. Though the theme of “Three Live Ghosts” is essentially light-hearted, there is a mild blending of pathes which helps to accentuate the humour. When armistice is declared the three warriors, Spoofy, Jimmy and Bill, try to get their back pay from a sergeant-major, but that robot consults his files and finds that they were all killed in action. The trio go to London and make their headquarters at the home of Jimmy’s stepmother, Mrs Gubbins, an astute old gin-drinker upon whom a detective from America has called telling her that there is a reward of £lOOO for information leading to the discovery of William Foster, alias William Jones, her step-son’s “buddy.” Her attempts to hand Bill over to the law, Jim’s efforts to frustrate her and the burglarious nocturnal meanderings of the aristocratic Spoofy make high-class comedy, especially as the acting is so good and the dialogue so clever. Poor Spoofy is suffering from shell-shock and loss of memory, but the shock his pals receive when he brings home family heirlooms and a family heir with the milk one morning nearly sends them out of their minds. Scotland Yard gets busy and diverting scenes follow, with Beryl Mercer, as Mrs Gubbins, excelling herself. Claude Allister as Spoofy and Richard Arlen and Gus McNaughton as his pals give a splendid performance. There are also some bright songs, including the famous “Plum and Apple.” The first half opens with two interesting newsreels. Then comes one of the best of the Our Gang comedies ever filmed and a highly instructive short on table tennis, of great value to players of the game and made entertaining to others by Pete Smith’s patter. To round off a magnificent programme there is a long colourtone of the fiesta at Santa Barbara, with many Hollywood stars in the sunny costumes of Spain.

REGENT THEATRE.

“THE AMATEUR GENTLEMAN.”

TAP-DANCING ON THE STAGE.

Among the many film versions of famous classics that have been, released during the last two . years, “The Amateur Gentleman,” which is now being screened at the Regent Theatre, stands out as a picture of unusual merit. All the atmosphere of Jeffery Famol’s popular novel has been successfully captured: the scenes of London, Bath and the English countryside are excellently portrayed in all the beauty that was theirs at that period. The swashbuckling days of the Regency with all their glamour and romance form the background for this absorbing tale. In this United Artists’ production, strict attention has been paid to detail and the fine spirit of the book has been faithfully transferred to the screen. The story tells of an innkeeper’s son who, following a bout of fisticuffs, makes a sudden but calculated entrance into the gilded society of the period in order to save from the gallows his father who has been wrongly accused of theft. Douglas Fairbanks, jun., after having devoted several years to producing, makes his reappearance in the role of Barnabas Barty, and his acting of the part of that strange personality, The Amateur Gentleman, is a polished performance. Young Barty is the son of John Barty, an English innkeeper and a former heavyweight champion of England, at whose country inn the “quality” are staying. A famous string of pearls is stolen overnight and John Barty, through circumstantial evidence, is convicted of the theft and condemned to death. Aroused by this injustice, Barnabas Barty, then a raw country youth, sets out to prove his father’s innocence.. He makes his dramatic entrance into the world of glitter and fashion as. John Beverley, soon to become a dashing favourite for his bearing, his wit and his sartorial splendour. He is accepted, .not merely as one of them, but as a distinguished personality, to be sought after and copied. But at other stages of the film he leaves the world of dandies to be the instigator of a prison break, the hero of a bare-knuckle fight, and the quarry of the Bow Street police until he wins through and exonerates his father. The story is essentially one oi action, and here something must be said of the photography. In all the scenes photographic perfection is apparent, especially in the rural scenes in the opening stages and in the murder scene towards the close of the story. Fairbanks is perfectly cast as the hero. Elissa Landi, star of many famous productions, plays the part of the beautiful Lady Cleone, with whom Barnabas falls in love, and Basil Sydney is excellent as the suave but villainous Chichester. Gordon Harker and Esme Percy are very much at home in parts that are eminently suited to their flair for comedy. The supporting programme includes a splendid Disney Silly Symphony in colour, a comedy, travelogue and a newsreel, while pupils of the School of American Tap Dancing present a pleasant exhibition on the stage, demonstrating modem rhythm.