MAJESTIC

Sun (Auckland), Volume I, Issue 196, 8 November 1927, Page 15

MAJESTIC

“CAPTAIN SALVATION”

The romance of the old days when men braved the sea in square-rigged ships—when hardships and hardtack were the sailor’s lot; when glorious romance gilded the terrific struggle of man against the elements —these are the things echoed in ‘Captain Salvation,” Cosmopolitan’s vivid drama of the high seas now playing at the Majestic Theatre. “Captain Salvation” is a saga of adventure; a story of strong, sometimes brutal, men, in a strong, sometimes brutal, calling; a story of terrific emotions and terrific adventure; a play so gripping that it leaves the audience fairly gasping at its intensity. Adapted from the novel by Frederick William Wallace and directed by John S. Robertson, it is played largely on a ship on the high seas; an actual sea voyage was- made in an old-time clipper ship for these scenes, which are so intensely genuine that the actors themselves found it an adventure of their lives, and, on the screen, the audience senses this tang of genuine peril in the remarkable play.

Lars Hanson, the famous Swedish actor who came to America to score in "The Scarlet Letter” and “Flesh and the Devil,” does an intensely interesting piece of work as the hero, a divinity student forsaking the pulpit for the sea, and Pauline Starke is a vivid creature as Bess Morgan, the charmer who lured but finally saved him. Marceline Day is a charming sweetheart.

The supporting pictorial programme is composed of the Majestic News, with scenes of Italian midshipmen in training, the arrival of the Prince of Wales and Prince George in Canada, and a carnival at Venice: the ever-popular and interesting Eve's Review, with a beautiful English scenic; "More War Memories,” "From Hooge to Bailleul.” with scenes of old I-looge, "Sanctuary Wood, Hill 60 and Poperinglie. An excellent New Zealand scenic, "Strawberry Time,” showing the different stages from picking to jam-making and tinning, and an A 1 Si. John comedy, with a brilliant animal cast, concludes the programme. The musical side of the programme has not been forgotten, and the musical numbers rendered are up to Mr. Wh it eford-Waugh’s high standard. Weber’s overture, “Oberon.” is specially featured as an interlude. Other musical gems included in the incidental music are "Chopiniana Suite, ' "Walls of China” (Lively), “Barcarolle” (Godard). “Romance” (Tschaikowsky), “Hate and Love” (Sameltini). "Adagio Lamentose” (Tschaikowsky), "Andante Religiose' and some of the latest l'ox trots just arrived from London. An added attraction on the programme is the appearance of Mr. Farrell O'Malley, the brilliant Auckland tenor, who renders Del Reigo’s "Thank God For a Garden/*