ACROSS THE FOOTLIGHTS

Taranaki Daily News, 29 March 1930, Page 26 (Supplement)

ACROSS THE FOOTLIGHTS

COMING EVENTS.

OPERA HOUSE.

New Plymouth.

i To-night.—“ The Crazy Countess” (all ; star), British Production; and “The Guns of Loos” (Henry Victor), Brit-

ish Dominion Films. ■£pril s—“ Afterwards” (Majorio Hume), Metro-Goldwyn-Mayer Production. April 12. —“The Manxman” (Carl Brisson—Anny Ondra), Cinema Art Films (British Production). April 19.—“ The Woman in White” Blanche Sweet), British Dominion Films; and “Kitty” (Estelle Brody), Cinema Art Films. _ smril 21.—“ The Exalted Flapper” (Sue Carol), Fox Production. ' EVERYBODY'S. New Plymouth. JTo-night, Monday and Tuesday.—“ The v River of Romance” (Charles “Buddy” Rogers), Paramount alltalking production; Fox Movietone News; “Hot Lemonade” (talking comedy) and Schubert’s masterpiece (musical). . April 2 to 4—“ They Had to See Paris U • (Will Rogers), Fox Movietone alltalking comedy drama; Fox Movietone News; “Family Picnic” talking • comedy) and “Millis and Farrell’ (vaudeville artists). i „ April 5 to B.—“ The Dance of Life > (Nancy Carroll), Paramount alltalking, singing, dancing special; “Fox Movietone News,” and “After the Ball” (Paramount cartoon). ipril 9to 11.—“ The Girl from Havana” (Lola Lane), Fox Movietone all-talk-ing production; Fox Movietone News; “Music Fiends” (talking comedy), Hawaiians “South Seas," and Raquel Miller. April 12 to 15.—“ Divorce Made Easy ‘L (Douglas McLean), Paramount *ll* talking production; “Faro Nell, (talking comedy); “Tito Schipa’ (operatic singer), and “Bishop’s Candlesticks.” (talkie featurette).

THE PEOPLE’S.

New Plymouth.

ifJo-night, Monday and Tuesday.—“Emk- r ' barrassin'g Moments” (Reginald Denny), Universal all-talking comedy drama); International Newsreel; /‘King of the Campus” (talkie featurette); “The actor" (Oswald Sound Cartoon), and “Tho Ace of

Scotland Yard” No. 5. f %pril 2 to 4. —“Two Weeks Off’ C (Dorothy Mackaill-Jack Mulhall), First National talking production; OlNeill and Vernot; Harrington Sisters ; and “Thomas and Seigal.” Tkpril 5 to 8. —"Melody Lane” (Eddie C v Leonard-Josephine Dunn), Universal talking and singing produci lion); International Newsreel; “The > Royal Pair” (talking, singing and dancing featurette); “In An Arabian Night Club" (talking novelty), and “The Ace of Scotland Yard” No. 6. April 9 to 11.—“ Dawn” (Sybil Thorn- ■ ' • dyke), British Syncronised Production; and Fox Movietone News. .April 12 to 15.—“ Hold Your Man’’ (Laura La Plante), Universal alltalking production; International Newsreel; “Tho Rivals” (talkie featurette); “Pop and Son” (short act), and “Ace of Scotland Yard” No. 7. ' ' April 16 to 18.—“ Pleasure Crazed” (all star), Fox Movietone Production; “Forget Me Not” (talkie featurette); “Stewed, Fried and Boiled” (talking comedy), and “The King of England’s Speech.” “EMBARRASSING MOMENTS.” A “trial marriage” in which neither of • the principals have ever seen each other arouses all kinds of laughs in “Embar-j passing Moments,” Universal all dialogue comedy starring Reginal Denny. Beautiful Merna Kennedy is Denny’s leading lady, and the cast includes Otis Harlan, Austin, Virginia Sale, Greta Granstedt and Mary Foy. William James Craft directed from a story by Earle Snell. “Embarrassing Moments" com-’ jnences a season at the People’s “talkies” |o-day at 2 p.m. and to-night at 8 p.m. “THE RIVER OF ROMANCE.” . Charles “Buddy” Rogers will bo seen in “The River of Romance," commencing at Everybody’s theatre to-day at 2 p.m. and 8 p.m. As tho star of this romancedrama based on tho famous Booth Tarkington story, “Magnolia,” Rogers plays the youth who vomes to tho‘south from Philadelphia and is branded as a weak- - ling until he changes his identity and forces the belief that he is a gallant gam-bler-fighter. Mary Brian plays the principal support role.- The picture was directed by Richaid VVallace. Others appearing in the distinguished cast are Juno Collyer, Henry B. Walthall, Fred Kohler, Mrs. George Fawcett, Walter McGrail, Anderson Lawler, and George Reed. “Tho River of Romance” is a . 100 per cent, talking picture. “THE CRAZY COUNTESS.” Countess Kessel, well-known figure among Continental society circles, and Max Shorn, tyer of nuptial knots, on departing from their apartment to keep an important engagement at the Casino, were entrapped in a dilapidated lift and forced to remain there for tho night. Their calls for help were of no avail, the servants having been dismissed for the evening. In their absence the Countess’ daughter left the confines of her room via the fire escape, and kept the appointment previously made for her mother. Tho mother was to marry the man, but the girl falls in love with his nephew, and complicates matters so that their juvenile romance was intervened by both parties. However in the absence of her mother, tho girl succeeds in obtaining a written agreement permitting their marriage, from tho uncle. This is an instance Taken from the British International picture “The Crazy Countess.” Tho leading roles are played by Dina Gralla, Werner Fuetterer, Tilla Garden, Hanoi Weisse, and Ralph Roberts. “THEY HAD TO SEE PARIS.” “They Had to See Paris,” Will Rogers’ first all-talking picture, will bo tho attraction at Everybody’s theatre, commencing Wednesday next. The story ;waa written by Homer Croy, the dialogue ,by Owen Davis, Sr., dean of American playwrights. Frank Borzage directed the

I production and Bernard Steel staged it. It is a Fox Movietone production. The story deals with the sudden rise to wealth of an Oklahoma family when an oil well comes in a gusher, and their desire to see Paris individually and collectively. The trip is made in grand style, and once in the French metropolis Mrs. Peters is determined to marry her daughter to a title. She plunges into society in spite of the protests of her less ambitious husband. The events that follow are as laughable as they are costly, and keep the family in a state of constant excitement. The role of Pike Peters, who becomes a millionaire over night, is enacted by Will. Rogers, the best-known personality in the United States. Irene Rich portrays his wife, while the son and daughter are played by Owen Davis, Jr., and Marguerite Churchill. Others in the cast are Fifi Dorsay, Ivan Lebedeff and Rex Bell. “TWO WEEK’S OFF.” The liveliest and perhaps the last of the Dorothy Mackaill-Jack Mulhall film romances is coming to the People's theatre, next week. It is the film version of the stage success, “Two Weeks Off,’’ by Kenyon Nicholson, author of “The Barker.” The picture will probably be the last First National film in which the popular lovers will play opposite each other, for both Miss Mackaill and Mulhall are to become stars in their own right! Already both of them receive as much “fan” mail as many of the most popular stars. But they made such hits together with “Waterfront,” “Subway Sadie," “The Crystal Cup,” “Ladies Night,” and a large number of other cofeatured films that the public demanded both of them in one offering! “DAWN.” The tragic story of Edith Cave!, known as “England’s Joan of Arc,” will be presented at the People’s theatre shortly. This is the picture that created a furore in Germany, a sensation in England, and has been acclaimed in the United States as the greatest picture that ever came out of England. The role of Edith Cavell is in the capable hands of Sybil Thorndyke, one of the most popular emotional actresses in London. She is supported 'by a large cast of capable players, including Madame Bodart, Gordon Craig, Marie Ault, Micky Brantford, Mary Brough, Richard Worth. The production is devoid of elaborate war sequences and makes a convincing plea for peace. It relates the straight-forward, tensely dramatic story of the life and death of the heroic nurse, who is, perhaps, one of the most outstanding and colourful characters in modern history. “MELODY LANE.’’ Three new and original song hits are. sung by Eddie Leonard, minstrel king, starring in “Melody Lane,” Universal’s all-dialogue and music picture, which is coming to the People’s “talkies” shortly. The songs, written by Leonard, composer of the ever popular “Ida Sweet As Apple Cider,” are “Beautiful," “Sugar cane ’Round My Door” and “The Bogie Man Am Here." In addition Leonard sings several of his old-time minstrel numbers. Josephine Dunn appears opposite Leonard and others in the cast are Huntly Gordon, Georgie Stone, Jane La Verne and two year-old Rose Coe. “THE DANCE OF LIFE.” Thirty-six dancing girls were. rehearsed for two weeks, from nine each morning until five each afternoon, for the difficult chorus, routine in the “Follies” scenes in the “The Dance of Life," the Paramount all-talking picturisation of the stage play, "Burlesque,” which will show at Everybody’s theatre, shortly. The work of this chorus became so perfect that they became known around the studio as “the perfect thirty-six.” The girls dance such catchy numbers as“Flippity Flop," a series of broken rhythm movements arranged by Earl Lindsay, well-known Broadway stage dance master. The entire “Follies” sequence is filmed in natural colour by the Technicolor process. Hal Skeely and Nancy Carroll are the stars in this great attraction. “THE GIRL FROM HAVANA.” Adventure and love cruise the Caribbean in “The Girl From Havana," the all-talking Fox Movietone feature. Directed by Benjamin Stoloff, the cast is headed by Paul Page, Lola Lane and Warner Hymer, the three people whose names, together with Stololf’s were linked in an earlier success, “Speakeasy.” “The Girl From Havana” is a fast, clever, comedy of intrigue in “The Paris of the South.” The director took the company to Cuba on a liner from Los Angeles through the Panama Canal, following the action of the thrilling drama by John Stone and Edwin Burke, the production being filmed and recorded en route. ’•Neath a tropical moon and palms, many exciting situations take place when Lola and Paul mistake each other’s purpose and become involved with a crew of society schemers. The cast includes such well-known players as Natalie Moorehead; Kenneth Thomson, Joseph Girard, Adele Windsor and Marcia Chapman “AFTERWARDS.” A lot has been written about the sacred shrines of the East, especially their inaccessibility to Europeans, and in “Afterwards," a fine British-made picture to bo shown at the Opera House shortly, an absorbing prologue centring around one of these mysterious shrines ends with the death of an English girl who dared to penetrate its forbidden walls. Afterwards the fiance of the dead girl wrecks his vengeance on the girl’s companion with remorseless cruelty, following him to England and his own sister’s beautiful English home, where the unusual plot takes a queer twist. NEW ZEALAND GIRL FOR LONDON.

Nora McManus, formerly of Auckland, will sail for England on the Otranto with her mother. “We lose a sweet singer who could step into a star’s role at a few hours notice and carry the show as though she had been doing it nightly (says a Sydney paper). Here’s to her on the other side! So well trained a singer cannot fail to impress theatrical managers there. Her last appearances have been in “Turned Up” and “Follow Through,” in Melbourne; her most successful was as the lead in “The Girl Friend,” in Sydney, in Aimie Croft’s absence.”

KING’S THEATRE, STRATFORD. Matinee to-day at 1.30 p.m. “Senor Americano” (Ken Maynard.) To-night and Monday.—“ Senor Americano” (Ken Maynard). Tuesday and Wednesday. —“Dangerous Curves” (Clara Bow). ( Thursday and Friday—“ Wise Girls” (all-star cast). * * * * “SENOR AMERICANO.”

“Senor Americano,” Ken Maynard s. all-talking, singing western comes to the King’s Theatre to-night and Monday. The picture is crammed with action and romance. There is riding and fighting and plotting galore. One of the most stirring features is a sword duci between Maynard and his hot- blooded Spanish rival in love. One of the most’ interesting sequences depicts a festival of the colourful type peculiar to California in the days of Spanish occupation. It is at this celebration that the hero, by his superb trick riding, wins a golden bridle which gives much of the plot to the story. The picture is with all-dialogue and colourful songs Ty Maynard and Miss Crawford. # # * # “DANGEROUS CURVES.”

A genuine taste of the real life of a circus performer was provided for Clara Bow in her latest all talking Paramount release, “Dangerous Curves,” which comes to the Kings Theatre next Tuesday and Wednesday. Miss Bow moved her dressing headquarters to “Clown Alley,’ which is circus argot for the space between the trunks in the clown tent. She plays the part of an equestrienne and a female clown in the production. An entire circus unit of 200 performers and “big top” employees was used in the sequences of the picture. Richard Arlen is Miss Bows leading man in the picture. He appears as a tight-rope walker. • # « * * “WISE GIRLS.”

The troubles of a man with daughters t-o marry, and of a plumber with ambitions, make “Wise Girls, whi.'h comes to the King’s Theatre next Thursday and Friday, a talking picture of great comic importance. Higaly successful as a stage play, this domestic comedy of J. C. and Elliott Nugent has greater breadth and scope in film form. It is not confined to the Bence home but spreads out through the neighbourhood. It brings the laughs not in any forced manner, but simply and naturally, because it tells of simple and natural people.' Elliott Nugent more than lives up to the advance reports on his work as “Kempy James,” while J. C. Nugent is a composite picture of millions of worried fathers.

THE NEW PLAYS. SOME WITTY LINES. “SYMPHONY IN TWO FLATS.” Here are some of the lines from Ivor Novello’s play, “A Symphony in Two Flats,” one of the hits of the London season: —• “Have you ever made love to a madman?” “Yes —invariably.” . ft ft ft . * . “I used to stay at the Ritz.” .‘.‘Why did you leave?” “Weil, there was a very curious management there —they want people to pay for their rooms.” ft ft * * . “Nothing kills love like poverty.” . '.“When shall we be married? I can manage any day but Thursday.” “What a pity! Thursday’s my only free day!” * ft ft * “I should wai'it a reference.” “You shall have it, if I have to write it myself.” “I shall never believe a word he says!” “But that’s a splendid start for your married life!” - ..... * * * * “You’ve changed your mind.” “Well, what’s a mind for?” '#* » * “It’s so unfashionable to be well these days.”. * # * ft “He’s got seventy thousand acres.” “What of?” ‘‘Frozen meat.” ft ft ft * “One bit of sentiment in a waltz and ho’s sopping wet!” * « ft ft “Cook says chicken casserole’s off!” “Why?” “Because the chicken hasn’t come, and we haven’t got a caserole.” ft a . ft a “Do you doubt me?” “Why, no. I disbelieve you.” # . # ft a . .“Where’s she taking him to?” “Richmond.” “Well, that’s not far.” “Ah, but where does it lead to?” “THE SILVER TASSIE.” Tho following lines are from “The Silver Tassie,” by the Irish dramatist Sean O'Casey:— “A half-crown wife is usually the most expensive in the end." ft ft ft * “He travels a great deal.” “In what?” “Foreign countries.” ft ft ft w “Are you going to lecture me?” “A ruined man needs no lecture. He’s a lecture to look at.” ft * ft ft “My only crime is poverty. It arises from having no money in one’s pocket.” ft » ‘ « ft “He always was one for fun. He put a sheet over himself once and spent a whole night in a churchyard.” ft ft ft if “You must think me green! It’s a Wonder goats don’t take me for Brussels .sprouts!” * ft ft ft “The porter wants a tip.” “lie’s got a sense of humour.” ‘ft ft ft ft “There's many a time I wish I’d been born an orphan!” « ft ft « “I never yet heard of a man marrying a girl for her shorthand.” ft * * ft “It is my rule never to lose my temper till it would be detrimental to keep it.” # ft ft ft “Isn’t he a funny little man? Something you’d like to pick oil' a Christmastree.” « # # * “When I look at a kilt I hardly know whether the costume is making fun of the man or whether the m < ”J is making fun of the costume.”

SENSATIONAL PLAYS.

FADE OUT IN AMERICA.

The New York Times says:— ;

Just a year ago Peaches Browning, of “Daddy Browning” fame, found vaudeville customers. To-day she is trying to collect three weeks’ salary from an unknown producer whose play flopped recently when he could not get anyone in to see Peaches. Also,- just a year ago, Mae West, of the sensational sex plays, was going full blast, and so was Texas Guinan, with her “Hello, Sucker,” and a dozen more of the hotsy-totsy type. Now they are out of the limelight. This is just one of the striking pliases of the changing tastes of the amusement public in the last twelve months.

As showmen see it, the year 1930 promises to be a genteel one. They claim it is the influence of the change in women’s clothes from the undress flapper costume to the “longer” skirt frock of modest, graceful lines. Perhaps that is the reason! But whatever it is, plays of “The Front Page” type have disappeared from the Broadway stage. Any number of the rough plays, flavoured with street profanity, have failed dismally. The plays that are doing business in New York at the moment feature characters who speak the language of the London draw-ing-room, such as “Strictly Dishonourable,’” “Berkeley Square,” . “The First Mrs. 'Fraser,” “Bitter Sweet,” and so on.

The dainty Evelyn Laye is getting more limelight in New York than Peggy Hopkins Joyce. The English prima donna attracts much more attention at the St. Regis, or Ritz When she enters than the flamboyant Peggy of many husbands, romances aiid’ marriages. Miss Laye, to see her off the stage, looks like something that stepped out of the Queen’s drawing room. Gertrude Lawrence, known as the “highbrow" type of comedienne, and Beatrice Lillie, who also married an earl, are about tlw most daring in the New York limelight at the minute. Sophie Tucker found New York ■so prim and proper that she decided that Broadway was no place for the Last of the Red Hot Mammas, and so she is opening in London in a new show the first of March. The elegant long-skirt-ed American ladies want their comedy served- this year by comediennes who look as if they could play nothing more ribald than an Oliver Goldsmith comedy.

The “Whoopee” idea has disappeared entirely. Arthur Hammerstein is making money on “Sweet Adeline,” something of an operatta. And Ziegfelds best hit is the distinctly highbrow “Bitter Sweet,” an out-and-out operetta. In fact, the operetta idea, the new thirst for gentility, is going so well that last minute reports bring word that Mitzi will revive “Sari,” a sweet musical romance that vanished from the billboards long before the past decade of his pocket flasks. And then the Shuberts are indulging in no more “Nights in Paris,” “Spain,” “Venice,” and the like. They, too, have “gone operetta” with their highbrow Victor Herbert Festival.

Even the exciting mystery plays so profitable a year ago can find no playgoers in the new year of 1930 with such blood-curdling appetites. At least a dozen were tried out in New York and were packed up and sent to Kain’s storehouse. Even A. H. Woods, of bedroom-farce fame, lias given up the idea of repeating any “Mary Dugans” since “Scarlet Pages” failed. He is looking for the Theatre Guild type of plays and might not reject Bernard Shaw, if such a thing could happen. And the same story holds true of the movies. The demand there seems to be for high romance, written out in capital letters. Love scenes between Charlie Farrell and Janet Gaynor are liked for their wistful qualities. The fragrant Greta Garbo is holding on much better than Clare Bow to the new trend in tastes. Romance instead of sex appears to be the symbol for 1930.

No less authority than Samuel Gold-' wyii, recently in this city, made such a prediction not more than four weeks ago. He pointed to the popularity of his highly romantic Ronald Colman and “Bulldog Drummond’’ as an example of the new craving for romance and adventure. “The Cock-eyed World” pictures, lie said, would have no pull in 1930. Even the sensational playwright Samuel Shipman has been obliged to forsake melodrama and murder themes for “Oliver . Twist-” He is adapting the much-done Dickens’ classic for ths movies. . '

These are the prophetic high-sings for the year of 1930. in the world of amusement.

Many, things can happen, but show’men insist that entertainment of, 1930 will be more like the days of “The Merry Widow” than the “Whoopee” days of the last ten years. It’s rather hard on the “front page” celebrities, but then nothing lasts forever.

IN A HAPPY-HOME. MARY AND DOUGLAS. .. “I went to a reception given by Mary Pickford and Douglas Fairbanks, at the Carlton, when they were-over here recently,” writes a Londoner. “With his inimitable frankness and charming ease, Douglas soon turned the affair into a jolly family party, and we were all firing questions at them as it we. had known them both for years! What a delightful couple they are. both so keen and so alive to the ever-changing tastes of the public, who adore them, and they are so anxious to give them always just ■ what they ..want, I wished that Mary could , have been seen, in person, by every woman in the Empire, for she embodies all the qualities of emancipated woman in such a very graceful way. A keen business woman, she is, nevertheless, calm, charming, and very womanly. If, as Douglas laughingly said, she rules him, then I am sure she does it very subtly and certainly she appears to have a willing slave! You want to know what she was wearing? Well, her frock was almost nun-like in severity; made of soft black marocain, its high collar was relieved by a neat band of sheer white linen. Her black coat was collared and cuffed with exquisite tailless ermine, worked in a Vandyked design at the edges. Her flaxen curls were held captive in a cap-like black felt. And when we asked to see her shingle, she laughed and refused, but so charmingly that one could see quite easily how she had earned the title of ‘the world’s sweetheart.”’

MARY PICKFORD’S SALARY.

£112,000 IN A YEAR

SAVING £84,000. Miss Mary Pickford as the thrifty star of Hollywood is the picture given by herself in the Los Angeles (California) court as she protested against the inheritance taxes levied on her mother’s estate. She declared that in 1917 she saved £84,000 out of an income of £112,000, thus living on £28,000 a year. In 1919, the year before she began producing her own pictures, she was earning £2160 a week. >

She stated that in 1916 she paid her mother a salary of £5200, which in the following two years was raised to £lO,400.

“What did your mother do to earn such salaries?” asked the court. ‘‘Oh," said Miss Pickford, “she was very valuable. She was taking care of our personal expenses and donations and paying bills. The children, Jack and Lottie, lived with her, and she was head of the family.” Miss Pickford’s mother, Mrs. Charlotte Pickford Smith, died in March, 1928, leaving an estate of £210,000. Miss Pickford is contending that £156,000 of this amount was in three trust funds held jointly by the mother and daughter, the survivor to inherit all. The State of Californa has already collected £10,400 from the Smith estate, and Miss Pickford is protesting against an attempt to collect a further £7657. The hearing was adjourned.

SUIT FOR MARRIAGE ANNULMENT

Loretta Young, a filrii actress, who is 17 years of age, was married last month, and two days later was awaiting the. result of an annulment suit filed by her mother. With a film actor, Grant Withers, aged 25, Miss Young left Los Angeles, Californa, by aeroplane for Arizona, where the couple were married. But into the happy , picture stepped Mrs. George Belzer, mother of the bride, declaring that her daughter was too young for the responsibility of married life. “I believe,” said she, “that . Loretta should wait another year; then if they feel like getting married I will hot ob-

ject. They have both . admitted that they were impulsive and have agreed to a separation.”

Meanwhile the mother has filed a suit in Los Angeles for the annulment of the marriage, but there may be difficulties. The minimum age for women to marry in California is 18, but in Arizona it is 16. ‘

. Mr. Withers has already been married and divorced.

A later message says that the couple again eloped, and the. girl’s father considers that a “good hiding” would do the bridegroom good!

LAUDER AND ROCKFELLER. Sir Harry Lauder, who is on holiday at Daytona Beach, Florida, says an American paper, received a “shiny dime” (Gd) from Mr. J. D. Rockefeller, senior, who told him the gift was “just in case vou ever did run out of money,” Into the comedian’s palm he then placed a second coin. “Here’s another dime for your wife,” he said; “and here’s a coupb for your children, and some for your grandchildren.”Sir Harry Lauder pocketed the coins and said: “I shall always keep them.” Apparently Mr. Rockefeller, in giving the coins as souvenirs, did .not know that Sir Harry’s closest living relative is his niece!

TALKIES IN JAVA.

CONTRACT FOR EQUIPMENT. Despite the fact that English is spoken by only about 1 per cent, of the inhabitants of Java and the Dutch East Indies, fourteen theatres in that, terri-. tory have contracted for the installation of talking picture equipments. < That is the information given by Mr. Austin Levy, branch manager for Paramount pictures in Soerabaia, who visited Sydney recently. “The Luxor and Princesse Theatres in Soerabaia opened with talking pictures in January,” said Mr. Levy, “and so successful did they prove that the majority of the better class theatres in the Far East will be wired within the next six months.

“The success of the talkies in < the East is due to the fact that the inhabitants there are now able to see first class musical shows.’ It is the music and the dancing that is ‘getting’ the natives. Of course, the dialogue is only understood by a very small section of the audience. Take the average theatre in the East the 700 seats are filled generally by 400 Malayans and Chinese, 200 Dutch, 50 Arabs, 25. English, and the . remainder other Europeans. With such a cosmopolitan audience it would seem improbable that talkies could be the success that thev are. . .

“But music is understood by all nationalities and the effect of tne big stage, choruses and ensembles on the native is nothing short of a sensation. It seems like a dream that we ‘whites’ in the East and the natives and Chinese too, are enjoying the best musical shows in the world. . . ■ '

“One of the first talkies screened in the East was the musical, comedy, ‘The Cocoanuts.’. Of course, the comedy of the Four Marx Brothers was not appreciated, but the huge choruses and the singing and dancing of Mary Eaton caused a sensation. . “In the last two years,” concluded Mr. Lewy, “we in the East have only seen two first class shows. One was. an Italian Opera Company, and the other Pavlova, otherwise we have been cut off.from all great stars,, operas, musical . comedies, etc. Now we will not only be on a level of. Sydney, but New York and London too.” FIGHT FILM.

CUTTING DEMPSEY'S FOUL BLOW.

A libel action is pending because a London newspaper states that the Scott-Sharkey fight has been .so cut that, it does not represent what actually occurred, and the owners of the British rights , demand that the whole film be given to them for English exhibition, so that the public can judge whether Scott was fouled or not. However, ther is nothing new about that, writes Gayne. Dexter in t the Sydney News. It always happens when a blow has been questioned, and when the thick end of the picture rights belong to the winner’s camp. Throw your mind back to the Dempsey-Firpo championship scrap, when a ■ terrific smash by the Argentine knocked Dempsey clean through the ropes into the Press tables. That battle was shot both at normal speed and with a slow-motion camera.

Jack Kearns, Dempsey’s manager, wanted to sell the film to First National; so I herded our reviewing staff into the projection room. The normal picture ran first. It showed the reporters pushing the champion back into the ring, but the real sensation came, with the slow-motion version. <

-With painful-clarity, it revealed that Dempsey had hit Firpo before the latter was on his feet, and for that foul Firpo should have been awarded the fight.

FUTURE OF DRURY LANE. Negotiations, it is stated, have been -taking place between Mr. A. E_. Abrahams °and Sir Alfred- Butt for the sale by the latter of two', theatres—Drury Lane and the Dominion (says a London paper). The sum involved is believed to be. £750,000. 7 •_ According to Mr. D. A. Abrahams, son of Mr. A. E. Abrahams, the negotiations started about the time of the opening of the Dominion Theatre, three 'months ago. They did not materialise then, and have. been postponed. “I cannot say what will happen when they are resumed.” , ” ? 7 The Dominion Theatre has a seating capacity of 2850, and is run with a policy of “popular prices.” Talkie apparatus is to be installed almost at once.

Mr. A. E. Abrahams was concerned in the purchase of the freehold of the New Oxford Theatre; and the Aldwych Theatre, and has interests in the Garrick and the Scala, and in the Regal Cinema at 7 Marble Arch. ...i

Only a week ago the announcement was made that Sir Alfred Butt had sqld the Queen’s and Globe Theatres to Mr. Maurice . Browne, who made a fortune out of “journey’s End,” and that he was preared to consider a satisfactory offer for Victoria Palace.

FOOTLIGHT. FLASHES.

“Journey’s End” reached .its 200th performance in Australia at Sydney last week. - - . - - ' ' ' ‘

“The New Moon” broke all records in Philadelphia recently, the receipts being £22,400 for three weeks. - v , , Wirths’ circus has ; been drawing large audiences in Auckland recently. The circus returned to Australia last Friday, after a very successful New Zealand tour. ."

■ Members of the “Whoopee" company returned to Australia last week. “Whoopee’’ was probably the poorest musical comedy the Williamson firm has sent us since “Leave It to Jane” some years ago. .? ; Nellie ißramley, after a few months’ rest, has re-opened in Brisbane, where she formerly played a record season of over 18 montus; The opening production was “Betty’s First Bet.”

COMEDIAN GETS £lOOO PER WEEK.

Jack Buehanan, the English light comedian, is receiving £lOOO a week for his' -work in the Cochran revue “Wake Up and Dream,” in New York. . Jack Dempsey, boxing ex-champion, is getting £l3OO a week in