ACROSS THE FOOTLIGHTS

Taranaki Daily News, 10 May 1930, Page 26 (Supplement)

ACROSS THE FOOTLIGHTS

COMING EVENTS. OPERA HOUSE. New Plymouth. May 10.—“ Slim Fingers” (Bill Cody), Universal; and'“The Prince of Adventurers” (all star), Universal super attraction. May 17.- —“The Pagan” (Ramon Novarro), M.G.M. special attraction. May 24.—“ Taking a Chance.” (Rex Bell), Fox Films; and “A Woman Against the World” (Harrison Ford), Fox' Films. May 31— “Take Me Home” (Bebe Dan- ■ iels), Paramount production. June 7—“ The Fleet’s In” (Clara Bow), ■ Paramount production. June 14.—“ The First Kiss” (Fay Wray), Paramount production. EVERYBODY’S. New Plymouth. To-night, Monday and Tuesday.—“l<rozen Justice” (all star), Fox Movietone all-talking •' production; . “Knights Out" (talking comedy); " “Old Songs for New” (musical); Fox Movietone News; “Watch Your

Friends” (all-talking comedy) and “Pussie Willie” (Oswald Cartoon). May 14 to 16—“ Big Time” (Mae , Clarke), Fox Movietone talking, singing and dancing production; “Mind Your Business” (talking comedy); “Four Married Men’’; and Fox Movietone News. May 17 to 20,—“The Trial of Mary Dugan” (Norma Shearer), Metro-Goldwyn-Maycr all-talking prndue- ; tion. ; May 21 to 27 — “Rio Rita" (Rebe Daniels : and John Boles), all-talking, singing, dancing special production. May 31 to June 3.—“ His Glorious Night" (John Gilbert), Metro-Goldwyn-Mayer all-talking production. June 4 to 6.—“ The Great Divide” (Dor- ' othy Mackaill), First National all- - talking production. June 7 to 10. —“Skinner Steps Out” (Glenn Tryon), Universal all-talk-

■ ing-production and .“The ’ Flying Fool,” Pathe all-talking production. June 11 to 13.—“ The Squall,” First : National all-talking production. June 14 to 17 — “Flight” (Jack HoltRalph Graves), Columbia all-talk-ing special. THE PEOPLE’S. ’ New Plymouth. May 10, 12 and 13. —“The Long, Long • ’ Trail” (Hoot Gibson), Universal all--1 talking production; and .“Strange I Cargo’.’ (all star), Rathe all-talking ■ special production. , . May 14 to 20.—“ Sunny Side Up”, (Janet Gaynor-Charles Farrell), Fox Movietone all talking, singing and dancing super musical comedy and Fox Movietone News. May 21, 22 and 23.—“ Say it with Songs” (Al. Jolson), Warner Bros.’ talking and singing production/ May 24, 26 and 27.—" The Climax” (allstar), Universal talking and singing production; “The Leatherneck” (William Boyd), Patlie talking and syncronised production. May 28, 29 and 30.—“ Her Private Life” 1 (Billie Dove), First National all- j ; talking production. May 31 to June 3.—“ To-night at Twelve” ■ (Madge Bellamy), Universal all- 1 talking production. j June 4 to 6.—'“Love, Live and Laugh” I (George Jcssell), Fox . all-talking 1 production. •. June. 7. to 13.—“ The Cock-Eyed World” (Victor McLaglen-.Edmund LoweLily Damita), Fox Movietone special all-talking ■ production. • June 18 to 20.—“ Under the. Greenwood Tree” (all star), British special alltalking production.

“SLIM FINGERS.” An exciting melodrama that is numbered amongst the most entertaining has been constructed by Universal from the original screen story by William Lester, “Phantom Fingers” (“Slim Fingers.”) It is coming to the Opera House to-night with William Cody and Duane Thompson as the featured players. A well-known cast of players arc in the. company, including Bill Cody and Duane .Thompson, who will be remembered from their many thrilling escapades in ‘‘The Price of Fear” and other outstanding subjects. They are ably supported by - Wilbur Mack, who plays the part of the thief, and Monte Montague as the valet, who outshines all previous performances. He is responsible for most of the comedy relief. ’ “THE TRIAL OF MARY- DUGAN.” In “The Trial of Mary Dugan,” Metro-G-oldwyn-Mayer all-talking picture, with Norma Shearer heading a big . special cast of notables, audiences will see a departure from the original stage version. Bayard Veiller, author of .the famous murder drama. • personally directed it for Mctro-Goldwyn-Mayer. He altered the action of his play so as to incorporate a number of exterior scenes that will run as a prorogue to the thrilling courtroom sequences. “For the purposes of condensing the trial dialogue I told part of the story outside the courtroom,” Veiller said. “This did not deviate from the established plot, but eliminated considerable preliminary testimony, and made the witness chair dialogue more dramatic and intense.” With Miss Shearer in the huge cast are H. B. Warner, Raymond Hackett, Lewis Stone and < many other famous stage and screen personages. “The Trial of Mary Dugan” comes to Everybody’s on Saturday, May 17. J : “FROZEN JUSTICE.” . j “Frozen Justice,” commencing at! Everybody’s to-day at 2 p.m. and 8 1 p.m., is an all-talking Fox Movietone drama of primal Impulses among a primitive people. Miss Lenora Ulric, as a half-caste northern belle who raises ■uoh liavoe among the adventurers of lhe Yukon—when that glamorous re- 1

gion was in its hey-day—contributes one of the outstanding . characterisations which the speaking screen has yet brought forth. Incidentally, this star sings “The Right Kind of Man.” A noted supporting cast includes Louis Wolheim, Robert Frazer, Ullrich Haupt and Laska Winter. Allan Dwan directed. “SAY IT WITH SONGS.” “The Best Picture I ever made,” Al. Jolson says of “Say It With Songs,” his latest Warner Bros, picture which comes to the People’s Theatre shortly. The story of “Say It With Songs” leads naturally to many-sided characterisations. In the role of song writer and radio entertainer the one and only Al. has a chance to do many of the clever things which make him Jolson,' He is seen at (broadcasting stations, at home with Little Pal (played inimitably by wee Davey Lee) and in prison where he has been sent as the result of the accidental killing of a man who tried to break up his home. His wife, at his ..wish, secures a divorce and puts the child in a school. When Jolson finishes his term in prison he goes at once to see the child, who follows him and is run over by a truck. The story is thrilling but has a happy ending. The story of "Say it With Songs” is by Darryl Frances ’Zanuck and Harvey Gates. Scenario by Joseph Jack-, son. The support includes beside Davey; Lee—Marian Nixon. Holmes Herbert, i Kenneth Thompson and Fred Kohler. j Llovd Bacon directed. j

“THE PRINCE OF ADVENTURERS.”

Universal’s gorgeous extravaganza, “The Prince of Adventurers,” will be presented io local audiences nt the Opera House to-night. The famous Russian actor Ivan Mosjoukine, is the star of this film triumph and is supported by a cast of over 10,000. The picture presents wonderful colour phot opts -m ■ Venice the beautiful at carnival time, I brilliant scenes in the palace at St. , Petersburg, and through it all the daring story of “Casanova,” the greatest philanderer of European history. "STRANGE CARGO.” Lovers- of virile screen drama should not miss seeing . “Strange Cargo,” a dramatic P.D.C. picture coming to the People’s talkies to-night. It is a remarkably- thrilling screen drama. The story tells of a mysterious murder at sea and the action is swift-moving and effective. ' Lee - Patrick, ■ George Barraud, Frank Reicher and other notable stage players are in the cast.“ Strange Cargo” is a 10'0 per cent, talking picture and is also one of the most perfectly recorded ever' made.'' “'SUNNY SIDE UP.” Interpretative ensembles are a feature of “Sunny Side. Up,” original Fox Movie-

. tone musical. comedy. Seymour Felix, noted Broadway dance. director who r staged the ensembles and song numbersj has ideas of his own on chorus ■ work. He insists that the old-time type .' of chorus, which merely’pranced across . the stage and did a dance that had no • connection Vvith the production as a. whole, i$ gone forever. Instead, his en- ’ sembles interpret the songs and ad- . vanco the action of the play, a. very important item in producing a musical . production for the talking screen. Janet Gaynor and Charles. Farrell are co-fea-tured. “Sunny Side Up” comes to the People’s for six nights commencing on Wednesday next. There will be matinees daily at 2 p.m. “BIG TIME.” i • ■ ! Most of the action in “Big Time,” . < Fox Movietone all-talking drama, feaI taring Lee Tracy with Mae Clarke and I Josephine Dunn takes place backstage where it depicts the glamour, the triumphs and heart-breaks of people who make their living behind the footlights. The story is one of absorbing human interest, but embraces a wealth of comedy furnished by Daphne Pollard and Stepin Fetchit, coloured comedian de luxe. A number of other well-known troupers are also’ prominently' cast. As Eddie Burns, the egotistical hoofer; Tracy, in a difficult role, proves himself an artist. Miss Clarke also gives a satisfactory performance. Both of these artists did brilliantly on the stage and they do just as well on the screen, under Kenneth Hawks’, direction. “Big Time” commences at Everybody’s talkies next Wednesday. ! . “RIO RITA.” . . There’s a new phase of the theatrical business in the making. . Broadway producers are beginning .to wonder about “stage rights” to screen productions for the first time. One. of the films that has brought about this new point of view on the-exchange of stage j and screen material and tale.lt is “Rio I Rita,’- the all-talking, all-musical extravaganza Radio Pictures has mad-. from the Ziegfeld hit. For Radio Pictures, it is admitted on every side, has out-Zicgfelded . Ziegfeld for splendour and spectacle in the presentation of Harry Tierney’s operetta. The immediate reaction to the rich, production value in the film “Rio Rita,”-its new music, new sets, new costumes, and wealth of colour and beauty, is that Broadway stage producers soon will be seeking “stage rights” to the bigger screen invading Broadway for its ideas and talent. .To Max Bee, as supervisor of Radio -Pictures, goes much of the credit for the splendour with, which “Rio Rita” was produced. An architect and picture director, Ree’s sets and costumes, many of which were photographed in colour, were the most sumptuous, and the most costly, that have been built thus far in the new era of talking pictures. “Rio Rita” commences a six-night season at Everybody’s talkies on Wednesday, May 21. There will be matinees daily at 2 p.m. <

New Clothes for old, soiled and faded gai inents. We can renovate your soiled or . faded suits, costumes, dresses, hats, gloves, equal to new, at a cost of a few shillings. We have been cleaning and dyeing clothes for 20 years. Get busy and have yours renovated now at J, K. Hawkins and Co., Steam Dyers and Drq Cleaners, corner Devon and Liardet Street, New Plymouth. Telephone 685. Stratford Agent: W, H. Rudkin, “Everybody’s,” Broadway.

DISCOVERER OF SHAW.

FIRST NIGHT GF Great regret was expressed in London theatrical circles at the news of the death of Mr, J. E. Vedrenne, the manager and producer. On the previous day. he had been to see the matinee performance of “Michael and Mary” at the St. James’ Theatre, says a London exchange. Born 63 years ago, Mr. Vedrenne first came Into real theatrical prominence in 1904, when he and Mr. Granville Barker went into partnership at the Court Theatre. This management became famous; it gave Bernard Shaw his first chance of having his plays produced. “Candida,” “John Bull’s Other Island,” “You Never Can Tell,” “Man and Superman,” “Major Barbara,” and-“ The Doctor’s Dilemma” were put on by the partners—who also “discovered” John Galsworthy as a dramatist.

Speaking of the production of “Candida,” his first Shaw play, Mr. Vedrenne himself said: “The first night of ‘Candida’ at the Court Theatre was the only time I ever made a speech on such

an occasion. ■: At the end the audience were cheering . and shouting ‘Author!’ and, as Shaw would not take the call, I went; on and said: ‘Mr. Shaw is not in tile house, but you will .find him on the platform of Sloan Square station, beneath this. theatre.* . “I have never seen a theatre empty so quickly.” ... . ~ Mr. Vedrenne had two stories illustrating the difference. between Shaw and Galsworthy. “John Bull’s Other Island" was a o-reat success on its production, and he said to Shaw: “Have you any other plays?” “Oh, any amount of them,” was the answer.

, On the other hand, when John Gal-s- -? worthy. nervously brought Vedrcmw ■ '“The Silver Box,” and he asked: “Is s this your first play?” the then young ! writer replied: “Well, I have written J another one, but I have burnt it.” > John Vedrenne was a leisurely i spoken, "thoughtful man with- a knack • of discovering new writers and actors. At different times he was in. partner- -. ship with' the late Lewis Waller and [ the late Dennis* Eadie, and among the plays he had a hand in finding were : “My Lady's Dress,” “The Man. Who Stayed at Home,” . and “Milestones.” He called his house at Weybridge “Milestones.” . . Numbers of young actors and actresses were given encouragement and engagements by him. among others Edmund Gwenn, Gladys Cooper, Fay Compton and Edna Best. He had a fatherly, patient way with him. Miss Best said of him: “Mr. Vedrenne loved the theatre —by which I mean that he seemed more interested J in the stage side than■’ in the money side. The first things with him were the play and the people , in it. He seldom interfered with the actual production, leaving that to the people he had been able to get around him. But he would often come and have quiet, helpful, little talks about- things. Personally I owed everything to him early in my career.” NEW CHAPLIN SCHEME. TALKIES IN HOLLYWOOD. Despite Charlie Chaplin’s announcement that he contemplates organising a silent picture-producing company, embracing himself and four or live other stars, Hollywood refuses to take the news seriously. The only silent .pictures being turned out by the village are the inaudible versions of the talkies. With the sound track removed, or with the sound confined to sound effects "and orchestrations, the talkies are prepared for foreign release. The all-silent gave up the ghest long ago, as time is reckoned here, claims a Hollywood writer. “Poverty Row,” consisting of a few ramshackle studios along' Sunset Boulevard, was the last to toss in the sponge. They stuck to making “quickies” until sound drowned them out. The high cost of talkie equipment excludes them When a talking picture has been completed, the studio’s “silent” department takes charge of the nega- < tive. Sub-titles replace dialogue, and | occasionally added scenes are shot to bridge gaps which sub-titles cannot cover. It is in this shape that a majority of Hollywood’s pictures reach foreign theatres. Some of the studios make foreign talkie versions for some pictures. Some remove all dialogue but leave in any songs a picture' may contain. The Laurel and Hardy comedies are made in French, Italian, and Spanish, as well as in English, and, according to studio officials, Messrs. Laurel and Hardy have no voice doubles. Their foreign language efforts are confined chiefly to brief . expressions, pantomime being used whenever possible. Vilma Banky and , Rudolph Schildkraut made cne talker in both English and German. .Voice-doubling by foreign voice for foreign versions hsa been .found to be largely unsatisfactory. Moreover, it is a long, slow, , laborious process, and time is money ■ in picture-making. A few of the studios are making j pictures especially for lease m Spanish. . countries, - i

POPULAR COMEDIAN'S DEATH.

PLAYED ONE PART FOR YEARS.

Mr. Harry Weldon, the well-known comedian, died in London recently, at the age of 48, after a long illness. Born in Liverpool, ho began life as a shipping clerk, and afterward joined a touring sketch, making his first appearance on the stage at Barrow, in 1900, and his first London appearance at the Marylcbone Music Hall in November of the same year. Then he was selected by Mr. Karno to play the part of “Stilly” the goalkeeper, in “The Football Match.” Charlie Chaplin, then unknown, was in the same company at 35s a week, and understudied Mr. Weldon. Mr. Weldon played “Stilly” for years. Equally famous was his sketch, “The White Hope,” and “Tell ’Em What ] did to Colin Bell,” is a part of vaudeville history. One night his stage challenge was responded to by an athletic man who turned out to be Bombardier Billy Wells. Ho had a manner entirely his own, and his version of the English language was entirely original. When he camo on the singe to announce that

he would “sing a sailor’s song,” he did so. in a peculiar tone which suggested at once aIL the. moods and expressions of protest, condescension, happy decision, and a certain dismal determination to do his best if he died for it.

Harry Weldon was a great favourite with'; pantomime audiences. He managed to produce a curious whistling effect in all words beginning with “s';”and this accomplishment was one of . his great success. His widow is also a well-known music hall artist, professionally known as Miss Hilda Glyder. A CHANGE ON BROADWAY. TWO RUNS OF A YEAR. “Not for many years have so many English plays been running at the one time in New York. Broadway almost looks like Shaftesbury Avenue’” writes the New York correspondent of a London daily. . “Among the successes of a quiet season are ‘Journey’s End,’ ‘Bird in Hand,’ ‘The First ’ Mrs. Fraser,’ ‘The Infinite Shoeblack,’ ‘Berkeley Square,’ ‘The. Apple. Cart,’ ‘Michael and Mary,” and .‘Wake Up and Dream.’ The first two have nearly a year to their credit. John Drinkwaters play is now in"it< sixth New York theatre, and is also doing well in Chicago. “Henry Daniel is rehearsing for a; new piece. This will be his third J part over here. Richard Bird is tour- | ing in ‘Journey’s End,’ Jack Buchanan • is holding his own, and is appearing at a night club, as also are Tilly Losch and Jessie Matthews.

“Leslie Banks has made a big fineness in ‘The Infinite Shoeblack,’ which looks like having, a long run!

“Joyce Barbour is going into a new musical show.

“The Shuberts are rehearsing ‘Clare Gubbins,’ in which Violet Loraine

played in London, with Stanley producing. A. E. Matthews and Laurence Grossmith are in ‘The First Mrs. Fraser,’ “At the moment Constance Collier is still on the road in ‘The Matriarch/ but it .is expected that it will open shortly in New York to make the list I of English plays even longer. “Mrs. Patrick Campbell has been lecturing on ‘The Voice Beautiful’.” Evelyn Laye is not likely to be seen on the West End stage again for at least another year. When she returns from America next month it will only be' for a two months’ hoIL day. Then, after her film work at Hollywood, she plans to go straight f to New York. They want her to tour in “Bitter Sweet” in the States, but it is mor© probable that she will appear in an entirely new production.

MICKEY MOUSE A STAR,

OBJECT-LESSON TO HUMANS. At the risk of reducing Miss Marla Corda to bitter tears, I insist on letting her know why I regard Mickey Mouse as my favourite film star, writes Jane Doe in the London Daily Chronicle. Mickey isn’.t married. He’s never been married. Hence, he’s never been divorced.

In the presence of rcportorial .notebooks he doesn’t become 100 per cent, super talkie-talkie about his private affairs. He never needs to enhance his publicity value in my ardent moviefan eyes by bleating about his heart in relation to his art, and why the twain never can, shall, or must meet.

He doesn’t imagine he’s painting my clouds with sunshine by giving me his comic views about companionate marriage and that other equally comic Transatlantic stable-companion, companionate divorce. That’s half the reason why I adore Mickey Mouse.

J. know thousands and thousands of the long-suffering public will agree with me that it's a mighty good and sound reason.

Pcrhajw some film publicity expert will explain, then, this curious tradition which seems to insist that, the moment an alien: film star lands on these hospitable shores she obeys an ' unwritten law of “Open your heart and skeleton cupboard and tell ’em everything. The public’ll cat it.” Open their hearts! As a careful student of newspapers, from the days when the cinema first began to flourish,. J now think of any film star’s beating heart;- not as a centre of the emotions, but as a bit of highly efficient open plumbing. Why is it that the average screen personality, either sex, but mainly female, so dearly rejoices in a personal theme-song, on the subject of those matrimonial woes most of us in private life arc only too anxious to keep decently private? We have now among us for the purpose of making a inulti-lingual talkie, Miss Maria Corda, golden-haired; blueeyed Hungarian film “vamp” darling.

From the look of it she wasn’t in this country more than five minutes before geins of wisdom® were falling from her lips into the notebook of a more than usually credulous reporter. Having shyly admitted divorcing her husband after a companionate marriage, and further equally shyly admitting to be living with him again in companionate divorce, she tells us:

“An actress can never be a woman, as far as marriage is concerned —she is a slave of her public.

..“People say that I may re-marry my husband. But I do not think I shall. I 'ha'vift made .a great sacrifice in giving him" up, and that would be wasted.

.“So-.far the experiment (companion-ate-divorce) is perfectly satisfactory.”

Well, Miss Maria, as far as this member of the public is concerned, you are under no obligation to slave for me.

I want you to enjoy yourself. And if you'd rather be a married woman than a film star please don’t let, me stand in your light. There are lots of other, film stars ready to take my m6ney. “NO CONTROL.” v WHERE THE PROFIT GOES. Mr. Stuart Doyle, speaking at the annual .meeting of the. Greater J. D. Williams Amusement Cd., Ltd.,’in Sydney recently, said the widespread belief that American interest had control of many picture theatres in Australia was without foundation. As managing director of Union Theatres, Ltd., ihe declared that there was no American capital in that company, and it was entirely free of American or. other foreign control. Moreover, he did not know of one theatre in Australia owned or controlled by American capital. The American companies were merely distributors, who hired their pictures to ■Union Theatres, Ltd., and other Australian exhibitors. Only 16 per cent, of the gross takings of Australian picture houses went out of Australia in 1929; the’ balance of 84 per cent, was distributed in Australia.

Practically all moneys derived from film-hiring were now being invested in . Australia, owing to the exchange position, and the amount sent aboard was negligible. Union Theatres, Ltd., he continued, was engaged in developing extensively j the showing of British films in Australia, and it was hoped that a large increase in the 'number of British talking pictures exhibited in Australian theatres would result from the company’s action. 5 Mr. Doyle added that Australia was the only section of the Empire where there were no foreign interests in the theatre business. By developing new I theatres progressively, the Australian exhibitor had remained entirely independent, while even in England a number of the principal theatres were fore!gn-owne<L

“SHOW GOES ON.”

UNWRITTEN LAW. It. is the theatre’s most cherished tradition that the show must go on. Why this necessity exists is, in more than a few instances,. not quite clear, but exist it does. . Although players have become ill or met with accidents on the stage, very seldom has anything stopped the completion of a performance.

The part he has played in meeting a, situation not called for in. the manuscript is invariably a source of pride to the actor, writes an American critic.

The colleagues of humorous Eddie Cantor relate how they successfully covered up his prolonged absence from the stage one afternoon while he was engaged at a party on the New Amsterdam Roof, apparently unmindful of the fact that he was supposed to be taking part in a matinee. There is the tale of Leon Gordon, who fell asleep after dinner one evening—it was in Boston, of all places—and was not in the theatre when the stage manager ordered the curtain up. Summoned ,by telephone, Gordon spoke his first lines from the wings while he was hurriedly donning his costume and the other members of the cast were trying their best to make his non-appearance not too noticeable.

Although mishaps rarely have brought performances fo an abrupt end, there is at least one case when a play called “‘Wooden Kimono” had to be started over again. An actress en route from her dressing room to the stage was called to the telephone on the stairway. The voice on the other end, which identified itself as belonging to an apartment house janitor, told her that it was thought her mother had dropped dead.

The actress fainted, with the result that the curtain had to ber rung down and the sjjow restarted with an explanation to the audience, after she had been revived. The tidings, it was learned later, were wrong the mother, happily , was very much alive. In the distant days when Elsie Ferguson was appearing in “The First Lady of the Land,” the late arrival of a minor actress nearly caused the cancellation of a performance. The girl had comparatively few lines to speak, but they were the opening ones of the play and it was difficult to ring up without her. When finally she sauntered in, instead of hurrying into her costume she stopped at the stage door to look through the mail. This apparent unconcern so infuriated the star that she absolutely rei fused to go on until th'e actress" had apologised to the company. The situation was finally cleared .up, but it was 9 o’clock before the curtain rose. NELLIE STEWART RETURNS. • 1 ECHO OF HER OWN LIFE. There was something appropriate and even wistfully suggestive in Nellie. Stewart’s appearance in Edward Sheldon’s play, “Romance,” at the Comedy Theatre, Sydney, writes an Australian critic. For the character she essayed for the first time—-that of Cavallini, a supposedly famous diva of the ’6o’s of the Victorian era—she must have found some faint echoes of her . own. Nellie Stewardt herself was a diva in her day. prima donna of more than 30 comic operas, and Marguerite in a notable production of “Faust” at the Princess* Theatre in the long ago. At any rate, old memories were stirred when Margherita Cavallini, in her crinoline and curls, and her voluminous, flower-spangled skirts, tripped laughingly on to the stage, and received an ovation, the warmth of which testified to the genuine affection in which her public still holds Nellie Stewart. She has always won out by sheer artistry, and she plays Cavallini with a sure touch. But the part makes demands which she could not wholly satisfy. . . The long supporting cast was jather uneven. Monica Mack, Dorothy Dewar, Elsie Strickland. Dorothy Dunckley and the capable Marie Dalton were acceptable in comparatively small parts. Those who had seen Nancye Stewart only in a series of ingenue types were amazed at her- extraordinary skill and • verve as the Italian tire-woman, Van-

nucci. It was a cameo of character acting. Mayne Lynton, too, whom we usually hate venomously as the villain, was seen in an entirely different vein. He was the aged grandfather of the prologue, and became the distracted young clergyman of the story, his voice vibrant with suppressed emotion. Never once did he overstep the perilous borilerline between pathos and bathos. His intensity and Us restraint were alike admirable.

Sydney Stirling played Cornelius Van Tyl, Cavallini's coldly correct lover, on coldly conventional lines. Gaston Mervale, with hardly a word to say, gave an added distinction to a poignant scene.

The play, is produced by H. LaneBayliff, who was effective, also, in the small nart of Adolf, the waiter.

ART THAT LASTS.

EXAMPLES ON SCREEN. Do marriage and motherhood destroy the careers of screen stars ? In the opinions of many producers and directors art gains rather than loses when players become wives and mothers, despite the popular notion that heroines, must be rollicking nymphs or modest maidens.

Although some women who have made the screen their life’s work claim that motherhood would interfere seriously with their studio executives assert that this view is merely a selfish one.

Look at the list of Hollywood’s famous mothers, and they’re all still among those who mean something to ' the film colony, writes an American reviewer. Motherhood never hurt the careers of Irene Rich, Gloria Swanson, Eleanor Boardman, Lina Basquettc, Nancy Carroll, Lya de Putti, Gilda Gray, Leatrice Joy, Alice Joyce, Doris Kenyon, Lila Lee and a host of. others. Meet these women • out shopping any day, and you have the beauty of a personality that has developed. 1 through a purposeful life. These are women who have had others as well as themselves to think about. Compare them with the faded beauties who have frantically grasped at fleeting fame, and in the. end had nothing but dutsy remembrances of a public that had passed them by. 4 Nancy Carroll, the joy of the younger. generation of moviegoers, with her beautiful figure and youthful face, has a baby four years old. Gilda Gray, has a young, son in a military school. ■ The responsibility of' taking care of a baby was no small incentive to Gilda’s difficult years. She was married and a mother before she ever saw Brpadvyay, but her family ties .were no handicap to her rise. . Doris Kenyon took time off from the screen to present her husband, Milton Sills.. with a baby boy. Little Kenyon Sills is his' mother's first thought, and love in life, but lias it stopped the Kenyon 'ambitions?' Not only lias she made” some pictures since the happy event,’ but she has recently launched on a concert career. Doesn’t. Irene Rich look fresh and. beautiful in pictures? Would you , believe she has two daughters who are university students? Did these two charming girls interfere with their mother’s plans? By no means. Look at Gloria Swanson in “The Trespasser.” Listen to the audience gasp at her vitalic charm, at her lovely figure. Take into consideration that this woman is one of the veteran artists of the screen, that sometimes her screen star seemed to be falling, and remember her current success. She has two children, a boy and a girl. Eleanor .Boardman’s little baby gets all the attention that any mother can give ..her child. King Vidor, the baby’s proud father, will testify to that. :But Miss Boardman is regarded as a better actress than she was before her maternal responsibilities came to her. She played a difficult lead in .“The Crown” a few months before the baby’s birth, and part of that role was to see her little screen child killed in. an early reel. The characterisation might have proved too much for someone with less will and courage, but -it didn’t affect Mrs. Vidor.. , ' - - When Liiia Basquette was a premier dancer on the. Broadway stage, she met the late Sam Warner, one of the members of the ■ Warner _ organisation. . They were married, and had a beautiful little girl. Then Mr. Warner’s sad death left his . widow ' with much to think about. Not’ only must she care for. her daughter, but she was in the .middle of a picture when the bereavement came. She finished that production, and . several since, each pronounced, more artistic than ■ the other. ■ t-' '

Few people know that Lya de Putti has a son, 14 years old, in Berlin. Lya was a great stage player, before she turned to the screen. ; Lila Lee, that young ingenue, who has \ been such a success since the talkies came, has a little boy, James Kirkwood. Who doesn’t remember Lila as the delicately beautiful bride of Rudqlph Valentino in “Blood and Sand.” ' Alice Joyce has ' beautiful children, plenty of money, a husband who wor-. ships her. Is she taking the ease that is possible with their financial and social status? She is now in Hollywood working on a picture for, Fox, which' stars John McCormick. Mixing family life and a career is possible for her.-' ‘ '

THE BIG. SIX, ’

VARIETY WITH DRAWING POWER. George Robey id making one of his nowadays infrequent appearances as a single turn in variety (writes Wil*, liam Pollock in • the ’ London DailyMail). He is one of . the half-dozen people belonging to this form of entertainment who remain a real draw —an artist who can fill a music-hall at performance after ” performance off. his own bat. . : ‘ . A .man who has had about thirty years’ practical experience, of variety, whose - business it is to know the box* office valued of performers, . told me the other day that there are only six turns whose drawing powers, ar® beyond, question in London. ■ - . They are:— Jack Hylton and his band. ' Layton and Johnstone. Will Hay. Harry Lauder. . George Robey, and Gracie Fields. The three first-named are the only turns in the list which appear regularly in variety. It is a very rigid list; and I was surprised that Noni, Nellie Wallace and Will Fyffe were not included in it. • , ■

The everlasting difficulty in variety is to find “tops”—that is, top-of-the bill turns. People will not go to music-halls unless they are tempted by big names and they will not go to see the same artists doing the same thing too often.

I do not believe that variety is “dead” or that it will ever die, but, from time to time, there comes a period when it has' to fight very hard to live. Novelty is what everyone is looking for, and very few, it seems, are able to supply it with wide approval. And it is not only a matter of ability and material; it is a matter'of personality. Hundreds of men and women can amuse variety audiences, just as hundreds of people can write readable novels. ” . ■. But the difference between the justpopular performer and Grade Fields or Sir Harry Lauder is as the difference between a “successful” book and a best-seller.. There is a touch of magic missing.