EVERYBODY’S THEATRE.

Star (Christchurch), Issue 17183, 29 October 1923, Page 5

EVERYBODY’S THEATRE.

JOHN BARRYMORE IN “ SHERLOCK HOLMES.” What, the motion picture of to-day needs is not more regulation, hut more imagination, according to John Barrymore, star of theOoldwyu picture, Sherlock Holmes.” coming to Everybody’s Theatre to day for six days. John Barrymore is one actor at least who cannot be accused of a lack of imagination. His Giaunetto in “The Jest ” was the outstanding dramatic sensation of New York three seasons ago, and that was followed by his Richard 111. in Shakespeare's play of that name, causing more discussion than any other single performance in a decade. And then on the screen, in Stevenson's master piece of horror, “ Dr Jekyll and Mr Hyde,” he showed himself head and shoulders above most of the cinema stars by the imagination which he brought to bear upon the two characters. It was in an article on motion pictures in a recent issue of the “Ladies’ Home Journal” that Mr Barrymore declared that imagination is what they lack, and the reason for that he found in the fact that most producers of photoplays are mortally afraid of producing something that would go over the heads of the of to-day are in a parlous way, and the obvious unimaginative stores are responsible,” says the young star. “ Everyone connecter! with pictures should have imagination—-the actor, the director, and the man who edits or cuts the picture.” Certainly no lack of imagination can be found in Barrymore’s assumption of the role of Sir Arthur Conan Doyle’s immortal detective in ‘’.Sherlock Holmes.” The author lavished a wealth of imagination upon the character in the scores of stories which have made his name a. household word throughout the world. And then William Gillette fashioned a stage play about the character, treating it with the stirring dramatic imagination which at once made it a popular success. And now Barrymore has sifted the famous character to the screen through his own sensitive and artistic temperament. Filled to overflowing with imagination, “ Sherlock Holmes” is one of the great photoplays of many years. The reason for the great popularity of the screen version of “ Sherlock Holmes ” is to he found partly in the fact that it was adapted from William Gillette’s stage play, and partly to the able direction of Albert Parker and the brilliance of the cast. John Barrymore makes an ideal Sherlock Holmes, and Gustave von Seyffertitz, as Sherlock's antagonist of London’s. criminal world, is a foeman worthy of his steel. Roland Young is the Dr Watson. Carol Dempster is the Alice Faulkner, Hedda Hopper the Madge Larrabee, and Anders Randolf the Richard Larrabee Other famous actors in the cast are Reginald Denny, Albert Bruning, Lumsden Hare, John Willard, William H. Powell. Pereival Knight, Robert Fischer. Robert Sellable. David Torrence and Jerry Devine. The supporting programme includes a Paramount , comedy entitled “Torehy’s Big lead.” starring Johnny Hines; a Burton Holmes travelogue and the latest topical gazettes. A brilliant musical programme has been arranged by Mr W. J. Bellingham, F.S.M.. for Everybody’s “Select ’ Orchestra. Chief among the items, are the following : Overture “ Efemont ” (Beethoven); grand opera—“ Jewels of Madonna” (Wolf Ferrari). “ Tragedie Antique” (Massenet), “Chant d’Amour ” (Wagner), “Forest Mummers" (SiegfriedP agner), symphony, “B Minor” (Schubert) ; suites—“ Prayer of the Sword” (Leoni), I,’Oracolo (Leoni) ; entr'kete, “Minuet ’ (Beethoven) ; new waltz songs— " Steal a IJttle’K'ss” (Sutton), “I Just Want You” (fibbot) ; new- fox trot, “ Tell Me With Smiles” (Hirsch). Reserved seats maybe obtained, either at the Bristol or by telephoning 4925.

GRAND THEATRE

MABY ALDEX IN “ THE OED NEST.” Miss Mary Alden undertook a difficult task Til representing the mother in an adaptation of Mr Rupert Hughes’s homely, touching storv. “The Old Nest,” shown at the Grand Theatre on Saturday. It is difficult because it calls for unusual talents in respect to drama tic acting, and because Miss Alden fakes the character all through: appealing first cs a middle aged, black-haired woman with a family of six around her, ana, later, as the old grey-haired mother, feeble, forlorn and solitary. Only an actress ot unusual versatility could take what virtually is a. dual part with the marked success as Mis-; Alden does in “ The Old Nest.” It has been produced by the Goldwyn organ is ation with a company of stars,-but, clever as they are, the adaptation would be wanting if the producers had not shown sufficient judgment to ■select Miss Alden for the principal part. The best acting is in the first part of thepiece, where all the members of the family are at home, hoys and girls to get her, playing, romping, and occasion ally quarrelling, as all brothers and sisters do. The appeal made bv that part, perhaps, comes from the fact that it supplies most of the humour. As the story advances, the pathos and the drama are intensified, until at the end there are powerful, lasting scenes in the sad lhe of a lovable old lady who, humbly, has done her duty to her children. whom she lias loved with all a mother’s love. The screen story is as touching as the written original, per haps more so; and it has the recommendation of being true to everyday life. Another item in a particularly at tractive programme is notable because it has in it Mr Charlie Chaplin. In “ Pay Day” his quaint humour is seen at its best. He is irresistibly funny. “ Assorted Heroes ” should be seen first for its humour, and, secondly, for the amazing parts taken in it by trained animals, including a monkey and a dog. There was also on Saturday another chapter of the serial, “The Social Buccaneer.”

GREATER CRYSTAL PALACE

“THE STREETS OF NEW YORK,” THE WORLD-FAMOUS PLAY-. . LOUISE LORRAINE ANT) JOE MOORE IN “ UP IN THE AIR ABOUT MARY.” Heading the new bill at Greater Crystal Palace for this week, commencing to-day, is a photo-dramatisa-tion of the world-famous old stage plav “ The Streets of New York-” This is a wonderful picture—a picture that many patrons will want to sec all over again, and enjoy even more the second time. In play form 1 The Streets of New York ” has lived for many years and has been translated into practically every language. Now, reborn for the screen, it will probably win countless thousands of new adherents through-

f out the world. The climax in this hip; photoplay is said to be absolutely stupendous—a crashing. smashing sequence of mystery anrl terror that will take its rightful place with the biggest and most thrilling scenes ever shown on the screen. The cast, of course, is too well known to need an introduction. "Edward Earle, Barbara, Oastletem. Dorothy Mnckaill. Leslie King. Kate Blanche and Anders "Randolf bare tremendous followings wherever pictures are known. And rumour bath it that under the able direction of "Burton King each one of these players lias ! risen to new emotional heights. “ The i Streets of New York ” is a seven-reel ! picture replete with thrilling scenes ; and has a beautiful love theme running through it. i No gloom can live in the presence of Lp in the Air About Mary.” the Associated Exhibitors’ bathing girl special. which is the second big picture on the new programme. With Louise Tx>rraine. a delightful star with talent as well as beauty and charm, and .Toe Moore embroiled in a romance made thorny by a fond mamma, a boob fiancee, a bevy of bathing girls and a few other things, “Up in the Air About Mary ” presents a, plot that is speedy, peppy, breezy and amusing—and always a delight to the eye. William Watson, who produced, directed and wrote “Up m the Air About Mary,” has been connected with comedy production in its every phase for years. Tnto it he has put all the best ideas of his long career—the result is a knock-out comedy of its kind. The supporting films are the twelfth and last chapter of the big thriller “ Around the World ip 18 Days.” a very funny Buddy Messinger Century comedy and the latest International News film- Following the established custom, particulars of next week's magnificent orchestral will be announced in Monday’s newspapers. The box plan is at The Bristol, or seats may he reserved by telephoning Greater Crystal Palace, number 8758. Incidental to and in conjunction with the screening of the various motion pictures the world-famous Symphony Orchestra, under the distinguished conductorship of Mr Alfred J. Bunz, will present a magnificent musical programme, which includes the. following classical and popular numbers:—Overture, “ Raymond ” (Thomas) ; “ Symphony No. 5. first movement (Beethoven) ; “ Meditation ” (Clazounow) ; “ Sigurd ” (Reyer); “Prelude,” (Horne) ; “Gems of America” (Schmid); “The Pink Lady ” (Gary 11) ; “ Somebody Else Walked In ” (Berlin) ; “Fancy Nancy' Clancy” (Nelson); “ Laurette ” (Luz) ; “ A Motor Ride ” (Bidgood); “No, W’ve Got Some I Lovely Monkey Nuts” ( Forbes), j The box plan is at The Bristol, or I seats may be reserved by telephoning j Greater Crystal Palace, number 3753. I FULLER’S OPERA HOUSE. j The return visit is announced to j night at Fuller’s Opera House of Cap- | tain Adams and Odiva’s Seals. Patrons j who were fortunate enough to witness j this wonderful performance upon its | last appearance here will he glad to see | these educated amphibians back again, j The seals will he seen in a series of stunts on the stage and in the huge i crystal tank, while Odiva. one of the ; world’s champion swimmers, will also ! present some remarkable swimming j feats. A very strong vaudeville bill is i promised in support. Entirely new items will be given by Joe Brennan and : Ida Newton, two deservedly popular en tertainers, Billv Elliott, the black-faced comedian; Carlton Max. popular ven triloquist; Ray Kemble, brilliant female impersonator; Jack Bircbley, sensational contortionist; the Hilo Duo. Hawaiian specialists; Mabel and Malfe. comedy couple: and the Sinclair Bros., sensational equilibrists. The box plan is now on view at The Bristol. THEATRE ROYAL, “ IF WINTER COMER.” “If Winter Comes,” a drama in four acts adapted from A. S. M. Hutchinson’s novel by Ji. M' Donald Hastings, was presented at the Theatre Roval for the first time on Saturday night by J. C. Williamson’s new En gl ish Co mpany. The dramatisation of successful novels is a form of literary enterprise that has been embarked upon often during the last thirty "years. Sometimes the effort has been successful, but more often it has not. and after all. if the position is examined closely the explanation is easy enough to find. If by happy chance, a novel well sponsored is accepted by the public, and through this acceptance yields profit to the author and publisher, it. is a perfectly legitimate act on their part to keep it in season as long as possible. After the first glamour lias faded from it, the stage is the next place to which their eyes might turn, but this transference from one art to another is- often fatal, for the qualities that make a great novel do not of necessity make a great play and as an instance of. this “ Tess of the Durbervilles” might well he cited. Hardy’s novel is one of the greatest written since the time of Dickens, yet two stage versions of it made by different authors, each proved to he failures. The few successful dramatic adaptations of novels get much of their lustre from the work in which they have their origin, and in some vague j sort of way they are regarded as supplements to the novel. This, however, is quite wrong for they play must stand by itself and it must lie 'judged bv the canons of the dramatic art. This seems to he a sound method for approaching “If Winter Comes.” There is no question about the popularity of the novel, and it is without doubt a penetrating study of English | domestic life during the war period j when so many ideals were shattered i and so many values had to be read-- • justed. In it there is great, dramatic j material and with judicious co.ncentraj tion it has become a fine play. The action moves easily right through the four acts, but there are only three acts of dramatic importance, as the first is nothing more than a prologue. It serves to instrdouce the characters to the audience and gives an indication of what their various situations are. It is the last three acts that are the play, and in them the plot develops. Although the dramatic climax is reached at the end of the third, it is carried over to the fourth without an inevitable conclusion being in sight. Of course, the laggard Spring makes compensation for its tardiness at curtain-fall. The play is full of fine character study, and it shows how the people of England bore the strain of the war. 1 here was a period of fervid patriotism. but after a while when the courses of life had to bo altered, nerves became jaded and bad tempers easily aroused. These things, sad in themselves, were interesting to those who were cool enough to study them, and they made fine material for drama. The one character in the play who does seem to remain unchanged through the time of strife is Mark Sabro. He is a man of character, and one who would do what, he considered right no matter what the cost might be. At the opening of the play he is shown as a man with a rather original outlook in life, but unfortunately an outlook which is intensely irritating to his wife. She is quite unable to appreciate the fineness of Mark's character, and

his ’jesting she takes to be a species of refined torture wilfully inflicted upon her. Then cotnes the war. and Fflfie Bright is taken into the Sabre home as Mabel Sabre’s companion during her husband's absence at the front. "With Effie's advent, the first seeds of dissension are sown in the Sabre union. Effie, a bright girl, has happiness as her creed, and she does not abandon it till sorrow comes upon her in an irresistible form and then she is broken. There are many fine passages in the play, hut the finest comes at the climax of the third act, when Effie's inquest is being held. The guiltless Rabre is there pilloried by all, because he has shown kindness to an abandoned girl in her time of tribulation, and for that reason he has lost his 'wife, friends and business ; but he has never r .faJtered, because he felt that what he did was right. Tt. is a poignant moment when he is rharged with iniquities while he gives his evidence, and his wrath then, is easy to understand. The whole scene was a vivid one and it stood out from the rest of the play like a patch of crimson. Sabre goes from the court iu disgrace, but later, when his enemy is delivered into his hands he does not use the weapon. Instead. he forfeits his revenge and goes to happiness. The characters in the play are excellently cast, and a number of the actors and actressevs make their first appearance in Christchurch. Garry Marsh gave a fine study of Mark Sabre. There was never the slightest tendency towards exaggeration in his work, and every shade of character in his man was well brought out. There was absolute art in the manner in which he showed toleration of his wife's lack of sympathy, the joyous way iu which lie greeted the sisters Jinks on his return from the war, and the. passionate frenzy with which he assailed his tormentors nfc the coroner's court. The part of Mabel Sabre was acted delightfully by Miss .lane Saville. She understood the character well and she appreciated the position she was in. There is no question about New Zealand having reason to be proud of Miss Isobel Wilford, who played the part of Effie Bright. It was a joyous piece of work and she seemed the most contented person in the world. Her dramatic versatility was shown later, when she beseeches the Sabres to take her in after all the others have scorned her. Miss Ailsa Graliame has a fine stage personality and she invested the part of Lady Nona Tybar with great charm. Her scene with Mark in the first act showed how great an artist she is. The unctuousness of the Rev Sebastian Fortune was well appreciated 1> V Mr George Blunt. His study was a brilliant one. Mr Arthur Cornlel did great work in the part of Mr Twyning. There is first of all the most unpleasant Twyning to play, and later the Twyning who is utterly broken by, the death of his son. The art of Mr Cornell was equal to each. Mr Sydney Stirling as Major Millet and Mr J. B. Atholwood as Mr Bright both did good work. Mr Reginald Wykeham had little to do. hut that little, as the solicitor was splendid. MALE VOICE CHOIR. A SUCCESSFUL CONCERT. A cordial welcome is always given to the Christchurch Male Voice Choir, whose concerts are musical events of more than ordinary interest and im-. portance. On Saturday evening, in the Choral Hall, the choir gave the third concert of the current season, and it proved to be one of the best, if not the best, yet furnished by this musical organisation. The choir numbers were, to many of the audience, revelations in the art of concerted singing, and it would be an exceedingly severe critic who would not concede the outstanding merit of the performance. The conductor. Dr J .C. Bradshaw, had obtained those artistic results which bespeak careful preparation and thorough understanding. The choir was a most harmonious and responsive instrument, on which the conductor played with a sure hand and confident touch. One of the most striking features of the many fine interpretations was the remarkable tone variations. The light and shade, which are essential in interpretative work, were put in in masterly fashion. It was not a mere restraint of the volume of sound, but an example of delicacy in concerted singing which is rarely encountered in such perfection. In other respects the choir was not found wanting. Volume there was when it was demanded, and there was a smart attack and crisp treatment in the more robust numbers. The choir was again assisted by the Cathedral choristers in some of the part songs. This association was particularly happy in the first number of''the evening. “ Now is the Month of Maying/’ a graceful composition by Morley, who flourished in the sixteenth century. Each stanza was sung first with the full tone, and then repeated pianissimo, with the most delightful results. The boy.*; also assisted in *“ The Cruiskeen Dawn,” an old Irish song arranged for five voices, and here also there was an excellent blend of tone. Numbers contributed by the choristers themselves were “ Come Basses and Lads.” You’ll Get, There.” Wan-der-thirst,” “ Good-night, Song,” and “Violets,” in the last of which one of the boys sang a solo prettily. It may be noted that much of the hardness which used to be apparent, in the. boys’ voices has disappeared, and their numbers are correspondingly more agreeable. The choir itself reached its highest 1 mark in the five part songs by Elgar. ! First place in this select company maybe given to the splendid “ Feasting, I Watch,” which rises to an extraordinary climax. The. rendering simply electrified the audience . Not less successful. if less inspiring, was the dramatic “ Yea, Cast Me From Heights,” in which there was some very fine tone shading. The. lighter Elgar numbers were “ Whether T Find Thee.” “ After Many a Dusty Mile.” and “ Tt”s Oh ! to be a Wild Wind.” and each was given appropriately skilful treatment. Another item which attained distinction was the “ Sailors’ Chorus ” from the Flying Dutchman.” This is written in the true. Wagnerian style, and it was sung with irresistible dash and spirit. There was qxiite a touch of the sea in the programme, as there were also included a shantv, “ Blow the Man Down” (with Mr A. J. Allan as soloist)), and a folk song, “ My Johnny Was a Shoemaker.” which bewa.iled the fact that the cobbler had not stuck to his last, but had gone to sea. Mr K. More sang the solo in good style, and the choir came in with an effective. refrain. “ The Song of the Pedlar ” was an admirable example of the descriptive and humorous glee, and the rendering was most cleverly contrived. Other part songs were, “ The Little Sandman.” and the old favourite “ When Ev’ning’s Twilight." The Lyric Four (Messrs S. J. Morgan, H. Blakeley, K. More and. E. J. Johnson) made an excellent showing in “ Allan Water,” though the concluding phrases appeared to be weak. A humorous trifle. I Saw Esau.” earned them a second encore, but the “ Dear Little Shamrock ” did not add to their laurels; they would have done better with a lighter and more familiar choice. The soloists were Mrs Percy Rule (Timaru), and Messrs W. H. Prescott and H. Heatley. Mrs Rule is no stranger to 1 hristchxirch audiences, and she is always an acceptable per-