AMUSEMENTS.

Star (Christchurch), Issue 17217, 7 December 1923, Page 5

AMUSEMENTS.

EVERYBODY’S THEATRE. The pictorial programme at Everybody. Theatre u> most interesting. Well-known stars enact the leadiug roles in the two main pictures. Jack Holt is featured in “ The Tiger's Claw,” a drama containing innumerable thrills. The atory centres round an American engineer, Sam Sandell, who was clawed by a tiger. The second feature is “ Enter Madame,” which can be sized up with the word# " a brilliant comedy drama.” The Paramount Gazette contains many interesting scenes of athletic and military events. The orchestra olays a choice programme in brilliant fashion. . GRAND THEATRE. TOMORROWS PROGRAMME. TOM MEIGHAN IN •• THK FRONTIER OF THE STARS-.” ** Thorns and Orange Blossoms,” well described as “ the picture beautiful,” will with its accompaniments of ladio n.uaic be screened for the last time •to-night. Along with it is shown ” Two Weeks.” featuring Constance Talmadge. This has proved a very acceptable programme and business in consequent has been very brisk Ever since Tom Meighan did such fine work in “ The Miracle Man ” ns the crook who becomes regenerated many who have followed his work on the screen have been anxious to see him again in a. similar role. “ The Frontier of the Stars ” will now afford them the opportunity. He 16 cast ae Buck Leslie, a gangster of the East side of New York. Hero in making his escape from a detective he comes on to the roof of a tenement dwelling, where ho finds a pretty young girl cripple in a wheel-chair. Sho lias, never been into the streets of the city, and the evil side of life has never shown itself to her. The advent of a man in her roof-world is an event in her life. She gladly hides him from his pursuer and lies to the detective to save him. The acquaintance ripens into a close friendship which gradually works a revolution in the nature of the “ tough ’* Through a. series of gripping adventures to the finale when be rises to the best that is in him the story is worked out, till happiness is found for both of them. The film was directed by Charles Maigne, who directed “ The Copperhead ’ and other notable productions. The part of the cripple girl is played by Faire Binney,

cripple girl is played by Faire Binney, •lister of Constance Binney. and the other characters are taken by notable artists. This picture is supported by that very fine comedy, a favourite both on screen and stage. ‘‘ My T>ady Friends.” in which Mr and Mrs Carter De Haven play the leading roles. The I>e Havens could provoke laughter with any sort of vehicle, but in thie instance they have a story which is brimful of complications and humorous situations. A short comedy featuring Snub Pollard will also be screened and a fine musical programme will be submitted by Miss Shearsby’s capable orchestra. QUEEN’S THEATRE. Great enthusiasm is showing during the screening of the current programme at the Queen's Theatre. ‘‘Skid Proof,” which is the outstanding feature and stars Charles Jones. i« a fast moving drama. The story deals with auto racing. Two races are shown, one a track and the other a road race. Each race is part of the atory. There is a splendid love romance interwoven, the second race being for, in addition to the cup. a wife. The second picture is - “ The liOve Brand,” with Roy Stewart in the laeding part. Set on one of the largest ranches in the States this picture tells a graphic story of the struggles of the early settlers. There is a considerable amount of comedy contained irv this picture. A Sunshine comedy and the Fox News are the supports. GREATER CRYSTAL PALACE The court of the Emperor Franz Josef, the most dazzling, most aristocratic, moet exclusive, most pompous and, it must be confessed, must corrupt. court in Europe, supplies all the elements of the kind of drama shadowed. on the screen. The first attempt to use this ready-made setting lor the movies comes to (Greater Crystal Palace with the Universal Super-Jewel brand and with the title of “Merry-Go-Round.” The titlegives no idea of the character of the story. Thei% is no frivolity in it. but only love, drama, pathos, sacrifice and the serious side of human nature. The main theme is the power of love, exert ed even when the man is an aide-de-camp to a proud Austrian Emperor and the girl is an organ grinder, the daughter of peasants, * with an inherited

hatred of the aristocrats. The Greater Crystal Palace Symphony Orchestra has a special programme, one of the most metitorious it has given, for the special occasion. Martial music, the best of the great masters, predominates. LIBERTY THEATRE. One of the strangest. Bettings that has ever been chosen for a motion picture production is revealed in “The Isle of Lost Ships,” and around this has been woven a truly fascinating tale built on the strange story which is current among sailors concerning the island of lost ships, an island from which no mariner has ever returned to tell of what he saw. An Atlantic liner encounters a terrific storm, during which she runs down a derelict ship and is disabled. With two men and a girl on board uhe drifts into the island of lost ships, and startling adventures follow. Romance is cleverly woven into the story of " Children of the Dust,” which also figures on the programme. The supporting pictures include ” When Summer Comes,” a ludicrous Mack Sennett production, and Topical Gazette. The Liberty Quality Orchestra, under the direction of Mr Howard Moody, presents an enjoyable programme. NORMA TALMADGE. AND EUGENE OBRIEN IN “THE VOICE FROM THE MINARET.” LIBERTY THEATRE TOMORROW. Accustomed as we are to expecting great things from\ Norma Talmadge, each of her succeecßng pictures reveals a new Norma—more perfect, if that w - er© possible, than in her preceding roles; more finished in her artistry Here is a star who is not content to reet on her lustrous laurels: each new portrayal is marked by advance and progress, by a sincerity and depth amazing in their finesse. Such is the case with her latest production, “The Voice from the Minaret/’ a First National picture which commences at the Liberty Theatre to morrow. What

pleasant thoughts memories of “Smilin’ 'Through ” and “ The Eternal Flame ” bring to one who has been so fortunate as to see them. We felt then that the summit had been reached and that they could not be excelled from any standpoint. But a greater picture has been brought to the screen by this great artist. Miss Talmadge’s inspired acting ; Eugene O’Brien’s perfect portrayal of his difficult role; a highly efficient supporting cast; a splendi.l story, replete with dramatic situations; settings that transplant one into the realms of romance —these are but a few of the high lights of “ The Voice from the Minaret ” which cqmes from the gifted pen of Robert Hichens. As Lady Adrienne Miss Talmadge has been giveni a role that only she could play with .such skill so exacting is the range'of dramatic emotions that it demands. One is enthralled by the scope of her talents and by the ease with which she weaves the spell of illusion which transports the spectator from the drabness of everyday life to romance land. More than any other figure in the motion meture world. Norma Talmadge is for the rapid advance of this art, and the miraculous success of all of her offerings te»*. to the fact that the public taste is advancing. Among the exotic settings to be found in this picture is the interior of a resort known as “The Club of the Seven Flags,” situated in the heart of* mystic harem in every respect, and is the gathering place o e residents of the Indian city—of man and women of all classes and stations in life. Particularly was it the rendezvous for conspirators, intriguing politicians and diplomats and those who ,found within its walls a place to carry on their love affairs safe from prying eyes. Tom Moore will he seen at his humorous best in the new Rupert Hughes comedy “From the*Ground Up.” which is the second feature on to-morrow’s programme. Helene Chadwick, who lias appeared in a number of Rupert Hughes photoplays, plays opposite Torn Moore. On the programme are Zoo scenes in Sydney, a Mermaid comedy. “ Cold Chills” and the latest gazette. The box plans are now open at The Bristol Piano Company.

FULLERS OPERA HOUSE.

“ The Dr°ss Rehearsal,” a new revue by the Sunbeam Revue Company, together with a bright selection of vaudeville turns, is being presented at the Opera House this week. The revue is a delightful melange of music and mirth, the story being woven round the efforts of stage-struck Dod-dy Hurl to break into theatrical life. Bertram and Raymond, a duo of musical comedy specialists. a re newcomers on the vaudeville section of the programme, and they sing and dance in

good style. Fred Keeley and Ivy Aldous. who are now well-established favourites, contribute another pleasing turn, and Jack Trent and Sadie, the London burlesque artists, appear in entertaining new numbers.

LYDIA LIPKOVSKA. THE SECOND RECTTAL. The recitals given by this engaging Russian artist have a strong power of attraction. The second of the series was presented in the Theatre Royal last evening, and it drew a mosf satisfactory audience. The recital was entirely successful, as the vocalist charmed everybody with her clever singing and her artistic presentation of her various numbers. She has an unerring instinct for artistic effect, whether it is in singing, costume, or stage deportment. She always makes a pleasing picture. In a shimmering evening dress of gold-coloured material, as the snow maiden ushering in spring after the long Russian winter, and as the provocative Spanish damsel, she was alike irresistible. From the purely musical point of view, it may be said that Madame Lipkovska sang even better than on the first night. The hardness of tone in the top notes was less apparent, and the programme, which contained a good proportion of florid numbers, suited the colorature style of singing in which she unquestionably excels. The greatest number of the evening was the French song “Laissez-moi Rire” (“Let Me Laugh”), composed in 1750 by Controne. It is described as a masterpiece of expression, and the description is not inapt It tells the story of a disillusioned artist, and changes from superficial gaiety to the laughter of distress, ending in a sob. The presentation of this number was nothing short of wonderful. Standing easily at the side of the piano the singer trilled her way confidently

through the vocal mazes, the laughter of the. song being admirably contrived. It was as great art accomplishment in acting as in singing, as the,very heart of the iittle tragedv was subtly and finely portrayed. The audience really rose to the occasion, and gave the I artist a most demonstrative tribute of applause. Another great success was achieved in the famous "Una voce pooo fa.” from Rossini’s “Rarbiere di Siviglia.” The vocal intricacies of this aria make considerable demands on the technique of the performer, and Madame Lipkovska was entirely equal to the occasion, singing with spirit and animation, and investing the number with her own vital personality. The dramatic “La Partida ” (“The Farewell ”) followed, and then came the brilliant “Clavelitos” (“Carnations”) ar.d the “Bolero,” in both of which the artist was nothing short of brilliant. “The Queen’s Aria,” from Meyerbeer’s “Huguenots” was delightfully sung. This is an extremely melodious and sparkling composition requiring both interpretative ability and techiuoal equipment on the part of the singer. Very pleasant, indeed, were two Schubert numbers, “Barcarolle” and “Serenade,” and an encore, La Forge’s “To the Messenger.” Of the modern songs, the audience was treated to “At Sunset ” (Eric Coates), “If We Should Meet” (WoodfordeFinden), and “Lullaby” (Cyril Scott). Each was a little lesson in interpretation, showing how these songs are sung by an artist who knows how they should be sung. The Russian songs were “Vision” (Arensky), “Pretty Maiden” (Dargomijsky), “The Islet” (Rachmaninoff), “The Snowflakes” (Gretchaninoff). and as an encore, “The Fairy Maids” (La Forge). This group was most interesting, and madarae again revealed herself as an actress as well as a singer. Her archness in “ The Pretty Maiden ” was incomparable. Numerous encores were given (by the singer, who was on the very best of terms with the audience throughout the concert. Air Alexander Sverjensky was excellent as an accompanist, being always sympathetic and helpful. His soli were Rachmaninoff’s “Elegy” and “Humoresque,” and as an encore he played Rebikoff s “Christmas Tree.” Later he played Liszt’s brilliant paraphrase on “Rigoletto,” and “March of the Gnomes” (Grieg). He gp.ve thoughtful readings, and from the technical point of view he showed himself a capable and accomplished pianist. TO-MORROW’S PROGRAMME. A popular programme will he given at the third Lipkovska concert in the Theatre Royal to-morrow night. The famous artist will sing the well-known “ Afad Scene ” from “ LuHa di Lammermoor.” with flute obligato by Air Ernest Jamieson, the Christchurch flautist; the popular excerpt from “ Madame Butterfly,” “ One Fine Day ” ; Rimsky-Korsakoff’s well-known “ Chanson Hindoo ” and l!>elibes’s ■ “ Valse Coppelia.’* The Early Victorian costume which has created such a sensation at the Lipkovska concerts elsewhere will be worn for a group of Old English songs, including “Long Ago” (Tli. Bayly), “ Sarahande ” '(arranged by Phillips), “ Pastorial ” (Carey), “ When T was Seventeen ’ (Old Song) and by request “ Home. Sweet Home.” A Russian group in clufies “ Russian Lullaby V (Levenson), “Roussalka” (Dargomijsky). “The Gondolier ” (Varlamoff) and Folk Song, arranged by Zimbalist. Air E. J. Gravestock announces the fourth concert for Monday night next. The plans are at The Bristol and the day sales at the Theatre Royal confectionery.