AMUSEMENTS, MEETINGS, ETC.

Wanganui Chronicle, Volume LXXXII, Issue 19347, 30 June 1925, Page 2

AMUSEMENTS, MEETINGS, ETC.

HIS MAJESTY’S. SIGNOR PREBONI HANSON AND “THE LOVE TRAP.”, Signor Preboni Hanson was accorded a magnificent reception at His Majesty’s Theatre last night, when he made his initial appearance ip conjunction with the final screening of “Listen Lester.” Signor Hanson is the possessor of one of the finest tenor voices ever heiard in the Dominion. It is of remarkable purity and range and he sings in the manner of a born artist. Last night he sang ”O, Sole Mio,” (Beneath Thy Window), and “La Donnla e Mobile,” and completely captivated his audience with the beauty of his voice. It is rare to have such an artistic and finished singer come among us, and the management of His Majesty’s must be congratulated on having given Wanganui the opportunity of hearing him. He will appear to-night and will miake his final appearance to-morrow night. The picture programme for to-night only, will be headed by a Master picture, “The Love Trap,” starring Bryant Washburn and Mtabel Forrest, supported by Wheeler Oakman, Kate Lester and Sydney Franklin. “The Love Trap” is a fast moving, intensely suspenseful drama, with mystery, love interest and comedy, combined with thrills aplenty. It is the type of picture play that appeals to the groat mass of playgoers because all the world loves not only a lover, but also a mystery. The humlan mind resents a puzzle and wants to figure it out —there is such a puzzle in “The Love Trap,” which is a Ben Wilson production, directed by John i Ince. TO-MORROW’S CHANGE In conjunction with the final appearlance of Signor Preboni Hanson, “I Am the Mian,” a Universal picture, will be screened. No other photoplay scheduled to appear on local screens promises as much as “I Am the Man.” The reason is that it stars Lionel Barrymore, who with perfect justice, has been termed “America’s most distinguished factor.” Advance reports on “I Am the Man,” indicate that this is the best thing that Mr. Barrymore has done in his long and honourable screen career. No effort, no technique, no sublety, seems beyond the power of this great actor to express. Whatever the demands of his part, he fulfils it with an ability seldom seen in any other much-vaunted stars of the screen. “I Am the Man’ is a vehicle particularly suited for Mr. Barrymore’s genius. Mr. Barrymore is supported by an extremely capable cast. Seena Owen plays with great feeling and charm, and the same may be said of the others of this happily cast and happily played production. WANGANUI MALE CHGIR. This popular society’s concert tomorrow evening will contain a particularly fine and varied programme. The choral numbers present a splendid contrast, ranging from the magnificent choral ballad “Fallen Heroes,” and the negro hallelujah song “Promis’ Lan’,” down to Elgar’s exquisite “Torrents in Summer,” the plfaintive Servian Serenade with humming chorjus and the cleverly arranged “Musical iMuddle,” which introduces many wellknown popular airs. As a contrast to the vocal work the re-appearance of Mr. Leon de Mauny, the talented violinist, will be hailejl with delight. A I diplomee of the famous Liege Conjservatorium, which has produced many 'master violinists, Mr. de Mauny was |afterwards associated with Mr. Albert Sammons, the renowned London virtuoso, and since his arrival in Now Zealand has rapidly made a nfame for himself. Playing with wonderful full tone, he yet imbues his work with a delicacy of touch and fan artistic insight that only a master hand can give whilst his splendid technique and his interpretive genius stamp him as an I artist of highest rank, whose playing is a sheer delight to listen to. InI eluded in the, programme numbers fare {Vicuxtemps “Ballade and Polonaise,” jand Massenet’ beautiful “Meditaitation,” from “Thfais.” Miss Rita jTilley, the soprano soloist, is in fine I voice, and will be heard in several injteresting numbers, including the aria i“Connais Tu, ” from “Mignon.” (Owing to the heavy booking, sefat iholders are asked to arrive early to enable the staff to cope with the ushering. Box plans at Messrs H. I. Jones and Son’s. NEW WILLIAMSON MUSICAL I PLAY “WILDFLOWER” { Fresh from a triumphant run of I eight months in Sydney, the J. C. Williamson directors announce “Wild--flower,” a glittering musical, producI tion, for its first presentation in Wanganui on Monday next at 8 o’clock at the Opera House. It would appear that the Williamson management have left no stone unturned to secure an adequate cast. The appearance of so famous an English comedienne as Miss ; Marie Burk promises much. Miss Burke was the original of the part of Nina (Wildflower) in London. She has recently taken Sydney by storm. Associated with her are such popular artists as Gus Bluett—a comedian who has established himself firmly with playgoers; Herbert Browne, who will be well and favourably remembered; Noel Allan, a singer of much ability; John Forde, a sterling character actor; Charles Zoli, a newcomer from the principal London theatres. Of the ladies, Marie La Varre, will be doubtless warmly welcomed, while Majorie Daw is prominently cast as Bianca. Another strikingly good performance is that of Noel Allan as Alberto. A wonderful series of Spanish dances are presented by the Casino Brothers and Stoneburn. “Wildflower” has an Italian setting, the scenery being said to be exceptionally beautiful. As to the costuming and artistic environment, it is said to bo in the best Williamson manner. The box plans will open at H. I. Jones and Son’s on Friday morning next. “THE COUSIN FROM NOWHERE.” According to Australian contemporaries the performance of Miss Marie Burke as “Julia Van Ostcn” in the new J. C. Williamson Musical Comedy —“The Cousin from Nowhere” —is equally as good, if not a little better, than her characterisation of “Nina” in “Wildflower.” She plays the wayward and romantic Dutch maiden in a manner that leaves nothing to be desired in artistry. The production is rich in comedy from the quiet, unobtrusive humour of Charles Zoli in the -role of Uncle, to the foolish gigglings of Gus Bluett, as the dude, Van Piffel, who worships Julia in ludicrous’ fashion. One of the biggest individual successes of the production is scored by Charles Brooks.