“THE DUBARRY"

Wanganui Chronicle, Volume 77, Issue 218, 14 September 1934, Page 9

“THE DUBARRY"

STAGE CHALLENGES FILM A GORGEOUS PRODUCTION To take a story out of the pages of i the history of the Louis of Franco, in which two mistresses contend for the favour of a dissolute monareh is indeed daring. Had the Dr.barry beon produced on the film it would undoubtedly have been labelled “Recommended for Adult Audiences.” The audience siiould indeed bo very adult. Were tho plot the only’ factor to recommend the play then frankly it would not be worth going to see. Instead of that being the case, Dubarry is a remarkable production. In fact it can be said that it marks a turning point- in the history of tho modern stage, and anyone interested in the development of the provincial production of plays can hardly afford to miss seeing it. It really represents the answer to the challenge of fiimdom. No .onger is quick action in scene-chang-ing to be the film’s monopoly, no longer can the gorgeous “set” claim its up-to-now exclusive elaborateness, while the lighting effects of the stage which have for a long time shown no tendency to improve have taken a leap forward in novelty. Further, the staging as a whole has been done in this play with an elaborateness which leads one to hope that the tired old screens I that have for a long time done their I weary service will be thrown to the discard. So much for the mechanical side! ] The play is centred round the rela- | tions which come to exist between the King of France and the Dubarry. It I is unusual for a house of ill-fame to be (presented to a stage audience, and j there is still something to be said for I leaving the red-light district where it is, be the setting historical or modern. But the scene which provides this oneddifying spectacle is so well done, that the undesirable aspect of such a.situation is not marked on the mind. That the relationship of the King to Dubarry is to follow a well regulated and frequently practised course of th? most unedifying kind is used to bring out the character of the Dubarry, for she refuses to act according to the prescribed schedule. This conduct, so bold and outrageous, captures the whim of the King and eventually he finds so much charm in the company of the Dubarry that she displaces Madame Pompadour from her place of chief favourite of the King. This period of dissolute age, when morals were a minus quantity, was nevertheless picturesque so long as the eyes are kept on the Court. Here was all light, glitter and wit, and worldliness. The whole of this eighteenth century period lends itself to the gorgeous, to the elaborate and to the intriguing. Possibly, because of these factors the Dubarry has been brought tn the front as tho piece de force in the attack of the stage upon fiimdom. Little Jeanne, of the milliner’s shop, finds a nest with the poet Rene Lavollery, but her extravagance leads to scenes, and when the Comte Dubarry pays her a visit and leaves money on the table the jealousy of the poet is unbounded and they part forever. In Paris of that day Jeanne has but one course to follow and consequently the Dubarry t( finds her in the gutter and raises her to the street.” As his mistress and the Countess by the courtesy she runs him into debt, but at the same ! time refuses to aid him to cheat at cards. The interest of the King appears to provide the Countess with an • opportunity to re-establish the fortunes : of the Cmnte, but the plans go awry. < and instead of being the passing inter- 1 est of a moment she becomes the cn- I during passion of the King’s life. The play hinges on Jeanne and in c the major role Sylvia Welling carries