HIS MAJESTY’S THEATRE.

New Zealand Illustrated Sporting & Dramatic Review, Issue 1436, 1 November 1917, Page 32

HIS MAJESTY’S THEATRE.

“TURN TO THE RIGHT.” A STORY OF MIRTH AND MORALS. Strikes and v" were at last overcome, J. and N. Tait w able to send their company over to New Zealand with the long-promised American play, “Turn to the Rl § ht ’ which had its initial Production at His Majesty’s Theatre on Saturday night There is a delightful blending of humour and pathos in this comedydrama which compels laughter and tears in turn as the situations untold themselves. Opening quietly with a prologue, which arouses the curiosity of the audience, it introduces them to young Joe Bascom, who is just released from prison after a years detention. He notifies his resolve to run straight to his “crook” pals, and the first act shows him arriving at his home in the country, where his mother, a gentle, trusting widow,, nas been pat ently waiting his return after —as she innocently believes— making his fortune in the city. But he arrives at a troublous time, for his mother is about to be evicted from her farm because she is unable to raise 12b dollars. “Muggs” and “Gilly follow Toe up, and at once fall captive to the lovableness of Mrs. Bascom, who labours under the delus.on that they are Joe’s business friends. Imagine a saintly household suddenly invaded by two city sharps who try to adapt themselves to the conditions, and you get an idea of the entanglements that ensue. To see them drinking a glass of milk is a study! “Go to church for her,” says Gilly, in answer to a suggestion nervously put forward by Joe; “why, I’d go to hell for that woman!” Later, when they learn that the farm has to go for the sake of a paltry sum —“Has anyone in this town got 125 dollars?” shouts Gilly, and it is not long before he rifles the deacon’s safe for the desired amount, hands it to him as he is badgering Mrs. Bascom, and then Muggs picks his pocket again when the deacon leaves the house! That makes their last lapse, and with Joe they devise a scheme for turning the orchard into money, become prosperous, fall in love, and “turn to the right." Amusing incidents are plentifully besprinkled in the play and keep the audience in continuous merriment, though there is much, too, that gives the heartstrings a tug. Mr. Walter P. Richardson, in the role of Joe Bascom, acted naturally and effectively, and won much favour with his cheery wavs, while the dramatic situations were handled with appropriate restraint. Much artistic character drawing was put in by Mr. John Junior and Mr. Stapleton Kent, as the inseparable Muggs and Gilly, respectively —one bright and impulsive and the other slow and lugubrious — their deft touches of comedy keeping the house in roars of merriment. Chief heart appeal in the play was made by Miss Margaret Calvert in the part of Mrs. Bascom, the perception and personal charm of the actress combining to make a delightful interpretation of the character and readily justifying the boys’ adoration for her. Mr. Vincent Dennis put plenty of jollity into his portrayal of Sammy Martin, and,, like the previous newcomers, made a most favourable impression. Miss Lizette Parkes brought her customary sunniness to bear in the part of Betty Bascom, and Miss Gwen Dorise and Miss Francee Anderson supplied additional feminine interest. Messrs. Maurice Dudley, George Chalmers, Carleton Stuart, Gaston Mervale and L. Goldberg fitted skilfully into their respective roles. Mr. Mervale was responsible for the product'on, which was featured with striking scenic effects. A novel note was struck in the closing scene with a motor car and the lighting of the house on the hill. “THE NEW HENRIETTA.” On Saturday “The New Henrietta,” a comedy written by Winchell Smith, will be presented for three nights,

the season closing on Tuesday. Like “Turn to the Right,” “The New Henrietta” reveals Mr. Smith’s amazing gift for welding apparently improbable situations into a coherent and probable tale. The plot of the piece is most diverting, and with two or three incomparable climaxes, which the author knows how to invent, it provides abundance of entertainment for those who want to spend a happy evening at the theatre. The title, it may be said, refers to a mine, and it is the means availed of to get possession of this mine that show Mr. Smith’s dramatic ingenuity at its best.