ENTERTAINMENTS.

Manawatu Standard, Volume XLVII, Issue 9, 8 December 1926, Page 3

ENTERTAINMENTS.

“THE UNFAIR SEX. ’A BRIGHT, WITTY COMEDY. ENGLISH COMPANY’S SUCCESS. Joseph Cunningham’s London ComedyCompany opened its two nights’ season at the Opera House last evening in “The Unfair Sex,’’ a farcical comedy by Eric Hudson. The company is under tho direction of Messrs Dick White' and Eric Edgley, brothers well-known in tho show world in Australia, and it is headed by Miss Zillah Bateman, an English star whom Moscovitch, the celebrated Russian-Jew, considered efficient enough to have playing opposite him during his last Australian tou». Though tho audience was not very largo it was strong in appreciation of clean-cut, clever acting. And there was plenty or sparkle and humour in Mr Hudson’s dialogue and unusual situations; and there were so many matrimonial disruptions extremely complicated that it was about 10.45 p.m. before they were smoothed away. Viewing the farce-comedy one can understand why it had a lengthy London run and why it was included in the repertoire of the company under review—a company with ono of the most well-bal-anced casts that has played here in many months. Added to this was an effective stage setting and costuming in keeping with neurotic English people, ono of whom dabbles in post-Shavianism and the re3t not seeming to know quite what they want. Each in the action of “The Unfair Sex” is an individualist and in large manner does the farce depend on seven people losing themselves entirely in the author’s mind and pen creations. The company last evening succeeded to a great extent. Their success after the first ten minutes —tho play opens dully—was assured ; it was the success that comos from long experience of stageoraft and life, and intellect. The playing of tho comedy does not seem to leave one at any time with the knowledge as to" who is the unfair sex. Both sexes are apparently unfair during the working out of a plot unusually intricate, but one of them is entirely illogical. The plot has for its main theme the complications that follow on a few harmless little kisses, which a bachelor uncle, who is also a divorce court lawyer, chances to see and immediately perceives in them matrimonial disaster for the young married couplo who are giving a week-end party at their soaside cottage. In short, the plot deals with promiscuous flirtations, the divorce court and golf. With such situations the author made a ijountain of witticisms and effective, amusing business. As the philandering wife (Diana Trevor) Miss Zillah Bateman did outstanding work. She has a personality charming and at the same time forceful and when dramatic power was wanted 6he rose to the occasion. Miss Bateman fully bore out her assured English reputation as a dramatic actress and light opera singer of note. She also wore some dainty frocks. Mr Campbell Copclin, in the role of the boyish, rather irresponsible, husband, Geoffrey Trevor, was most convincing and ho largely shared in the success of the production. Clever was Mr Norman Carter’s delineation of a vapid type of humanity, a friend of Diana and a writer of senseless novels. Mr Carter did not let up in his part for a second. His stage type always amuses an audience. Ono was considerably impressed with the work of Miss Henrietta Cavendish, who played tho role of a widow of sound sense and mother of ono of tho quartette who indulge in the mistimed osculation. Miss Cavendish has repose and finish and in some ways is reminiscent of Miss Mario Tempest. Miss Vera St. John, a sound young Australian actress who has done well in stock work, was prominent as Diana’s friend, and was thoroughly at home as one of those modern flappers who “want the stars and the sun and the moon up above.” Others in tho east were MiFrank Bradloy in the role of Sir Henry Hesketh, K.C., Miss Sylvia Clifton, who was effective and more prominent than the usual maid servant, and Mr Jack Phillipps as Smith, a cabman.

“ELIZA COMES TO STAY” TO-NIGHT.

“Eliza. Comes to Sta-y,” which will bo presented by tho company to-night, is a comedy in three acts by C. V. Esmond, and has had a considerable run in England. Tho plot concerns the leaving of a legacy the 6hape of a young girl to a man. Thinking she is very young he makes preparations to receive a child,' but the ward turns out to be quite grown-up, and arrives in a straw hat, horn-rimmed spectacles, elastio side boots, etc. Her development throughout the play into a beautiful woman is choekful of laughs and philosophy. KOSY. “MONTE CARLO” AND “LAUGHING AT DANGER.” Christy Cabanne’s “Monte Carlo,” tho Motro-Goldwyn-Mayer picture at the Kosy, depicts tho adventures of throe small-town girls who win a newspaper popularity contest giving them a trip to Monte Carlo. The threo girls are played by Gertrude Olmstead, Zasu Pitts and Trixie Eriganza. Once the localo of tho story is transferred to Monte Carlo it becomes, in addition to a romantic narrative, a farcical satire on the manners and deportment of a certain type of American tourist abroad. A fascinating sequence of the photodrama is the fashion show staged at Monte Carlo, which has been photographed in true colours, showing a remarkable improvement in this phase of screen technique. The latest picture by Richard Talmadge is also showing in this programme. It is “Laughing at Danger” and in it Mr Talmadge eclipses all of his previous efforts, both in point of dangerous work and in acting ability. The supporting programme includes “Her Hunted Horo” (comedy), Pathe Nows and Views, New Zealand Government scenic and snapshots of sci’cen celobritios. HOOT GIBSON IN “THE PHANTOM BULLET” TO-MORROW. A slender, blue-eyed Irish lass is Hollywood’s most celebrated sportswoman. She is Eileen Percy and she holds championships in swimming, riding, skating, diving, dancing and shooting. In addition, she is one of the best actresses on the screen and will delight movie fans when she comes to the Kosy Theatre, to-morrow, in support of Hoot Gibson famous western star in “The Phantom Bullet,” a Univer-sal-Jewel production. Tho star and his •ceding woman are surrounded by a capable cast including Allen Forrest Pat Harmon, Nelson McDowell, William H. lurner, John T. Prince, Gilbert “Peewee’’ Holmes, Rosemary Cooper and Robert Milash. de luxe. PETER B. KYNE AND RUDOLPH VALENTINO. ‘More Pay—Less Work,” the film production of Peter B. Kyne’s story, which opens to-night at the De Luxe Theatre, is a fast-moving comedy-drama that ends in a not of roars. It is centred around his famous Cappy Ricks and everyone will welcome the return to the screen of this cantankerous but likable shipping man and of his associates. A merger of Cappy Rioks’ Blue Star lino with that of Dad Hinchfield’s Banner Navigation Company ha* been arranged to end a business rivalry pf years. Hinchfield has modern ships but antiquated methods. Cappy’s ships are old, but his methods up to date, so the merger should prove mutually profitable. Details are all arranged, but when Dad finds out that Cappy's name will come first in the firm’s name, the deal is off. Thon Dad is called away and Willie decides to run things. How he ’ gets into a jam and out qf it with the help of Chester, the janitor, will send patron* away

roaring with laughter. Mary Brian and “Buddy” Rogers are the young people whose romance puts an end to the enmity of their fathers played by Albert Gran and E. J. Ratcliffc. Otto Hoffman plays tho office manager and Charles Conklm as the janitor supplies a great part of tho comedy. A subject of considerable interest on this programme is “A Society Sensation” starring Rudolph Valentino. PALACE. EXCELLENT COMEDY. Grandpa’s feet carried him many weary miles behind the plough and were responsible for the fact that he was always the most popular Virginia-reeler in the days of the barn dance epidemic. Of course grandpa’s feet were surrounded by big roomy, rustic shoes and his bunions had a large playground. They rovoltecl (> however, whenever grandpa dressed up in his Sunday clothes. Fashionable shoes strangled his feet until his well-developed bunions protested vigorously. Jack Duffy, popular juvenile “old man” of the screen, very humorously portrays tho role of “grandpa” in the new A 1 Christie fea-ture-length farce comedy “Reckless Romanco” which is now being shown at tho Palace Theatre. “Grandpa” goes to the city with a dofinito mission to accomplish but his ailing feet distract his mind from his work and he can think of nothing but a speedy return to tho old homestead ■ where his bunions can flourish in comfort. Others iri tho great cast of this hilarious feature are T. Roy Barnes, Wanda Hawley, Harry Myers, Lincoln Plumer, Sylvia Breamer and Morgan Wallace. “Reckless Romance” is the screen version of tho Broadway success “What’s Your Wifo Doing” by Herbert Hall Winslow and Emil Nyitray.

J. C. WILLIAMSON’S OPERA CO. “THE YEOMEN OF THE GUARD.” The box plans will bo openod to-morrow morning at nine o’clock at the Opera House for the only representation hero of “Tho Yeomen of tho Guard,” to be staged by the J. C. Williamson, Ltd., Company at the Opera House on Saturday night next. The idoa of “The Yeomen of the . Guard” came to tho late W. S. Gilbert while waiting for a train at a suburban station by seeing a largo advertisement of a London furnishing company. The opera scored a pronounced success and in tho libretto the author probably accomplished tho best piece of straight work lie over did. Many of the lyrics reach a very high standard. The plot of “Tho Yeomen of the Guard” is of genuine interest; there is always the shadow of tragedy hovering near. It concerns the imprisonment and intendod execution of Colonel Fairfax in tho Tower of London fqr sorcery. The charge is falsely trumped up by a relative to gain the estates of the gallant soldier. By tho aid of Sergeant Meryll and his pretty daughter Phoobe, ho escapes from his death cell and masquerades as the son of the sergeant. But before tho escape is planned he has, expecting to die, married the strolling singer, Elsie Maynard (Strella Wilson), to thwart his unfeeling relative. The girl is blindfolded and consents to the marriage to secure funds for medical treatment for her dying mother. Tho complications which follow make splendid dramatio materjal. There is a marked flavour of sad philosophy all through tho play; the laughter and the tears mingle in reasonable proportions. And Sullivan has providod music of a dramatic character to fib tho story, skilfully characterised for the strongly contrasted figuros of tho drama.