STAGE FEATURES.

Press, Volume LXIII, Issue 19164, 22 November 1927, Page 15

STAGE FEATURES.

"DANCE MAGIC" AND "UPSTAGE." AT THE LIBERTY THEATRE. Wherever there is dancing there is the "piper," and he must be paid. The piper, of course, has been superseded by the jazz band, which, naturally, haa raised the debt to be discharged. From time immemorial the dance has been regarded as a manifestation of the pleasure experienced by the performer, as an expression of joy and happU ness. Pagans danced at barbaric festivals and ceremonies, at weddings and at funerals, but in these modern days no such excuse as a "special occasion" is required for indulgence in the dance. The magic spell thrown oyer all worshippers at tho shriuo of the muse has time and oft been seized upon by the motion picture producer as the background for a theme, or for the motif itself, but it. has seldom, if ever, received such excellent treatment as it is accorded in "Dance Magic." "Dance Magic" is tho title of the headliner in the new bill which opened yesterday at the Liberty Theatre. It is a drama of what is generally represented, to those in other countries, ond, no doubt, in the United" States themselves, as the mad whirl of the wheel of life in Manhattan, Broadway, and all the Bohomianism, if there bo any genuine samples of the latter left, which it contains. While the picture is not exactly melodrama, it includes a certain number of scenes of gripping intensity and dramatic sensation, such as the always thrilling "third degree." the murder of a theatrical producer, and the - meteoric rise to dizzy heights at fame, in the dancing world, of a New England Puritan. While some scenes are heavily charged with a purely dramatic atmosphere, the producer has been generous' in others on the comedy side with excellent humorous relief. Tho film is from the First National studios, and in the leading roles are Pauline Starke and Ben Lyon, two cC the most popular modern stars in the film world. Miss Starke strikes a dominant noto in practically every scene, and in the role of the dancer gives a great interpretation of a difficult character. Her leading man gives all the support required. "Dance Magic" contains all tho essentials of 1927 film entertainment, and may be said to cover an extremely wide area in variety, excellence of production, and superb mounting. On the same bill is another big film, "Upstage," starring Norma Shearer in the main role, assisted by Oscar Shaw, a great vaudeville star. This is a tale of a girl who was under the impression that Bhe was the-big-gest attraction appearing on the modern Btage. In reality she was, in stage parlance, » "dud." Ouly after adventurous times behind the scenes, in which she goes through periods of pathos, humour, and romance, does she realise the true state of affairs. The story is very true to nature, and to type, and is remarkably interesting in every department.

Theso two features, briefly reviewed, make up a very excellent programme, the interest of the spectator being gripped and held from the opening scene to the final "fade-out." Both ore brilliant in plot and construction, and contain enough surprises and thrills to satisfy the keenest searcher for these two necessary elements in modern films.

The Liberty Concert Orchestra, under the baton of Mr Ernest Jamieson, playing in their usual finished style, rendered several classical and popular numbers. The entr'acte, which had to be repeated, was "The More We Are Together" (Connelly). Other numbers included "Sonate Pathetique" (Beethoven). "Invitation to the Dance" (Weber), and "Merrie England" (German).