AT THE THEATRE

Press, Volume LXXI, Issue 21413, 4 March 1935, Page 2

AT THE THEATRE

There was an exhilarating air of eagerness and suppressed excitement in the foyer of the Theatre Royal on Saturday night, when a large and well-dressed audience filed in to see the first production in Christchurch of Anthony Armstrong's play, "Ten Minute Alibi," by the J. C. Williamson Company. The play is a most absorbing one, and so well did the players hold the attention of the audience on Saturday night that the ticking of the clock on the stage could be heard at the back of the dress circle. All the action takes place in one room of a London man's well-ap-pointed fiat in Bloomsbury, furnished in modern style. The carpet is black, the doors, desk and table are black banded with chromium, and the clock that is of such importance in the working out of the story, is mounted on a chromium stand. The curtains and upholstering of the easy chairs are of green and beige brocade, and a large piece of tapestry forms the main wall decoration.

When Miss Jocelyn Howarth, as Betty Findon, made her first appearance in this room on Saturday night, she wore a neat dull pink jacket suit, scalloped at the hems, and finished

MISS JOCELYN HOWARTH with a black collar and small tie, and a black and pink hat. Later she wore a sleeveless frock of black marocain effectively patterned with red and beige flowers and plainly made, with a cape collar. When, at the conclusion of the play, she bowed her acknowledgment of the applause of the audience, she held a beautiful bouquet of red flowers. "ORIENTAL NIGHTS" A musical Chinese fantasy had been arranged by Mr Stanley McKay's International Revue Company for the programme presented at St. James' Theatre on Saturday evening, and the short Chinese tunics and the orange coolie hats worn by the ballet together with the colourful Chinese lanterns helped to create the required atmosphere for "Oriental Nights." Two of the supporting artists, Miss Esma Roach (violinist), and "Laurita" (danseusej, received well deserved applause. The former appeared in a deep amethyst georgette frock caught at the neckline with a brilliant clasp; "Laurila," in her dance number, "Trees," wore a very effective frock of turquoise taffeta forming a long train in front. Nymph-green taffeta frocks were worn by the ballet in a song scena, "My Moonlight Madonna," the soloist, Miss Rae Foster, appearing in a r»oonlight-blue satin frock.