ENTERTAINMENTS

Dominion, Volume 14, Issue 121, 15 February 1921, Page 2

ENTERTAINMENTS

KING’S THEATRE. "The Love Expert” is the leading feature of the current programme at the King’s Theatre. The story is full of action, and is prasented in the merriest manner. Constance Talmadge, who plays the leading part, is seen in one of her happiest characters to date, and is responsible for some excellent comedy. The principal supporting film is a hilarious burlesque on a burning question, "The Rent Dodgers,” and the house shortage so acute locally is satirically shown. Added features of the entertainment are the singing of Miss Rosalie Dyer, and the musical selections by the King’s orchestra. There will be a matinee at 2.30 to-morrow. EVERYBODY’S THEATRE. "The Alan From Snowy River,” which is being screened at Everybody’s Theatre this week, presents some interesting phases of Australian life. The characters are interpreted by clever players, and are typical of the people of the great island continent. There is no exaggeration in make-up, and the majority are types to be seen in the streets of Sydney any day. The section of film showing a bush fire is wonderful piece ol camera work, while a steeplechase run is thrilling enough to satisfy the most sated picture-goer. In addition, a strong supporting programme is screened. EMPRESS THEATRE. "The Drifters,” a drama of the wastes of Alaska, which is starred at the Empress Theatre, features J. Warren Kerrigan in the role of one of life’s failures, who is redeemed by the love of a good woman. There are four main characters in the story, Kerrigan, the failure; Evans, a fugitive from the law; MacLaren, an honest seeker for gold; and the girl who wanders to the camp with her reason gone as a result of her suffering. The concluding chapter of "Smashing Barriers,” and. the, -opening episode of "The Invisible Hand" are included in the supports. "THE PRINCE CHAP.” The great charm about "The Prince Chap,” the excellent photo-play screened for the first time in AVellington at the Grand Opera House last evening, is that it is a love story, and not "camouflaged” as anything else. There is no striving for effect, and the small cast of character's is remarkable, in that each one is of intrinsic value -to the unfolding of the story. Love —the kind of love that leads a man on to great heights—and the quest of success from the aspect of a young sculptor, are the keynotes of .the play, and the story is clever, pretty, and' altogether commendable. The -hero (Thomas Aleighan) is ambitious. He loves fame, and lives merely to pursue the fleeting shadow of success; but there comes into his life a girl—the only girl. Wealthy, possessing high prestige in the social whirl of New York. She might have had many suitors—indeed, she had one, in the person of an elderly broker, who loved her dearly—but she preferred the romance and glamour of an engagement with the young sculptor-hero. Fame is denied him in New York, and he needs must go further afield, arriving in London with his seiwant, a bust in marble of his fiancee, and plenty of energy and ambition. The story moves quickly. A model, widow of an American, dies, leaving, for some unknown reason, her child with the young sculptor, who unwillingly accepts the burden merely because the woman had chosen to die in his studio after hex- collapse. Claudia, the little girl, grows, and before long is part and parcel of the sculptor’s life. Aleanwhile Scandal proves more of a Hermes than Success, and on winged Wet doubts as to the sculptor’s relationship to the child Claudia reach "Princess Alice” —for so has Claudia, baby-like, chosen to name her “Prince-Chap’s” fiancee. And with the broker always at her elbow, with the sight of her lover and the child jarring her in a photograph that he sent her, with the talons of doubt fixed in hei' heart by a vixenish aunt, she decides. ... It was not hard to give him up. His rage and helpless despair did not hurt her, already married to the "passe” broker; but the .smile on her lips as she gave back the ring gave him his great inspiration. His bronze, ‘‘The Afask,” showing hypocrisy and shamelessness, brought him fame. ... It is a pretty etory, and is carried on still further to a charming ending. But picture producers have yet to remember that, while they can .flick from this yeai’ to this time ten yeans in an instant, they must not expect the spectator to be happily oblivious that none of the characters —with the exception of the girl, who was three years old before the change—have altered in any way. The supporting programme is excellent. CHAUTAUQUA. Captain Norman Allan Imrie, lecturing at Chautauqua on the opening evening (t6-morix>w) at the Fanners’ Institute Hall, is reported to be one of the cleverest and most entertaining platform speakers that has visited the Dominion. The Canadian and American Press accredit him as being one of Canada’s cleverest students of political history. In addition to Captain Imrie, to-morrow’s programme will include a concert by The lonian?, a tainted Australasian party, consisting of Geoffrey Coxvley, Australian baritone, Aliss Lalla IJnight, soprano, Aliss Dorothy Baker, violinist, and Aliss Enid Heywood, pianist. The box plan for season tickets and day sales is now open at The Bristol.