The Show's the Thin

NZ Truth, Issue 1148, 1 December 1927, Page 2

The Show's the Thin

Gayle's Laughter

Georgie

A New Heifetz

Gallipoli

• • * • Mirth Unlimited

Brilliant Tenor

Light Opera Gems

Exclusive Rights

■ i'■ '■ . Like Johnny Walker

THEY come and they go. Exit Stud 1 Foley; . enter Gayle Wyer and his Band Box Kevue at His Majesty's Theatre, Wellington. v = A brighter show this; snappy chorus, good comedy, and some original sketches. „ 'Sam Ward, Billy JBovis and Gayle Wyer are a trio of Eun-makers, while the feminine side of the show is equally atti'active. • # •

PEORGE WALLACEJS revue show r* , ' now touring the "femalla" is gladdening the hearts of the^people of the hinterland. A bright show, with comedy predominating, George and his merry company can be recommended to banish the blues.

IABCHA HEIFETZ, In (a) La Fills •* aux Cheveux d© Lin (Debusßy)^— (b) Scherzo— lmprpniptu (Qreig — Achron), La Plus Que L<ente —^Waltz (Debussy). H.M.V. D 81049. "La FUle aux Cheveux de Lin ("The Maiden with the Flaxen Hair"), one of Debussy's most ethereal and dreamy works/, beautifully transposed for the violin by Hartman, was one of Heifetz' most appreciated encores during his recent concert tour of New Zealand. The bright, animated Scherzo by Grieg 1 presents ,a striking contrast. Debussy's delightful waltz, "La Plus Que Lente," with its elusive and fragile atmosphere, is admirably played by Heifetz.

Hetty King, smartest Edna Dare, complete Robert Purdie does , of all smart male with holder, as the good work m "The impersonators. "Vamp" of "Tweekie." Gorilla."

IT would almost teem as though any medium calculated to touch the vibrant chords of bitter memory, could be better left out of our mundane sequences. >But the magnificent British Dominion film, "Gallipoli," to be shortly released, awakens the interest to the soft voice of glory immortal; of the stirring deeds of those soldiers which has been written m the pages of history with the imperishable letters of blood— and glory.

Rather, does "Gallipoli" m its splendid treatment, preserve the Homeric struggle for liberty and symbolize the immortality of the blazing deeds performed. ■ . ■ .

THE legitimate stage has its limit* 1 ations and must work within certain confined limits. Not so the silver sheet. In picturisirig a stage production, film producers can enlarge and elaborate to their heart's content.

..j^his, William Fox has done with "Cradle Snatchers," the laughing, riotous farcial stage comedy which has recently been so delighting audiences at Wellington Opera House. '• To those who saw the "Cradle Snatchers" on the stage it is worth their while to go along to the Regent Theatre anytime commencing from tomorrow (Friday) and see what a first class producer can do. ; This 1 snappy laughter comedy of weary wives and wandering husbands teaches a lesson — the lesson of husband taming. Louise Fazenda, J. Farrell Mac Donald ,, Sammy Cohen, Ethel Wales 1 and Doorthy Phillips are the principal fun makers m, the cast.

'POLUMBIA D 1571:. "Turandot" — "Non Piangere Liv" and "Nessun Donna" (Puccini). Sung by Francesco Merit (tenor). The rising generation of tenors are full of promise and not the least of them is ; Francesco Merli, the Italian tenor who appeared with Feodor Chaliapin m Boito's "Mefistofele" m the Covent Garden season of Italian Opera last year. At least, so one would judge by hia growing reputation which has convincing support, in his latest recordings for Columbia. These consist of two very flne arias from Puccini's posthumous opera, "Turandot."

Now,' the gramophone plays queer tricks with a singer's reputation. Scottl, for instance, was so superb ah actor that ''no one ever thought to question the calibre of 'his singing until his v<spe was recorded; whereupon it proved to be far below the accepted standard of an operatic tenor.

Merit's reputation will suffer m no way from recording.

yiCTOR LIGHT OPERA COMPANY * m gems from "Countess Maritza" and gems from "The Blue Mazurka." H.M.V., 8811.

The delightful gems from "Countess Maritza" include "I'll Keep on Dreaming" (contralto and tenor). "Love Has Pound My Heart" (soprano), "The One I'm Looking For" (soprano and/enor), "Play Gypsies, Dance Gypsies" (baritone with chorus). The "Blue Mazurka" is the latest London comic opera success knd abounds m beautiful and bright melodies.

"I IMITATIONS" sufficiently describes "the difficulties under - which the Wellington Regent Theatre management has been laboring since it opened its doors to the public just on twelve months ago. : - '

A new house starting m business has difficulty m securing the best pictures and it is frankly admitted that a few of the super screen productions have not gone the way of -the Regent. Patrons, however, will have nothing to cavil at during *the coming year, for this theatre has secured exclusive rights to all Paramount productions.

It will have the first call on all the big — not an ocasional piie as m the past. All the new Harold Lloyd, Wallace Beery and Raymond Hatton farces 'will be exclusive to the Regent, and also such widely-acclaim-ed and long-awaited specials as "Wings," the epic of the air, ! "Chang," "Abie's Irish Rose," "Barbed 1 Wire," and others.

A SMALL man with a minute tuft of A hair on his upper lip is; making himseff popular with picture show managers from Auckland ,tb>the JBlufC. Old m the ways of the theatre, this young-old mari toils twelve- •houi's a day six days a week, and on the seventh he .puts ' m fourteen jus£ for luck, v . ••..-.,,.

At a distance — bar the hirsute adornment — he would pass for Charlie Berkeley. His mail is addressed: Lester Brown, Fox Films, Wellington.