OTAKI THEATRE.

Otaki Mail, 3 November 1922, Page 2

OTAKI THEATRE.

FAREWELL PROGRAMME. To-morrow night will be the last under the present management, and Mr Jauuccy has arranged to give of the best as a final programme. He has secured Miss Marjorie Vauso (late of the King’s) who will give an exhibition of fancy dancing, will sing leading songs, and otherwise eater for the public Besides this clever performer Mr Jauncey has secured a splendid set of films.

TO-NIGHT. “SHATTERED DREAMS.” Marie Mossele, a wealthy young Parisene, has ambitious as a sculptress. Her fiance, Tlico Grusaut, an immaculate but insipid society man, objects to her art. She lias trouble finding a model for her statue “The Cave Man.” until an Apache enters her studio to roh her. She gets the best of him and makes him pose tor her. He is an ideal specimen of brute nutn. IMurio begins to take an interest in him because of his unusual reserve uud good manners. •She gets Thco, much against his. will, to take her to Le Chat Noir, the Parisian underworld den where her Apache model. Louis Du Bois, spends his time. There she dances with Louis and is whirled in the maddening maze of the Apache dance. She is revolted at his flaring passions, but his cave-man actions kindle a spark in her. It later causes her break with Thco. Torn between society and her cave-woman instincts, she smashes her statue as soon as she has unveiled it. That night Louis comes again to the studio—this time for her. She shoots him, but he staggers away after begging her pardon. Later her remorse drives her to his bedside, Bhe finds a well-appoint-ed apartment, instead of the cubbyhole of an underworld denzien. Nursing him back to strength, sho learns that he is of noble birth, but that shell-shock drove him. after the war, to seek excitement among the ruts of humanity. His mind cleared by hi* wound sickness, he finally pleads for her forgiveness and her love. The caveman and his woman look to the future with, happiness.

TO MORROW NIGHT. "TRUTH ABOUT HUSBANDS.” Tense dramatic moments are frequent throughout the screening of ‘‘Truth about Husbands, ’ ’ which is to bo shown to morrow, in which dainty May McAvoy and Holmes Herbert have the principal roles. Convincingly develop- - c-d and skilfully handled, this Pinero 1 play goes straight to tie heart of things and is a smashing indictment of the double code of morals. Anna Lehr’s performance i- remarkable for its sincerity and tenderness, and May McAvoy is well balanced and appealing. There are strong situations as may be expected in a Pinero production, and men as a whole will hardly like to see themselves held up to scorn for traits that are common enough although usually hidden under a bushel. Women, on the other hand, will delight in the exposure of the stronger sex, a theme so rarely handled as openly as this production proves. A happy ending moral puts a finish on the peccadilloes of the erring husband in the ease, and the final punch goes to the heart: Of things in an irresistible manner.

| “THE FOUR HORSEMEN.” ] An epic tale of surging passion sweeping from the wide plains of the Argentine through the fascinating frivolties of pre-war Paris into the blazing turmoil of the German invasion of Northern. France was unfolded on Wednesday night at Otaki theatre. It was the first showing of “The Four Horsemen of the Apocalypse,” the 1,000,000 dollar Rex Ingram production made for Metro, which has been the screen sensation of New York. Chicago. Boston, Pittsburgh, Detroit and Loe Angeles. ThS picture, ada pied by Jjns Mattie from the great novel of Vicente Blasco Ibanez, has intensified the dramatic force of the original story and on Wednesday night it held the spectators intent as with swift, sure stroke- it hammered home the terror and grandeur of the war—and a great deal of the humour and light-hearted gaiety that kept bubbling up through, the turgid stream of struggling-humanity when the world was in arms.