MAJESTIC

Sun (Auckland), Volume 1, Issue 84, 30 June 1927, Page 15

MAJESTIC

FOUR LEADING SEMI-FINALISTS The biggest programme in Auckland is again offered by the Majestic for the week commencing to-morrow. It is made up of three outstanding attractions —attractions which could stand quite well alone, but when all combined make a superlative programme. Everything that goes to make excellent entertainment is included in this bill. There is a light sparkling comedy, a big game hunting picture, with tremendous thrills, a brilliant stage novelty, and an excellent musical programme. The chief attraction is undoubtedly the series of screen and acting tests by the leading four semi-finalists in the “Miss New Zealand 1927” screen type quest. These girls were chosen by public vote last week at the Majestic, and now have to prove their acting ability before a discerning public. A novel and beautiful setting has been arranged to form the best possible background for the tests. These will prove whether the four- semi-finalists are particularly suited for drama, comedy or tragedy. No one should miss this brilliant and unique stage novelty. “A Little Journey” which will be shown at the Majestic on Friday, is a Metro-Goldwyn-Mayer picture, and was directed by Robert Z. Leonard, whose “The Waning Sex” was so much enjoyed. Leonard has taken a story, that of a rich girl, suddenly made poor, who accepts the proposal of a wealthy friend. She has no sooner boarded the train to make the transcontinental journey to met him when she meets a good-looking young man with whom she falls in love. Leonard has handled this story in a charming natural manner, bringing the story to a happy, yet logical ending. Claire Windsor acquits herself excellently as Julie Rutherford, the girl in the case. William Haines, who became a sen-

satin over night with “Brown of aHrvard,” is seen as George Manning, the wise-cracking young man with whom Julie falls in love. Haines is destined for the heights of popularity, and this picture is another rung in his ladder. Harry Carey for the first time out of the “Westerns,” plays the role of a millionaire, and fits very well in his new guise, and Claire McDowell as usual contributes an excellent performance. RIALTO AND REGENT, EPSOM “THE CANYON OF LIGHT” For sheer excitement, thrills and suspense, Fox Films’ “Canyon of Light,” the feature picture which is now being shown at the Rialto and Regent, Epsom, Theatres, will be hard to surpass. With Tom Mix in the star rob and Dorothy Dwan in the feminine lead, plus a fine cast and an absorbing story and with Tony, the wonder horse, playing a prominent part, this is one Western that is sure to please every type of theatre patron. Add to this, the wild beauty of the backgrounds, for this picture was filmed in Yellowstone National Park, and the result is an entertainment long to be remembered. One of the most thrilling sequences in the picture is the wreck of an old boom town, a mere "host city, the haunt of the desperadoes where Tom fights it out with the gang. Whole buildings are wrecked in the hand to hand battle that takes place amid scenes, set the audience, who witnessed it yesterday, on the edge of their seats. Ben Stoloff directed this production which includes a cast of screen favourites such names as Ralph Sipperly, Barry Norton, William Walling, Carmelita. Geraghy and Duke Lee in addition to those already mentioned. REGENT BALLROOM POPULAR NIGHT TO-NIGHT The usual popular night will be held in the Regent ballroom this evening, the prices for admission being, ladies Is 6d, gentlemen, 2s 6d. A dansant will take place on Saturday afternoon from 2.30 to 5 o’clock. The ballroom was packed to overflowing at last Saturday afternoon session. There will be a long night on Saturday.

he touches takes on an intensely human and vital quality—even poor music (of which he plays very little), and music which requires a pianist of more classic mould.

The master’s few defects need not be attributed wholly to his advancing age. He was always, from the outset of his career, more famous as an interpreter than as a technician, and always he had certain faults, which have now, perhaps, become a little more marked—the habit of spreading chords, the tendency to “smudginess.” But last night it was often difficult to believe that Paderewski has entered his sixty-seventh year. He gave us many passages of youthful fire and impetuousness, with others of the mellow and reflective beauty that belongs to a later time. He is still able to thunder forth tones of tremendous power, when occasion demands —and sometimes when occasion does not, it must be said. There has been much discussion of his merits as an interpreter of Bach and Beethoven, and most critics have agreed that he is not heard at his besc in the works of these great ones. In the Bach “Chromatic Fantasia” and “Fugue,” which headed last night’s programme, Paderewski seemed to be playing himself into form. The Beethoven “Sonata in F Minor,” sometimes called the “Appassionata,” missed the final touch essential for the perfect interpretation of Bach and Beethoven.. The slow movement, however, was a most memorable performance. Paderewski entered into his own kingdom with the Schumann “Carnaval.” This delightful suite of little portraits and phantasies has been played by many of our pianist-visitors; but none of them (it seems, in retrospect) quite equalled Paderewski’s reading, in imagination and humour and tenderness —the mystery of “Pierrot,” the naughtiness of “Coquette,” the moonlit sentiment of half-a-dnztn others. After Schumann, Chopin; and in a familiar group of his compatriots pieces Paderewski, as one? might expect, played better than ever. T.iese were utterly satisfying performances of the “G Major Nocturne (Op. 37),” the “B Minor Mazurka (Op. 33)”, the “Valse in C Sharp Minor,” the “But-

terfly Etude,” and the “Scherzo in B Flat Minor.” .

Paderewski the pianist is a more important figure than Paderewski the composer—which, however, is not to deny the interest and value of his compositions. The "Legende in A r'la.t” has some touches of fine originality i«i its middle section, and a striking sjggestion of folk-song. The printed programme closed with the “Twelfth Hungarian Rhapsody” o f Liszt, played with such conviction* that one was almost induced to take it y< 11ously. The recall numbers inclulec very beautiful readings of Schubert’s

“A Flat Impromptu,” Chopin’s “A Flat Valse,” and a transcription of the ‘ .'.itbestod,” from “Tristan und and solde.” —R.J.B.

A programme of universal appeal will be given by Mr. Paderewski at his second recital on Saturday night. hTis will include the Bach-Liszt “Fantasia and Fugue in C Minor.” the “Moonlight Sonata” (Beethoven), “Impromptu in B Flat, Op. 142” (Schubert), “Hark! Hark-' the Lark” (Schubert-Liszt), “Erl-King” (Schubert-Liszt), Chopin’s “Ballade in G Minor,” “Nocturne in D Flat Major, Op. 27.” two Etudes, Nos. 10 and 5, Op. 10, “Valse in A Flat, Op. 34,” “Chant du V •

ski), “Nocturne : . ’ < Zc'.c'.ling) and Liszts “Raapsodie Hongrois*" No. 2.”