THE REGENT

Sun (Auckland), Volume 1, Issue 116, 6 August 1927, Page 15

THE REGENT

DIX IN “KNOCK-OUT REILLY”

It all happened through a practical joke. If his friends had not persuaded Dundee Reilly that Mary Malone, Danceland’s prettiest solo dancer, had sent him an invitation to meet hev after her act, there would never have been any plot for “Knock-out Reilly.” Reilly, cast in the capable hands of Richard Dix, would never have become a pugilist, and Mary would never have had an excuse for being sweetheart to the young ironworker.

Mary, who played opposite Richard Dix in “Knock-out Reilly” at the Regent Theatre last night, is so quickly mounting to stardom, that before long it would not be surprising to lind that she is Mary Pickford’s legitimate successor. The younger Mary

has that same etheral sweetness, that girlish charm, which for so long lias maintained Mary Pickford on her throne in the hearts of movie enthusiasts. Richard Dix, the matinee idol or rather its film equivalent, has a role in “Knock-out Reilly” which should win him additional admirers. Fame came to the ironworker. He did not seek itReilly was quite content with his job in the works. But when he found that “Killer Agerra,” the man who simply could not be defeated in the ring, was pursuing Mary, well, Reilly, just had to be a boxer, too. Two long years passed before he had his chance, apart from the unconventional scrap when he showed Agerra that his attentions to Mary were decidedly unwelcome. By this time Reilly had acquired all the tricks of the ring. There was little that Agerra could teach him. The result was entirely satisfactory to hero, heroine, and the audience at large. Richard Dix has portrayed more convincing roles. Mary Brian is worthy, too, of better stuff that “Knock-out Reilly.” The appeal of such a picture naturally is limited. At: the same time it is admirably produced, and with a section of the audience must undoubtedly be popular. Maxim Brodi, the Russia tenor, was warmly received on his second appearance on the Regent stage. In the beautiful “Serenade” of Toselli he had the support of Miss Isobel Langlknds, a violinist of distinct charm as well as certainly talented. The effect of the “Song of the Volga Boatmen,” which the tenor sang in the Russian costume, was marred, however, by the hackneyed “O Sole Mio,” which followed, and the equally negligible, “Give Me the Stars.” As an encore Mr. Brodi was at his best in the Toselli number.

The “Hungarian Dance No. 6” of Brahms was Miss Langlands solo offering. The violinist was constantly on the stage, however, with the ever acceptable obligato for the tenor. Her performance was altogether artistic and entirely satisfying- “ The Light Cavalry” overture of Suppe, which every conductor includes in his repertoire in much the same way as the tenor clings to “O Sole Mio,” was played by the orchestra under the direction of Maurice Guttridge. Eddie Horton on this occasion selected for the Wurlitzer the “Lust Spiel” of Kela Bela, “Annie Laurie,” always a favourite, and a novelty, the “Doll Dance.”

The Regent again included a European Topical on the bill. On this occasion the travelogue was “Bohemia.” The Regent and Pa the reviews concluded a diversified bill.