“THE TELEPHONE GIRL”

Sun (Auckland), Volume I, Issue 152, 17 September 1927, Page 15

“THE TELEPHONE GIRL”

REGENT’S NEW BILL Madge Bellamy was seen in an entirely .new role at the Regent Theatre last night. Busily engaged with the plugs at the telephone desk at a smart American hotel, Madge still found a little time in which to take a friendly interest in the doings of her clients. Consequently, the telephone girl soon found herself well established in a situation which exceeded even her wildest expectations. Not that Madge was particularly curious as to the affairs of her patrons. Yet it could not be denied that she took more than passing notice of them. The State in which Madge lived was in the throes of an election for governor. The hotel in which she worked was the campaign headquarters of one of the contesting parties. “Will you give me that number?" demanded the “boss,” well aware that Madge could impart the information he so much desired.

“No, I shall not!” the girl emphatically replied. “Very well, then, you shall go to gaol!” Here we have a glimpse of the old American third-degree methods. A tearful little telephone girl surrounded by experienced politicians. No, she would not give the information so keenly desired. Meanwhile, a great city newspaper held back its country edition in order to insert a damaging story, the vital link of which was held by the phone girl. Imagine the shock of the State “boss” when he eventually found that his own daughter’s name was associated with the identical scandal for which the newspaper presses yearned! No, Madge did not “squeal!” Despite the policeman at her elbow, and the gruelling mental torture to which she had been subjected, she never forgot her trust. Valiantly did this game little American girl fight until the very end! It is, therefore, clear to see that “The Telephone Girl” has a strong dramatic vein; even, maybe, melodramatic. Admirably presented by a cast which included such well-known artists as May Allison, Warner Baxter, Holbrook Blinn and Lawrence Gray, it is well in keeping with the Paramount standard. Madge Bellamy gave her usual finished performance, and Warner Baxter was adequately aggrieved as the would-be State governor into whose past his enemies were only too happy to delve. Colin Crane received a hearty welcome on his second appearance at the Regent. A new feature of his act was a post-war monologue, which the baritone generously attributed to George Carney. He also sang “Marcheta” as a novelty song act.

Maurice Guttridge directed his orchestra through the intricacies of Keler Bela's “Romantique.” Eddie Horton, at the Wurlitzer. featured request numbers, including “At Sundown.”

“Christiania,” another of the excellent series of Post travelogues, which pietorially described the Norwegian capital, was also on the bill.

Other offerings by the management included Johnny Dooley in “Salty Sap,” and. the always entertaining Regent Budget.

Douglas Fairbanks has nearly completed “The Gaucho.” Eve Southern has the leading feminine role.