THE NEW REGENT

Sun (Auckland), Volume I, Issue 194, 5 November 1927, Page 15

THE NEW REGENT

EXCELLENT ENTERTAINMENT A wealth of entertainment as varied as it is attractive is offered by the management of the New Regent Theatre this week, and the programme is fully in keeping with the usual high standard of works presented by this house. There is always, somehow, a distinctive phase about the programmes there, and that, combined with the delightful music, and the surroundings, make this theatre doubly popular. A fascinating story of stage life, and the struggle of a young song composer to make good, forms the basis of “Ten Modern Commandments," the Paramount special, which heads the bill of fare. With beautiful Esther Ralston as Kitten O’Day, and Neil Hamilton as the composer, it can be seen that the combination of artists commences with an excellent lead. Miss Ralston, as the girl about the house, appears in a role, but later dons beautiful frocks that show her as she really is. The supporting cast is from picked players, and no complaint can be found there. From a little country town comes the hero of ain folk to bring New York to her feet. Ivitten O’Dare pities and then loves him, belt realises that only a miracle can place his songs on the market and bring him sucuess. Just how that is brought about and how Kitten does it, makes up this truly excellent drama. An intimate insight into the great back-stage of the theatre world is obtained, in this picture. The settings are true to detail, and the scenes are not without interest. “Ten Modern Commandments” should be a popular attraction for the remainder of the season. The sixth series of music master series, life and works of Mozart and Haydn, comes as a most interesting acquisition, to the programme. This intimate glimpse of these great composers is interesting and instructive to a degree. A scenic, “Germany,” is an attractive film, while the Regent News and an exceedingly clever comedy, “Whoa, Emma,” completes a highly entertaining picture programme. Coming with a big reputation, Vaughan, described as the king of syncopation, made his bow in some clever xylophone numbers, and fully bore out the advance reports of his versatility. Vaughan undoubtedly plays with much skill, and won immediate recognition. His numbers were of lighter vein, and met with much appreciation. Eddie Horton again delighted with his Wurlitzer organ selections. “Traumerei” being exceptionally good. The orchestra, under Mr. Maurice Guttridge, was in better form than ever, and was responsible for a most attractive musical programme. The overture. “Morning. Noon, and Night” (Suppe) was a feature of the offerings.