ENTERTAINMENTS.

Taranaki Daily News, 10 February 1922, Page 8

ENTERTAINMENTS.

EVERYBODY’S. MAE MURRAY IN “TWIN PAWNS.” Greed, one of the seven cardinal sins, is responsible for the thrilling plot of “The Twin Pawns,” Mae Murray’s newest offering, which comes to Everybody’s to-night and to-morrow. John Bent, the character admirably portrayed by Warner Oland, famous screen villain, was consumed with a passion for greed. Fate, playing as she sometimes does into the hands of the treacherous and unworthy, gave him the tools for the carrying out of a most diabolical plan, whereby he gained complete control of a vast fortune —for a time. Youth and love are strong forces. Pitted against fiendish cunning, they suffered for a time, but virtue is bound to declare a supremacy over evil, eventually. Violet White, loving Bob Anderson, was forced to Marry Bent, who sought het money. It’s often been done before on tae suage and screen and between the covers of books—and in real life—but the consequences of this marriage perhaps never had their duplicate anywhere except in Wilkie Collins’ novel, “The Woman in White,” from which “The Twin Pawns” was adapted. The bill includes gazettes, interest, comedy, and “Lure of the Circus” No. 2. The matinee tomorrow comences at 2 p.m. as usual.

THE PEOPLE’S. LAST NIGHT OF PAULINE FREDERICK. Should she confess that she was the Woman in Room 13 when the fatal shot was fired? Not to confess meant the death of her husband at the hands of the law. To confess meant that she would go forth —forever branded as a woman of shame. Did she make the supreme sacrifice? Was she the “Woman in Room 13”—Pauline Frederick as Laura Bruce has achieved on the screen in this picture what Rachelle conveyed in the portrayal of her tragic Greek drama on the Parisian stage, Bernhardt in “L’Aiglin,” and Leslie Carter in her biggest roles —the very peak of emotional endeavor! Goldwyn director, Frank Lloyd, assembled a rare cast to AUpport Miss Frederick—such names as Robert McKim, John Bowers, Charles Clary, and others well known being found in the company list. The bill includes gazettes, SSmedy, and “Fatal Sign” No. 3. The matinee to-morrow commences at 2 p.m. • THE EMPIRE. PRISCILLA DEAN IN “REPUTATION.” “Reputation,” Priscilla Dean’s widely heralded Universal photodrama, was shown last night at the Empire Theatre before a critical audience. It was greeted by the same enthusiastic reception it is reported to have received in other cities. The story deals with a dual role. It shows first a little orphan asy--1 lum girl who becomes an actress and ! impersonates her own mother, by whom ‘ she was deserted in infancy, and who is so dissipated that she cannot fulfil her i New York engagement. Sensationally dramatic scenes in London’s Limehouse ; district, glimpses of Baehanalian parties in fashionable London apartment houses, studies of the slums in both New York and London and refreshing views of small town life with a pleasing comedy relief, tend to emphasise the dramatic 1 force of the story and give it an interesting change of locale. Stuart Patron directed “Reputation” at Universal City from Lucien Hubbard’s screen adaption of Edwina Levin’s story, “False Colors.” A cast of popular favorites was assembled for the principal supporting roles. The season concludes to-morrow night. The box plans are at Collier’s.

THE LILAC DOMINO. J. C. Williamsons recent comic opera success' “The Lilac Domino,” will be staged at the Empire Theatre on Tuesday night next, for one night only. Ot this opera the Auckland Herald of Saturday’ morning, November 26, says: v "It is not surprising that “The Lilac Domino” had a run of three years in London. It is one of the best musical plays produced since the war. Playgoers will welcome in it a return to the higher standard which preceded the era of frivolous ragtime tunes allied with farcical librettos, which were largely the outcome of post-war hysteria, Ihey will note in this work moreover, improvements on the highe standard referred to, "The Lilac Domino” is replete with surprises. opening scenes of revelry and inconsequential albeit clever humor lead skilfully up to a climax in the second act, which develops into dramatic opera of a high class, both as regards music and situation. The finale to this act is a fine achievement on the part of the composer, who, not content with one recurring theme, repeats most of the airs that have gone before it, in a vocal ensemble which has a most stirring effect. The whole score is made of haunting melodies. The music has a lifting effect, and much of it. is operatic. A duet just before the finale in the second act is a gem, the comedy is well constructed, with a strong dramatic motif, so that the laughter it provokes is‘alternated with the serious interest it commands. The opera will be staged under the management of Mr. D. B. O’Connor, and box plans are available at Collier s. where seats may be reserved without extra char <T e. The season will be limited to three nights and the operas will >e staged in the following order: Monday night. “Going Up”; Tuesday night. "The Lilac Domino”; and Wednesday night, “Katinka.”