The Observer from London, Greater London, England • 14

THE OBSERVER, SUNDAY, SEPTEMBER 6, 1936. 3Ttustc anb and Mms of tl AN "ALL-IN-ONE" SHOW. THEATRES. (Continued Irom page 1G.) iT. MARTIN'S.

Ttm. Bar 14 13 A 1344 6.40. TUES. PRL. HEROES DON'T CARE.

CAROL GOODNER. FUJI AVkMER. KfclX HARHiSON. CAROL BKOW.N. PROMENADE CONCERTS.

Nothing clamours for precedence in an account of this week's though on Wednesday there was a large assembly of composers to hear Elizabeth Maconchy's Concerto for Pianoforte and Chamber Orchestra. On Monday, Oda Slobods- kaya exquisite singing of Katherine's aria from The Taming of the Shrew," by the amiable Goetz, and a vigorous per formance of Pohjola's Daughter fami liar now through the gramophone records of -the Sibelius Society made a refreshing postlude to a feast of Wagner. Tuesday's concert began with a harrow. ing performance of that most theatrical of Mendelssohn's overtures, Ruy Bias' but was redeemed (so far as performances were concerned) by Arthur Rubinstein's brilliance as soloist in John Ireland's pianoforte concerto. Praise is due to Mr.

Rubinstein for his enterprise for Mr. Ireland's is by no means the most accessible of English music. Miss Maconchy's concerto, on Wednesday, had not the advantage of so persuasive a soloist, and we were left to rjerceivt? clearly its lack of great and sweeping thoughts, and to feel that there was nothing distinctively human in it. The slow movement was delicate; the rest, just sprightly. There are works by Miss Maconchy in which she flouts her modernity with more aggression than here; the concerto is empty, not unpleasant.

Earlier in ine evening we near a a performance of Bach's first Brandenburg Concerto, in which Aubrey Brain and Bradley played the horn parts with consummate skill. The rendering as a whole, however, was so coarse, and took such liberties with the music, that to discuss it in the language of moderation would be a heavy task. Serious promenaders may well be worried with the problem of salvaging what is genuine Bach from these gargantuan fortnightly wrecks. MOZART AND HAYDN. There was no such grand insentiveness in Thursday's Mozart and Haydn concert, though there were, inevitably, proofs of inadequate rehearsal; the staccato scale upwards, with which the opening Presto of the Clock symphony begins, was never clean; the fugato in the last movement was pnly a spirited scramble; and where tempo and measure change so unkindly in the last movement of Mozart's major vioiin concerto, the muddle was profound.

One prayed, as on Wednesday, for fewer instruments and finer playing. Yet doubtless it is better for everyone to hear these glorious works, however moderately played, than not to hear them at all. Mozart's Flat Symphony, at all events, vas very creditably done; and Heddle Nash sang an immensely difficult aria, Misero! sogno, son desto? in perfect style. Albert Sammons was soloist in the violin concerto; his style seemed a little earthy and cloying for such music, and that he should sponsor two such Cadenzas as he did added to one's suspicion that his feeling for Mozart is perhaps not so subtle as for Elgar and Deli us. After the interval Busoni's Rondo Arlecchinesco was given a splendid performance.

How very witty and successful this piece is! Mention shifuld be made of Arthur Rubinstein's second appearance of the week, as soloist in Beethoven's minor pianoforte concerto, on Friday. He gave an impetuous, if irresponsible, rendering. It is curious that, so far this season, those pianists should have been chosen to interpret Beethoven who excel especially in music irreconcilable (pianistically speaking) with his. Though the two performances cannot be compared in general character, Mr. Rubinstein's, of the minor concerto, and Mr.

Solomon's, of the Emperor," suffered from the same inability to change mood without changing tempo, the same lack of clarity and of concentration. Both were admirable as pianoforte playing. DRAMATIC CLUB OF SIMLA. CELEBRATION OF CENTENARY. SIMLA.

The Simla Amateur Dramatic Club, in whose productions many famous men and women have at one time played, is preparing to cegbrate its centenary. On the stage in the Gaiety Theatre, Simla, where for the last fifty years its performances have been given, Lord Baden-Powell, once appeared, in The Geisha," and one of the society's most treasured photographs shows the Chief Scout, in Chinese costume, having his pig-tail pulled by a coy young Geisha girl. Kipling's mother played in one of the clubs productions; and Kipling himself wrote a prologue to a burlesque for them. In 1878, Lord Lytton, then Viceroy of India, wrote a "thriller" for the club; it was called Walpole," and was an exciting tale of, Jacobite plots, written in rhyming Alex.ndrines. Lord William Beresford, who was Military Secretary to the Viceroy, appears prominently in the history of the club about this time, taking part in several performances in 1877.

LORD CURZON. But it was in Lord Curzon's time that the club knew its most brilliant period. A lavish production of Florodora." in li)f)2, in which a Miss Macquoid won the hearts of all Simla, is still remembered as the club's outstanding achievement. About this time, too, Lord Suffolk made his first appearance on the stage, and Mrs. Mallerly, sister of Irene and Violet Vanbrugh, was another in that galaxy of talent which the club at that time boasted.

"The Simla A.D.C. vainly endeavours to conceal the genius of the professional under the- guise of the amateur." said Lord Curzon in his farewell sneerh in 1305 Reutcr. (Continued from preceding oolumn.) dut ch dunklen Gasscn (Eichendorff) is in the mood of the Migncn songs. A fine one to end a recital would be the second MSrike, Die Tochter der Hcide." where hands and voice are both as brilliant as they can be. On the whole, these three dozen songs are a great find.

Those who perhaps have not been able to make much of Wolf's subtleties will find their straightforward manner a great help to understanding him. and those who are well-acquainted with him will delight in each of his new discoveries as they stumble on it here. Any singer ought to find a round dozen he ran add to his repertory, and we will hope Miss Gerhard will find more. HUGO WOLF. EARLY SONGS.

(BY A. II. FOX STRANG WAYS.) We are shortly lo have the pleasure of hearing Miss Elena Gerhard sing a selection suited to her voice from some newly-discovered songs of Hugo Wolf. These will be published with English words, by the Musikwissenschaftiicher Verlag, Leipzig, in four volumes of about ten songs each, and be on sale at Augeners. In order of time they fall into two batches: twenty-three of them are spread over the years 1876 to 1880 inclusive, and are an addition to the twenty-one of that period already in print; ten of them belong to the first half of 1883, the year of Zur Run, zur Ruh." There are thirty-seven in all, and there is some idea of a supple mentary volume still to come.

About two-thirds of Wolf's song-writing was done, as we know, between the ages of twenty-eight and thirty, during which he plunged into Mdrike, Eichendorff, and Goethe, one after the other, absorbing their spirit with a depth and particularity unsurpassed by anyone who has set words to music. These new songs were written mainly between the ages of sixteen and twenty-three. The words are from a dozen different poets; the early batch contains half a dozen poems of Heine and of Lenau, the later batch the same number of Reinick and of Eichendorff. Mcirike and Eichendorff he seems to have discovered in his twentieth year, and to the solitary poem of Goethe among these (Gretchen's prayer to the Virgin) he was drawn, we may guess, by the fact that Schubert had left it unfinished. The earliest song is to words of von Platen; and both von Platen and Reinick have a fanciful taste in versification.

Von Platen's hobby is the triple rhyme, in which he wrote a number of epigrams which he called Ghaselen," a word of Mahommedan origin; and though music can do nothing with rhyme. Wolf has kept the effect by a sensuous swing within the format four-bar rhythm. Reinick fries experiments. In Komm in die stilte Nacht the lines a. of stanza 1 begin, respectively, stanzas 1, 2, 3.

4 of the poem, and this gives the composer, of course, an entirely new tune for each stanza, a piece of happy ingenuity. In Narhlgruss the words are merely silly, and the tune refuses to redeem them, whereas Schubert's often did. In Frtihlingsglocken the poet is extremely happy, his metre is arresting and his fancy exuberant; the piano part is based cn a figure which was used f.ve years later in Fussreise to a pedes- trian voice-part, whereas here it is of the essence. The glowing verse of Liebesbotschaft seems dost, at first, in the uneventful vocal line, until the deft contrapuntal iuter-weaving with the pianist's right hand is appreciated; this is one of the gems of the collection. The varium nc mutabile of the heroine of Liebchen, wo bist du is given with ingenuity and without overstatement in some wild chromatics.

"Frohe Botschaft" is mock-heroic, and the music combines appropriately an obvious stateliness with just a tang of vulgarity. Heine's verse is in direct contrast with all this. It is technically untidy, and in every poem we are directed back from the versification to the central lyrical idea, rough-hewn and pregnant, and too individual to be restrained in any proso-dial formula. Music can do nothing for him but give him a downright tune- as a definite framework for his distinct mood, as in fact Schumann, in the heyday of his song-writing did. But by Wolf's time Heine was no longer the live wire he had once been, and, moreover.

Wolf's tune is by no means downright it is highly composite, an inference rather than an actuality. Heine will not, however, bear any word-painting: Wolf's setting of Ich stand in dunkeln Trnumen (which is in print) is surely miscalculated when it takes urn ihre Lippen zog sich," quite literally by merefiy doubling the time, as if they were two separate moments, instead of being two thoughts rolled into one. The settings in the new set arc not wholly satisfactory either. Du bist wie eine Blume and Wenn ich in deine Augen son are gracious enough, but they do not quite get away from Schumann one phrase, indeed, is lifted intact; but Madchen mit dem roten Munde is his own, though the unlovely associations of "The Rosary" in it afflict some English hearers. On the other hand, the stronger technique of Wie des Mondes A'jbild zittert and the light-Jinnded originality of Sterne mit den golclncn Fiisschcn (both of 188U) show that Wolf had a wny tit his own with Heine.

In the remaining sonss. taking the chief of them in chrimnlogicril nrricr. we may trace the growth of his powers. Abendbildcr wSiich is three prose idylls in one song, and the rather long symphonies in Korner's il Stand-citen remind one of Ehe way Schubert began Willi rambling prenas rather than snng. Trie scarcely defined key gives prrcpitancy to Hebbel's impetuous Knibcntod." Perhaps it is not till (Sep! ember.

JB7B) that we Get that alterntinj-i of independence and interdependence of voice and piano that is most characteristic of Wolf's song. This power, a very real thing, seems lo bear fruit a year later in Lenau's terse and tender Fragc nicht," where, with exceptional beauty, both converse together in low tones. Nachruf Eichendorff) is of immediate appeal by it? unobtrusive harmony. Suschcns Vogo'. (Murike) by its mcrly.

and Wohin mit der Frrud (RHnirlO by its delicate canonic rn i inns: while Ruckkehr (Eichen-riorin contains Fomc deliriously rhapsodic fur both. In Wolkcn, wai- rlerwarts cegangen (Eichendorff) the hiis a innings. "Ich gen (Continued In next column.) (BY C. A. BERGNER'S "AS YOU LIKE IT." About the only privilege left to a critic these days is to be able to say in public that he was wrong, whereas his reaijers must feel it and say nothing.

I am happy to be able to make that confession about "As You Like It." I have been wrong about it for twenty years. This Arden story, like Macbeth and Julius Caesar," has always seemed to me essentially a school-desk, a matriculation piece. It has not even the advantages of Romeo and Juliet," or Hamlet," which, on account of certain Jilushing passages of ardour, certain dark searris---jn the psychology, were relegated to college days. "As You Like It" was a healthy part of the school curriculum. You did it in the Lower Fifth with notes and a glossary.

At fourteen you learnt the Seven Ages of Man for homework, and at thirty or forty you still, just faintly, resent it, with a sub-conscious heel-kicking, born of the days when the sun shone outdoors, and the clouds raced, and the wind was high. This was the kind of handicap which Elisabeth Bergner and her husband, Dr. Czinner, had to meet when they decided to produce As You Like It as a picture. It was a very serious handicap, and if you could look into the minds of the audience at the Carlton Theatre this week, as the curtains swing back on the title sheets of As You Like It," you would find them all subconsciously armed with a fourteen-year-old rebelry. When Quartermaine begins his fatal speech on the Seven Ages, you can feel every nerve in the audience quivering.

I should say his successful achievement of that speech is probably the most heroic feat ever accomplished in the history of the movies. It destroys the last inhibited reserve between the film and the audience. After half a lifetime, you suddenly realise that it is rather a lovely speech, that it is rather a lovely play, that you are going to enjoy yourself very much. And then, at first with a grudging surprise, and presently with a complete and frank abandonment, you do. As You Like It is the greenest and youngest of Shakespeare's plays, and Miss Bergner and her husband have caught just the right note of fairy-tale delicacy for the telling.

There is nothing about it that is quite real or tangible; Meerson's cloud-castle settings, Walton's cold-clear music, are suggestions of a state of mind, not records lodged in the British Museum. There is a golden dusting over everything that only comes with the first madness of the springtime. Nothing is real in fact, everything is real in fancy; which is as it should be, for in a love story like Rosalind's there is no stone and wood and mortar, no facts of living, just Orlando clear-cut and the rest of the world in a dream. The whole of As You Like It Is really an intimate memoir of a girl's first love affair, and Bergner and Czinner are right to have worked it out with the Rosalind clear-cut and sharp, the other figures moving on a different plane, consistently idealised. Apart from the fact that this method justifies Miss Bergner's individual speech, her wider gestures, characteristic attack on a part, her positive and deliberate school of acting, it is a right distinction in the Shakespearean sense, true to the story and its spirit.

The work does not suffer because there is beautiful speech, but no acting in. the film beside Bergner's. Miss Stewart and Mr. Quartermaine, Henry Ainley and his son Richard, stand back like a chorus and keep the lovely lines clear and musical. Even Orlando, on whom all the passion of the play is focussed.

is seen from first to last through Rosalind's eyes, glorified, suffering, splendid; not one man. but every girl's first and ideal lover. Laurence Olivier, heaven help him, could do the job shaving in front of a mirror, but the film is none the worse for that. What Dr. Czinner has done so beautifully in As You Like It is to give us a screen Shakespeare that is suddenly part of our own most intimate experience.

We accept it, because we know it to have been true; it was like that, we did feel like that; God help us, we even behaved like that. With a sudden shock of surprise we realise that the fellow we did in our. schooldays was anticipating, four hundred years ago, the pains and ardours of our adolescence. And those of us whose job it is to play with words have the keen and humbling realisation that Shakespeare long ago worked out all the combinations, and that we have to go back to the leisure and simplicity of the golden days to find words that are at once so lovely, comfortable, and true. The Great Ziegfeld (His Majesty's American).

Director: Robert Z. Leonard. Players: William Powell, Luise Rainer, Myrna Loy. For about two hours and fifteen minutes I liked the great Ziegfeld very much. Then it got me.

The music and the dance routines, and the ups and downs of Ziggy's latter fortunes, left mc not only tired, but peevish. I slumped down into my seat, and would have given a week's salary for the fellow lo be quick and die. I don't really blame the producers for that, for Ziegfeld," I am well aware, w-as built for American audiences, to whom every twitter of Billie Burke's hands and every yiddle of Fannie Brice's larynx spells not only theatrical; but American history. On the other side The Great Ziegfeld is something of a national document an integral bit of contemporary living, whereas for an English audience it is just a mammoth musical, no more and no less significant than Forty Second Street," or Broadway Melcdy of 1936," only bulkier. I don't cavil for a moment at the American producers, who don't know us; I merely throw- out a-hint to the local distributors, who do.

If there was ever a film that called for a merciful appcndcctcmy, it is The Great Zeigfcld." It is far too good a show to spoil by sending out the customers yawning. Somewhere in that great span of story there is every kind of entertainment for the high, low and middie bril- PHOTOGRAPHY AND COMMERCE. FUNCTION IN PICTURE MAKING. (BY JAN GORDON.) That the first important exhibition of the newly opening season should be one of Photography in Commerce and Industry by the members of the Professional Photographers Association at the Royal Institute Galleries, Piccadilly, is surely significant of the times. It may also appear rather ominous to the painter.

Indeed, standing in the large gallery, ana considering, one after the other, the very high competence and ability of the dif-' ferent exhibitors, a critic, who has still a firm faith in the future, as well as in the past, of the painter's art, might well for a moment feel daunted. ART FOR BUSINESS'S SAKE. Here we have a group of men who expressly do not bill themselves as artists, but as business men. Their pictures are not taken with the avowed intention of revealing facets of their personalities, but to be serviceable as advertisements for the pushful sale of goods. Within certain limits, limits set by the normal level of their work and the consequent repercussion on their professional reputations, these photographers are quite Teady to admit that rtliont ic in And yet, within the scope of these ideas ana mese they have produced a body of work that well might make the average painter or etcher sit up and begin to take stock of his own competence.

The time hn pnno uic jaiiiLtrr could lightly claim that photography was i- inaeea, irom some exquisite early specimens of photography in the 'seventies and 'eighties, there never was a time when photography had not pretensions to pprtain aenonfc rf of which the painters themselves are ouen none too sure. FUNCTIONALISM IN PICTURE-MAKING. During the last years as a presage and an aftermath of the Art in Industry Exhibition at Burlington House, much has been said about functionaiism in objects of manufacture. Functionalism consists in stripping a thine to its nsspntlalt: that those essentials may develop into Deauty by an adjustment of harmonious proportions. Essentiality should irrow its own aesthetic values.

The ideas of functionalism applied to picture-making have been less propagated; nevertheless, the question is not without its interest, and becomes peculiarly apt in the present case. THE COMMERCIAL PHOTOGRAPH. A commercial photograph is (or should be) designed to-represent the object in such a guise that its selling qualities are enhanced. Nevertheless, the pictorial appeal of an object may not depend at all on its real value. It is merely the method which the advertiser uses to make the appearance of that particular product attractive and to make the name echo in the purchaser's memory.

The devices are many, but a few of the most useful are directness of attack, originality and memorability of presentation, aptness of compositional airangement to the object, use of emphasis and use of human character to support the appeal, and so on. The result of this intensive study given to the functional aspect of the picture has undoubtedly done much to raise the photograph to the position that it is beginning to occupy, that of a very serious rival to the normal products of the painter. Indeed, only a very prejudiced observer could deny the vivid, vigorous, and thoughtful nature of compositions such as the following in their various sections: Industrial, Dust Extractors (Rising Sun Colliery), by Phillipson and Son, "Pipes," by Stewart Bale; Mechanical, Winch," by Harold Burde-kin; Instrument of Peace," by Morland Braithwaite; Metal Castings," by Ber nard Davies. Studio Briggs; Decorative, Avon India Rubber Co," by Larkin Architectural, the very fine Study of a Church." by Morgan-Wells; Spiral Staircase." by Stewart Bale; Fashions, "No. 396," by Peter Clark; No.

568." by Lee. Studio Sun. Human Character, The School Mistress," Noel Griggs, Studio Briggs; Advertising Study," by Lenare, "Vitality," by Joan Craven; and Textiles, the lucky snap of underwear blowing on the line, by the Curling Studios, used as a cover to the catalogue. If we consider any of the above as examples of an acute functional attitude to the presentation of the subject, such photographs should have a lesson to teach the representational painter which ought hot to be ignored, if representational! painting is to compete in the future with these developments of photography. COLOUR.

That representational painting has qualities which the photograph can never hope to rival is, of course, a platitude. Be it never so ingenious, never so tactful, the photograph cannot escape from what may be called the tyranny of objects. And this tyranny is most evident in the section of colour photography. Here, despite the very great advances made of recent years, the results are usually not too happy. A suggestion was offered that photographers who have so long been concentrating on the reduction of colour lo monochrome are still bedazed and unhandy with Ihe new medium.

That is possible. Nevertheless, a thing conceived in perfect colour harmony and reproduced directly ought to be, in its way. satisfactory, but somehow seldom is. I feel that some interesting experiments might be tried by printing in colours that were not the exact tints the screens used for taking the original negatives. Perhaps a few liberties taken with the process itself might produce unexpected results.

It might be heresy to suggest that, though the three screens used in the process may be the best for producing a full range of imitative colour, they might with advantage be modified to get more aesthetic results without much sacrifice ci brilliance. 1 LEJEUNE.) liant sound and camera work, grand melody, good humoured playing, all the girls of rhapsody and a touch or two of inspired direction. (I am thinking of the moment when the neon lights fade and the music dies out over the theatre facades.) The whole thing is built on such a generous scale that one or two or even three" thousand feet could be cut out of it and still make other show films look niggardly. I have an affectionate prejudice in favour of the Metro-Goldwyn brand of entertainment, but i think that three hours and five minutes is too long for any picture. The Great Ziegfeld suffers, too, from the fact that its most exciting sequence comes plumb in the middle.

Looked at from any point of view, psychological or spectacular, that fantastic number with the revolving stages should have been the last word in the Ziegfeld story. No showman could go beyond it; no stage showman could ever hope to equal it. It was the ultimate El Dorado that Ziegfeld had spent all his life in seeking, and beyond it there is no more reason, only a wild and whirling dream. Marchant D'Amour (Studio One French). Director: Edmond Grevllle.

Players: Jean Galland, Francoise Rosay. Edmond Greville, English, French fraihinz. Clair's assistant and No. 2 player in Sous Les Toits de Paris," is the intelligent young man who made Remous." He has ideas, lots of them, perhaps too many of them. He has.

enthusiasm, feverish application, and a single-hearted love for the cinema. He is catholic in his tastes and generous in his aDnrecia- tions. When he takes film-making easier he should go long, long way. His present picture, a story of film studio life in Paris, is striking, but over strained. Every shot is taut, stretched to jts utmost implication and feels like it.

It is the perfect film for enthusiastic ama teurs to study, because the technics are so clearly and accurately displayed. March'and d' Amour has the sort of script that would have delighted, fifteen years ago, that late envisioned critic of the French cinema, Louis Delluc. Until five minutes before the end it is an excel- lent essay in dvant garde production de liberate and formal avant garde production. I think well enough of Mr. Greville to believe that it was not his fault the story ended as it did.

Anyone who enjoyed Remous will certainly relish this picture. It is beautifully cast and photographed with point and clarity. Personally, I am dead cold about it, but then I am notoriously old-fashioned. I like to sit in a cinema and not have to think about anything. The people who take their cinema as an art and not as a relaxationwilI certainly wiiiiK amereniiy.

Ana tney snould make it a point of honour to form their own judgments on this film of infinite pains and pedigree. Men of Yesterday (Studio One British) Director: John Baxter. Players: Stewart Rome, Will Fyffe, George Robey. This modest local effort is the most startling possible contrast to its companion picture in the programme. It is all soul and no intellect; a passionate, sentimental appeal for good comradeship, with blurred outlines, Christmas-card mottoes, and no academics at all.

It suggests, in the most simple and obvious form, the idea of reunion; a get-together of old war enemies, a comradely though respectfully class-conscious merging of rank with rank. Like most old soldier stories, it has the unfortunate trick of shutting the modern generation out the cold an effect which is not, I think, directly helpful to its policy. But George Robey, Ella Shields, and particularly Will Fyffe, in small turns, are a great help to the picture, and there is probably enough loose and genuine emotion to get the thing by. From Cover to Cover (Carlton British). This short, or shortish, picture ij the latest work of Paul Rotha, most prolific of English documentarians, and takes in the whole field of book-printing, its origins, practice, and place in life.

Mr. Rptha, in these days, is getting an extra facility and freedom into each film he touches, and he has a characteristic breathlessness before beauty, a love of the Miltonic dying fall," that comes out very strongly in the present picture. The least happy parts of the film are the obvious personalities the snappy talks to the public by literary lions. These over, the film takes on its own characteristic colour of sound and image, and works out as a first-rate exploratory piece which audiences of every way of thinking should be glad to see. SUBURBS AND PROVINCES.

A Night At The Opera (American). Three of the Marx Brothers and Allan Jones the tenor Ravenal of "Show Boat," in the best bit of Marxist madness yet. Forget Mo Not (British). A simple and iisn Germany, done into English by Zoltan Korda; richly vwL.i a cij warm numan performance from the tenor Gigli in a characteris- Limnlfehf Tt, mu' singing. iiaty.

me otreet Singer of radio and music-hall fame who daSr and stranded and Donne Mobile and several other tasty bits in an indifferent backstage piece with Anna Ncaele in the cast. Big Brown Eyes (American). Lively minor work with some pretty touches in villainy, illustrating the frightful consequences of taking a manicure by a wanted murderer with a scar on his thumb. The Magnificent Obsession. (American) Irene Dunne and Robert Taylor, with all the cnarm faucets wide open, as a blind eirl and her surgeon lever, in a long, sweetish chronicle of human suffering.

i.ilf'f?,! Bdy American). The hinlrt Lmf'S? Mr' "erbert Marshall, com-niZ lile P.aVen suffering of Miss Ann Harding the talc of a doctor who divorce? his faithful wife and. after a good deal nothing, goes right back and marries her aga in. The Big Noiso (American). Lik -able comedy work from Guy Kibbee in a slim, story of a business man's retirement: the sort of thing already drafted by Georfic Arhss "The Millionaire." Don't Gamble With Love (American! -1 cautionary tale for infants suRgestint: undesirability of choosing gambling club I proprietors as parents.

i The Widow From Monte Carlo Amen-I cam Margate, Monte Carlo and Mavfmr as Hollywood sees them, in a blackmail comedy with some intentional and more un.ntcntlonal laughs. THERE IS NOTHING FUN-NIER ON THE STAGE AT THE MOMENT." The siar. I LAUGHED MORE THAN" I HAVE DONE FOR YEARS." -Sunday i act ifr ONE OF THE LIGHTEST, FROTHIEST, AND FUNNIEST FARCES IMAGINABLE. IT IS PERFECT SUMMER ENTERTAINMENT." Bail Mail. "ENTIRELY NEW, EXTREMELY' LIGHT AND EXQUISITELY COMIC.

MIRACULOUSLY WELL PRODUCED AND ACTED." Erg. WIT AS FRESH AND BRIGHT AS NEW SNOW IN THE SUN." Sunday riclorlal. "IT MIGHT HAVE SNOWED BLIZZARDS FOfts ALL OUR LAUGHTER WOULD HAVE CARED. TUc Observer. FRESHLY AND WITTILY TOLD AND SUPREMELY WELL ACTED." Scwz Chronicle.

THE BEST ACTED FUNNIEST AND NAUGHTIEST FARCE SEEN FOR A LONG TIME." Sunday Graphic. A FINE PLAY, FULL OF LAUGHTER AND THRILLS." Daily Sketch. WOULD, ONE FEELS. MAKE EVEN THE POLAR BEARS THEMSELVES CRY WITH LAUGHING." Morning Foil. SHAKESPEARE FESTIVAL.

1936. CTRATFORD-UPON-AVON, i LAST 3 WEEKS. I Nighl.ly Bit 8. 2 rU. DLRJis trimi W.

H. Saverv. B7. Rc-ircm-. Rr-peiu OTfu.

LONDON THEATRE STUDIO. Managing Director: Michd Salnt-Penls. TWO-YEAR COURSE FOR BKGIERS STARTS ON OCTOBER R. INO APPLICANTS TAKEN Af TTTR THIS DATE UNTIL OCTOBER. 1037.) SCHOLARSHIPS VOX JfE.V.

ALSO COURSES IN. DECOR. product: or. STAGE HAKAGSMENT, FRN'CH L.T.S.. LECTURES mav be attended by the public.

All particulars from: St'crelary. Upper-street. Islington. CONCERTS. 26 a line; Minimum.

76. ROYAL OPERA HOUSE, CO VENT GARDEN SEPT. 17, at 8.30. under the gracious patronage of HIS MAJESTY THE KING and H.R.H. THE PRINCESS BEATRICE, in aid ol Hie ISLINGTON AND FLNSBUR.Y HOUSING ASSOCIATION.

President: The MARCHIONESS or SALISBURY. HAROLD HOLT RICHARD TAUBER ELLEN BALLON' LONDON PHILHARMONIC ORCHESTRA SIR THOMAS BEE CHAM, Bart. C5 3 2 7s. 6d 3s. and a larae number Ht Irutn Roval Opera Houj-e, Chappcli's.

5n. New and Queen's Hall. Agents. Piano. QUEEN HALL So!" B.B.C.

PROMENADE CONCERTS. NIGHTLY. AT 8. SIR HENRY J. WOOD.

B.B.C. SYMPHONY ORCHESTRA. TO-MORROW. AT R. Overture Der FlicKendc Hollander Wacmer t.lazlriR Around: Siar il, Wotan 5 Spear eSloglni-di Kl.sa's Dream i Lotienirn SieRlrled Idvil Duet.

Like to a Vision r.nt ranee ol the Gods IDas 1 1 i agile Wapnrr WacniT WiKr.ir Wapnrr Rljpirecildj Wagner Inirodncllon and Allegro lor siriru' Prologue rpairliaccli FT. ear Leoncavallo Valae Tlir sleep: -it p. MIRIAM LOCETTE. JOHN BROWN1.EE. so-, bliy i TirKe's ts 7...

fct. aC BBC. BROADCASTING HOUSE IWEL. 446 CHAPPELL'b. QUEEN'S HALL (Lsn.

2823 WIGMORE HALL FIRST APPE MARGARET SPEAKS SONG RECITAL. At the Piano EVERETT TUTCHI.VOS Bosendorler Piano. Tjckrts Ills. 9s 6s I wn.rttiu v.i.. wiuK, Hj, HAvmarkpt.

WHI CHARITIES APPEALS. WEST END HOSPITAL. WEI.BECK -STREET, 1. and GLOUCESTER GATE. REGENTS PARK.

Frr Lte treatment ol Nervous Diseases and Disorders. urcrrvly rcquirrd in Day for rertewlrtc the drains (JlIDODi. be ijiankfU.Ly acknowledged and should fcrc addressed, to: THE EAJlL OP HARJTWOOD. Chairman. "CAN ONLY BE DESCRIBED IN SUPERLATIVES" -Daily Telegraph "TERRIFIC ENTERTAINMENT" Daslv Herald "IT TOWERS LIKE A GIANT" "WONDER FILM-NEW HIGH LEVEL" Evening Xczvs "A FILM TO MARVEL AT" The Srjr William u'l-i-POWELL LOY RAINER TnAiGIIT at 7.4j JL.

We personally dislike the use of tuperlative! in advertising but the critic (at lent 19 out of 20 of them) fiatve forced them upon us. YOP want Best Seats WE have them KEITH PROWSE Theatres. 180. NEW BOND STREET. W.i VICTORIA PALACE "PLANS.

REVUE, PLAY, AND GRAND OPERA. (BY OUR THEATRE CORRESPONDENT.) Last week an impresario new to London, Mr. Kurt Robitschek, gjve me his ideas for a new entertainment that he is preparing for the Victoria Palace. Mr. Robitscnek is young middle-aged, energetic, a Czeck by birth, but Cosmopolitan in sentiment.

He has run entertainments in various European capitals, spoke in three languages to me, and left me with the impression that he probably knew half-a-dozen more. The new production is to be called Let's Raise the Curtain," and is described as an all-in-one show. On cross-examination, this turns out to mean that the entertainment proposes to he even more varied than an ordinary variety b.il, and will range from acrobatic dancing to opera. We'll begin with a little revue," said Mr. Robitschek.

"It will last about thirty minutes, and will be a sort of Cavalcade of variety -starting with the sort of variety turns that used to be popular fifty or sixty years ago in the. same house, when in 1860 the Victoria Palace was cauea tne toyai oianaara Music-Hall, Pimlico and ending up with modern variety. Then there will be a one-act play not a which, as a rule, lasts only a minute or two but a proper one-act play lasting about twenty-five minutes. This 3s called 'The Invisible and will be played by Miss Florence Desmond and Mr. Peter Haddon.

Then more variety. There will be one interval In the programme, and then the fifty-minute operetta, 'The Beautiful This is by Franz von Suppe. Suppe was a contemporary of Offenbach (living from about 1820 to 1890), and was the real founder of Viennese operetta." The cast gathered together seemed to be as cosmopolitan as Mr. Robitschek's ideas. Miss Florence Desmond, Mr.

Bruce Carfax, Mr. George Gee, Mr. Haddon, and most of the chorus represent England. Incidentally, Miss Desmond and the chorus are having to learn most of their parts and songs both in English and French. Mr.

Robitschek has a similar sort of entertainment running at the vast Paris music-hall, the Alhamibra, on the Place de la Republique, and his further idea is that" the artists of the two shows can be to some extent interchangeable. Then there will be Miss Maria Eisner, a Hungarian, and Miss Nargo, a South African girl who has appeared almost all- over the world except in England, and I have brought over a young American girl. Miss Darlene Walders (Darlene is pronounced to rhyme with Marlene), who is the best acrobatic dancer in America. She has got to do more than acrobatic dancing now she has got to sing and act as well." Miss Walders did her best to begin her stage career very young indeed by applying to Mr. Earl Carroll, the American producer, for a job at the age of thirteen.

Mr. Carroll, who had just suffered a severe penalty of the American law for engaging chorus girls of less than sixteen, remarked that he didn't want to go back to prison again, and that Miss Walders must wait. The whole revue or whatever other name the varied entertainment comes to be known by will be played twice a meht. at 6.20 anrl nina i Popular prices, ranging from Is. 6d.

to 7s. mi. xwunsL-iicK, wnen managing the Kabaret der Komiker (which he founded) in Berlin, at one time or another, had in his employment such stars as Marlene Dietrich, at the very beginning of her career. Miss Dolly Haas, and Peter Lorre (drawing at that time the princely salary of ten shillings a performance). G.

MOSCOW'S MOTOR ACCIDENTS. HIT-AND-RUN DRIVERS MOSCOW. A Vigorous camnaipn tn iwlnpo ihe number of motor accidents has been started here. Moscow. wherp almost a curiosity five or six years ago, already beginning to pay the toll of human life and injury which accompanies modern motor traffic.

"Green" drivers, who are operating a car for the first year, are chiefly to blame. They cause 92 per cent, of all accidents. More accidents occur on the wiiio bOUleVarriK than nn thu ci4i leads to the conclusion that recklessness. not crowding, is responsible. "Hit-and-run" drivers, who caure a serious accident and then drive off before they are identified, are also becoming i giuwiug menace.

neuter. ACCIDENTS ON DRY ROADS. OVERWHELMING NUMBER" IN N.Y. STATE. ALBANY.

N.Y. State. An overwhelming number of motorcar accidents in New York State occur cr. straight stretches oi dry road in clear weather, according to the N.Y. oi Motor Vehicles.

The Bureau said that the most dan gcrous time on the streets is betwc "i and 6 at night, on any day, with Sain day leading and Sunday second. hour is between 6 and 7 in morning on Tuesday. The number of accidents occurring State during the first six year was 34,159, resulting in 1 -deaths. The Bureau concluded pedestrians are usually iav-walk hit. Of the 16,768 prdoytriun- were involved in motoring arndi during this period, 470 were At the same time 295 drivers th" same condition.

For every woman-driver invHv1 in were m.v BU.P..