"TUTANKHAMEN."

Auckland Star, Volume LXI, Issue 228, 26 September 1930, Page 3

"TUTANKHAMEN."

AS FRESH AS EVER. ASTONISHINGLY GOOD SHOW. MAXY COLOUEFUL SC'EXES. A revival is a searching test of the quality of a play, and "Tutankhamen"' came out of the ordeal last night with a flourish of trumpets. If; is little short of amazing that a show made, produced, and played by amateurs should be so astonishingly good. People who remembered "'TutV debut seveu years back were not surprised when the Auckland Amateur Operatic Society decided upon a revival. Pleasant memories lingered round the name, and these were renewed at His Majesty's Theatre last evening, while many people made liis acquaintance for the first time. Mr. L. P. LearyV: well-built play, and Mr. Erie Waters' melodious and appropriate music, have stood the test of seven years triumphantly. Rich dressing, brilliant stage-pictures and bizarre dances, recalling familiar mural paintings of ancient- and mysterious Egypt make up a wonderful feast for the eye, and the whole performance went with a clock-work precision that is quite professional. Once or twice one might have wished that the "yea, verily"' business were speeded up a trifle, but the general effect was eminently satisfying, and last night's large audience showed its approval emphatically. A feature of the play is the prodigality of the ensembles: in the first act the "ladies and gentlemen of the court*' gathered round a good half dozen times. It might be that the action would gaiu in emphasis if there were not quite so many, but the resultant pictures of life and colour were nevertheless most effective, and astonishingly well arranged. The drill was perfect.

Mr. Leary's quaint conceit of the burlesque gentleman from the L T nited States, accompanied by his monoclewearing English wife, falling plump into the middle of ancient Egypt ever so many years 8.C., is soundly humorous, and there is much amusement to be got out of the juxtaposition. Mr. Blatant's liard-headed. Americanisms contrast amusingly with the leisurely dignity of "Toot's" court. At the same time Mr. Learv manages to keep hie audience quite interested in the story of the gorgeous monarch, with his irate mother-in-law who resents his apostacv from the old religion, and with his false lieutenant, Seti, who makes the third side of the- eternal triangle by making love to no less a person than the Queen herself. The dancing is naturally a feature of the show, and it is not confined to the charming women "Tut" employed about the palace; the men were also adepts at the art, and one of the best was the haka of the embalmers in "Tut's" sepulchral chamber danced in an appropriate gloom. The most charming ballet was the veil dance by some of the favourites of the harem. * Both women and men in the play woTe the airy costume of the hieroglyph, but what was lacking in yardage was made' up in brilliance of colour, the kaleidoscopic effect in the mazy dances under changing lights being bewilderingly rich. Author and composer were most fortunate in having an exceptionally able cast to carry out their wishes. Mb, John Mackle," as the "gol darn" type of Yankee bristling with, democratic ideas plus a hefty revolver, with -which he dramatically wakes the echoes of "Tut's" tomb, was wonderfully true to type and never let the dialogue down. Miss Margaret Cherry, as his wife, an Englishwoman with a monocle, ably car- | ried out her 1 share of the ridiculous part this pair had to play. Mr. Geoff Colledge made a dignified and impressive Tutankhamen, whether issuing his haughty behests or pondering about his doubtful future. Occasionally he slumped a bit when he got merely conversational, but it is' a most trying character to carry through. Mr. J. Ernest Snell had an important role as Seti, captain of the guard and more than admirer of the Queen, and of course his fine voice was a tower of strength to the play. Miss Ethel Rae was perfectly suited as the disgruntled mother-in-law, and her cursing of her apostate son-in-law, over his own sarcophagus, was quite creepy. Miss Linda Murphy, as Anubis, the Queen,, who was not like Caesar's wife should have been, has a great scene in

tlie second act, where she plays the siren to entrap the absurd Yankee, as his democratic ideas are not popular at the court, where the politics are Reform—■ "and then some." Mr. John N. Gordon takes the part of Captain Francis with his usual aplomb, and makes a good foil to the "cheroot"' chewing Yankee. The lighter side of life at court receives broad touches from Mr. Dan Flood as the absurd pyramid-builder who peddles building sections as a side line.- Minor parts were taken by 3liss Veda Nelson, as the Princess Xephert; Mr. Len Keven as the Israelitish patriarch who headed the Labour deputation to the Pharaoh (and nearly got bisected); Mr. George Tucker, as a waiter and an Englishman; Miss Doreen D'Authreau and Mr. Bruce Hutton as a French couple. Miss Cecil Hall's pupils were uncommonly good in the many ballets, and the solo dancers, Miss Bettina Edwards, Miss Peggy Holmes, Miss Dorothy Steele and Mr. Alan Hart, lent a quite professional touch to their part of the work. Mr. Eric Water was himself the conductor of this fine show, Mr. W. J. Crowthej; designed the highly effective costumes, and Mr. Gus Lindvell was responsible for the scenery. The play will run for a season, and no doubt it will be quite as successful as it was seven years ago when "house full" was posted up no less than time 3. c