" BALALAIKA."

Auckland Star, Volume LXIX, Issue 257, 31 October 1938, Page 5

" BALALAIKA."

MUSICAL ROMANCE.

BEAUTY OF OLD RUSSIA. BRILLIANT AND FRAGRANT. Fulfilling all the promises made for it, as well as meeting in its own way the modern demand for sensation in form ami dimensions, "Balalaika," the new musical play with which the Williamson Company opened its Auckland season at Ilis Majesty's Theatre on Saturday night, delighted a full house with the fragrance of the entertainment attained by a delicate balance of melody, colour, rhythm, and sentiment. In this respect the play has a subtle appeal reminiscent of old favourites, yet satisfies the' theatre sense of young playgoers.

It is a memory, a vivid memory, of (lie bountiful tilings of Old Russia, with appropriate sotting to perpetuate their beauty in a (pilot, natural development wherein the story unfolds itself delightfully in music and ballet—the sort of music and bullet ever associated with Old Russia. Through the medium of an exceptionally large and capable east and the plastic mobility of modern methods of production one gets episodes and incidents, songs and choruses, comedy and pathos in natural succession.' with spiritual as well as visual climaxes. Having seen, one realises that "Balalaika," (lie cafe resort of emigre Russians in J'aris of 1112-1, is the exiles' tribute to and reminder of the gipsy island restaurant, named' Balalaika from the national tri-corn lute, in their beloved Moscow of 1014; their reminder of all that lies between them and the years of hist loveliness in life. One gels, too, the romance of Lvdia, Marinskv theatre ballerina, and Count Rotor Karagin. of the old Russian nobility, which bridges the gulf between the Balalaika of Moscow and that of Montmart re.

In the in distinct scenes that mark its course "Balalaika" is distinguished by an understanding between composer, cast and producer whereby there is a rare symmetry of music, action and spectacle. Each has its particular claim to distinction and highlight, but all fit neatly into the general motif of the play. On the musical side "lialalaika Melody," whose appealing rhythm was well displayed by George Hancock's rich baritone voice, and the march time of "The Devil in lied," as sung by Victor Baxter, a Cossack officer, hud a strong individual melodic appeal as outstanding songs, but there was much else in the music that challenged these in popularity. Diana Ducane's soprano songs, "lied ltosc" and "Ballerina Sad and Lonely" were distinctive for their operatic finality, but the Cossack drinking songs, the mazurka, several folk songs and two hymns struck a more general note of appeal through their combination of lilting melody and their fitness in character. The really notable feature of the music was the male chorus work.

Diana Ducanc, in the role of Lydia, displayed personal cliann and nil excellent voice, and George. Hancock made a virile Count Peter, whose baritone voice gave a line lead in the musical numbers. Hiunonr in the action was ]ironoiinced and delightful, with Don Xicol and Violet Carlson giving patrons full value in character comedy. Xicol is an old friend in funny roles who has established a wide reputation, but Miss Carlson is a newcomer and she fairly bounded into the good graces of the house in the role of Masha, the girl from Omsk, setting a comedienne standard in character acting that was above anything of the kind scon locally for years. She and Don Xicol were as twins with but a single thought in their fun-making, and their dance accompaniment to their "Be a CWsanova" duet was one of the big hits of the show. For another bright comedy patcii, Yvonne Banvard and Cliff Clifford, as American tourists, were responsible. These arc but a. few of the artists who were signally pleasing in a notable cast of about 40 players.

11l each of the 10 scenes there were particular points of interest, nnieli of which was contributed hv a linllct specialising in classic dances, led by Irene McOrcgor. Spectacularly, the "Russian Ballet," "Palace Fete" and "Balalaika Restaurant" scenes were conspicuously striking in their glorious massed colour effects, yet they were in keeping with the exceptional standard of Frederick Blackmail's general production, including the spotlight finale. The orchestra, under Fred Qiiintrells baton, was the last word in quiet ellieieney. "Balalaika" is billed to be staged nightly throughout the week, with matinees on Wednesday and Saturday, — • I