THEATRE ROYAL.

Press, Volume LXV, Issue 19735, 27 September 1929, Page 18

THEATRE ROYAL.

——> As Stephen Lcacock has already hinted, it was not long before Shakespeare, with one eye on the box office and the other casting around t'or a system of painless dramatic manufacture, realised that he had struck a good thing when he had embarked on the King Henry plays. In Leacock's words, he had found something good and was going to stick to it. The titling was easy, too. And something similar is the case with the management of the Theatre Royal, where "The Broadway Melody" is still attracting crowded audiences. There has not been a centre at which "The Broadway Melody" has been shown that did not demand an extended season. The variety which the producers have crowded into the film i? staggering. and the singing, talking, and dancing are all of an exceptionally high standard. In many respects "The Broadway Melody" may be said to resemble a first-class revue, - rapid in action, full of--tunefulness, and full of charm and variety. Bessie Love and Anita Page make of the Mahoney sisters a very human and pair. Due of the outstanding scones is "The Wedding nf the Painted Doll." in colour, and this is only a single episode in a dazzling combination of entertaining ?equenc«s. The settings are magniucent, and some in colour demonstrate the strides made in photoirrapby. No sub-titles are used, except for the purpose of explaining lapses of time, the film being in dialogue throughout. In snpport of the big picture are heard and seen William O'Neal, a tenor, in "Lolita," "Duna," and "Until," and "The. Revellers," an excellent male quartet, in "Nola," "The Gospel Train," and "I'm in Lore Again.'* George Lyons, the singing harpist, presents four good number?, and a negro sorg-and-dance act. also a Pathe. Audio Review, and a piece of seascape makfc up an entertaining series of "Shorts."