THEATRE ROYAL.

Press, Volume LXVI, Issue 19852, 13 February 1930, Page 8

THEATRE ROYAL.

No more brilliant production ha? como from Hollywood than the great revue winch is presented at the Theatre Eoyal this week. Metro-Goldwyn-Mayer have been lavish, even extravagant, in their efforts to make "Hollywood Revue" the outstanding success of the year, and many will agree that th,ey havo achieved their ambitious object. With personalities from stage and screen, remarkable choruses, and the advantages that the movie has over the legitimate stage, a magnificent programme of bright comedy, superb dancing and ainging, is presented for the delectation of those patrons who appreciate the spectacular and enjoy those modern "catchy" melodies. Underlying the designs of tlio producers has been a wish to try out this form of entertainment on motion picture patrons and to demonstrate that on the stage as well as on the screen Hollywood artists are capable of the best of acting, singing, and dialogue. So far as the production itself is concerned, certainly its size and the large cast of stirs would prohibit is presentation on the stage, even were any producer abla to afford the terrific expense it would deP mand. Twenty-five stars, including . Marion. Davies, Conrad Nagel, John Gilbert, Norma Shearer, Buster Keaton, and many other notables, and a combined chorus of 200 comprise the material that has been united into a heterogeneous revue. The screen's first dancing and musical show is the result of the elimination of many obstacles, and records a great advance on the "Broadway Melody," which itself was so successful. Twenty separate items are given in the programme. They are of varying types, embracing graceful dancing, charming solo and chorus singing, and farcical dialogue. The outstanding feature is the finale, "Oranrje Blossom Time," a glorious ballet in natural colours, danced among the "extremely picturesque surroundings of a delightful orange grove. Charles King and Myrtle McLaughlin are central figures in the item, but for really beautiful chorus effects an improvement is difficult to imagine. Two other delightful choruses and ballets are the oponing number, "Bones and Tambourines," featuring a fine black and white ballet; and "Singin' in the Rain," a united effort by Cliff Edwards and an attractive ensemble. Buster Keaton, Stan Laurel, Oliver Hardy, Charles King, Ukulele Ike, and Gus Edwards supply the fun of the programme, much of which it very good, although in places it tends t# verge on the ludicrous. Buster Keaton's item, "Dance of the Sen." is the best, and raises a good laugh, with Laurel and Hardy also giving a bright display of mixed magic. The musical selections are well worth hearing, and a liberal selection of pieces in the overture and entr'acte is much appreciated. The general effect of the complete revue i* that it is a very notable production, the chief features of which are the undoubtedly magnificent stage effects and the refreshing and charming dancing of the ballets. Hollywood has made a good impression in its first venture on the stage. Seats may be booked at The Bristol Piano Company.