MUSICAL COMEDY.

Press, Volume LXVI, Issue 20036, 18 September 1930, Page 8

MUSICAL COMEDY.

"HOLD EVERYTHING." THEATRE ROYAL. Showing for the first time in New Zealand, "Hold Everything," the musical comedy produced at the Theatre Royal last night is bright and tuneful. It is based on the story of a fight, and the slang of the boxing ring is heard throughout. Also there is more of a continued story than in either of the previous productions. Tho opening scene in Act 1 is set at the training quarters of tho boxer who is to meet the champion. There are the usual crowd of hangers-on, including two girls both of whom are in love with the aspiring champion. In the second scene Clem Dawe scored what was undoubtedly the greatest laugh of his present season. He makes his entrance into the training quarters in a dressing gown, and from the time his trainer asks him to take it off until the end of the scene the audience was in a constant roar of laughter. The third scene loses the atr osphere of the ring for a time, and shows the porch of a country club. The opening number with Michael Cole and the chorus was pretty. It was when the ballet, working with Mona Zeppel and Will Delaney, used the steps in the scene as their dancing board, that a new novelty was introduced, however. It was so unusual that for the moment it was puzzling, and then when the idea was realised it got the applause it deserved.

Betty Eley was again playing opposite Michael Colo, and their duets were much appreciated. Bobby Gordon had less to do in this than in the previous shows, and this left tho bulk of the work to Clem Dawe who, despite the fact that ho seemed to be on the stage nearly all the time, never for an instant tired his audience. His humour, especially in those scenes where he could use pantomime, is of the catching variety, and the house was kept laughing for the greater part of the evening. Kitty Stewart was in her usual soubrette role, but instead of having someone to make love to her, for a change, she had to do the chaßlng herself. She had somo good songs and, as usual, did much towards keeping the fun "going, especially in those scenes in which she was partnered with Clem Dawe. The ballet was even better frocked than before, and their work went with a swing and a snap that told of the many hard-working hours put into rehersal before the curtain went up on the premiere. Another new feature introduced was the specialty dancing of A. Taylor and L. Richards, who appeared in two numbers. They worked well together and scored a success.

Mona Zeppel departed from the dot type of dancing she has been Been in heretofore. On her first appearance Bbe worked with her partner, Will Delancy, and with the ballet to give tho background the turn was an effective one. Her second number she did solo and proved that she is not only an extremely clever little dancer, but also a versatile fine. At the conclusion she received quite an ovation, and one that she thoroughly earned. Among the songs during Act 1 were several that were bright and catchy. Mona Benleo and the men from the chorus gave "An Outdoor Man for My Indoor Sports," and Clem Dawe and

Kitty Stewart won applause for When I Love, I Love." "To Know You m to Love You" was a bright, tuneful number given by Betty Ejey and Michael Cole. "Don't Hold Everything" was one of Kitty Stewart's best numbers of the night. Bobby Gordon again made friends of his audience when he gave "Genealogy"'as one of tno opening numbers in the second act. Three of the girls, Betty Eley, Jii.ty Stewart, and Mona Benlec, also won applause for their number, Ms au Over but the Shouting." • Gregory Ivanoff and his orchestra added to the pleasure of the evening also, aud when for the entr'acte he held his baton over a special number into which a violin solo, was introduced, the audience was quick to show their appreciation. "Hold Everything" is bright and entertaining, and should be appreciated by audiences during the remainder or the season.