"BLUE ROSES."

Press, Volume LXVIII, Issue 20623, 12 August 1932, Page 15

"BLUE ROSES."

RETURN OP TWO FAVOURITES. AN EXCELLENT PRODUCTION. Thanks to that most engaging couple, Madge Elliott and Cyril Kitchard, "Blue Roses" is as rare and novel theatrically as are blue roses horticulturally. Even apart from this pair it would be an exceptionally pleasant musical comedy, 'with less sentimentality, more comely ballets, and better singing than most; but with their aid it has become one of the leading successes of recent years. Miss Elliott and Mr Kitchard danco and sing with a special exhilaration, as though determined to show what they have learned from their long years abroad. Their own spirit has become tho spirit of the company. The comedy is played in a mood almost of abandonment, and thus it has gained a pace and spontaneity as rare as they are delightful. The Theatre Koyal was brimful for the first presentation in Christchurch last night, and thero was a warmth of feeling between the playors and their audience which is not to be found at the talkies, and which suggests very plainly that the thoatrical revival so long predicted is at last here.

Tho story of "Bluo Eoses" is no more substantial than most of tho kind. At tho end, indeed, it is just a little difficult to recollect what was the beginning. In the background is an exceptionally rare bluo rose greatly prized by its owner, and greatly desired by his friends. From time to time it is replaced with another rose that is dyed blue and another that is seen through blue spectacles; but throughout it remains a sufficient excuse for Miss Elliott and Mr Kitchard to perform their graceful dances, sing their songs, and do their love-making. These two have developed an almbst perfect understanding which is apparent every time they are together on the stage. She has a pleasant light voice, acts sufficiently, dances admirably; he is a fair singer, an excellent dancer, and as good a comedian as he is a leading man. Their three duets, "Let's Be Sentimental," "I Saw the Moon Through tho Window," and "If I Had Three Wishes," were the musical gems of the play. They excel in dancing of every kind—the light, step-dancing which followed the first of these songs (to a sprightly piano accompaniment); the acrobatic dancing of "I Saw the Moon"; and the classical style and poses of the Episode de Ballet, which is the culminating point of the whole production. This last ballet rises very far above tho standards of musical comedy, and is an actual triumph of invention and execution.

There are son\e popular names in the supporting cast. Cecil Kelleway and Leo Franklin are tho comedians of the piece, the first a very amiable and chubby detective and the other a hardboiled American tourist. Mr Kelleway has never had a more congenial part, and his behaviour in the last scene is ridiculously funny. The Ballet Burlesque, in which he is joined by Frank Leighton, is in its way hardly less admirable than tho major ballet, which precedes it. Mr Leighton makes a good foil for Mr Kitchard, and sings and dances pleasantly. Dulcie Davenport acted and danced very brightly, notably in the first duet, "Practice on Me." • Apart from the solo dancing, the ballets are a feature of the play. The chorus has been drilled almost to perfection. Tho "Dancing in the Sleep" ballet, in which the girls dance on a darkened stage with lights at their feet, was a novelty much appreciated by the audience. This, and the other ensemble scenes were excellently managed, and contributed greatly to the play's success. William Quintrell has wisely included a grand piano in his orchestra, and makes good use of if; in light syncopation. *'

"Blue Roses" will be presented nightly at the Theatre Royal for a limited season. •