BRIGHT REVUE

Press, Volume LXXXIII, Issue 25309, 8 October 1947, Page 9

BRIGHT REVUE

“FOLIES BERGERE” PRODUCTION

“Folies Bergere,” the Tivoli Circuit production, which began its season in Christchurch at the Theatre Royal last evening, has all the essentials of a first-class a vaudeville revue—lively comedy, graceful dancing, attractive frocking, acrobatics, and music both sweet and hot. And best of all, there is Ella Shields, whose Burlington Bertie is as gay and debonair as ever. She and a talented company present a swift moving programme full of laughter and excitement, which is designed to suit almost every taste. Miss Shields captures the audience from the moment she appears in the familiar top hat, white tie, and tails, and her singing of the songs she has virtually made her own is as compelling as ever. But before and after her act come others of almost bewildering variety. There is the uncannily skilful Alphonse Berge, otherwise “The Great Drapo,” who uses lengths of material, pins, and the geniuu of a dress designer to drape perfectly fitting evening and street frocks on attractive models. In contrast there is the crazy acrobatic comedy of Warren, Latona, and Sparks, who roll, tumble, and somersault in lively style. Melody with a difference is provided by the Bridges Trio, who play piano, violin, and xylophone, and finish by performing together on the latter instrument with breathtaking speed and precision. “Folies Bergere” is particularly entertaining because of the quality of its dancing numbers, both solo and ballet. They range from the grace and strength of the adagio dancing of Latasha and Laurence, who have appeared on the London and New York stages, to the delightful performance of Jean Cameron as soloist in such finely staged numbers as “Valse Crescendo” and the thoroughly up-to-date ‘Barrel House Jive.” She and other principals have the support of a hard-working and well trained ballet, which has most attractive changes of costume for the big scenes. The voices of Ormonde Douglas, well known as a musical comedy star, and popular soprano Betty Linke are heard to advantage in some pleasant numbers.

For comedy there is the haywire harmony of “Chord and Discord,” who successfully compete with discordant sounds from the orchestra, and gain most of their laughs by not saying a word. Almost equally amusing are the bright team of Jack Murray and Connie Hobbs, who dance a little, sing a little, and carry things along with their byplay in between the main numbers.

Highlight of the evening’s performance, however, is the act of the amazing Kwam Brothers, whose acrobatics, performed with typical Oriental impassivity, keep the audience in a state of tension. One brother in brightly coloured Chinese costume, stacks four chairs on top of four bottles, climbs to the top of this seemingly unstable platform, and balances with the greatest of ease. The second of the three ends the act by somersaulting from a height of several feet, but as he leaves the platform he carries a tray with three mugs of beer on it. Strange to say, he does not spill a drop as he turns head over heels.