PERFECT MUSICAL COMEDY

Press, Volume XCIV, Issue 28130, 20 November 1956, Page 11

PERFECT MUSICAL COMEDY

Cole Porter’s “Can Can’’ Begins Season

delightful dancing AND SINGING

The J. C. Williamson Theatre's jpectacular presentation of “Can-Can ” with the music of Cole Porter, opened before a crowded house at the Theatre Royal. Christchurch, last evenin'’ •Can-Can” scored a well deserved success, for it is certainly one of the most entertaining musical comedies seen by New Zealand audiences for a number of years. Cole Porter s music, of course has an air and a liveliness all its own Not even remotely recalling Offenbach his numbers are nothing if not up-to-date Indeed they have more of the modern hit parade about their atmosphere than the manner of 1893. although the whole notion of the comedy is supposed to take place in Montmartre during that year. However that may be “Can Can” has plenty of tunes for weeks to come that will be whistled and played everywhere—for example C’est Magmfique. "Come Along With Me” and the delightful “Every Man is a Stupid Man.

As could be expected, the ballets with their air of studied impertinence’ express perfectly the spirit of the music The dancers enjoyed themselves *. ? e J tlrne J ! he a , udl ence was at first startled, but then tremendously amused. It may be said that after some initial slowness in gettine the show started, “Can-Can” moved at a dazzling pace.

No-one is going to bother verv much about the story of this musical comedy. La Mome Pistache, who is always opening up night clubs, even in laundries, if nowhere better offers falls m love with the judge who has sworn to enforce the law and put her out of business. The judge duly rums la Mqme’s ventures, and she in her turn discredits the judge It is just as simple as that.

However, it is the life and glitter of the passing moment that are really important in “Can-Can.” Sheila Arnaud, who played the leading role for a year in the Broadway production provides plenty of these moments, for she has all the wit and gmety that the part of La Mome Pistache demands. Her air of insinuating vivacity makes her singing quite unique as well, and Miss Arnaud indeed reveals herself as an artist of personality. She was ably supported last night by William Newman. Mr Newman has presence. To begin with he was a dignified judge. Then in k t j WO he ? hox y ed . that he could unbend. and his singing voice was excellent.

Skilful Comedian Comedy of a more uproarious kind was also very skilfully introduced into Lan-Can.” Eric Reiman, who for years has been one of Australia’s leading dramatic actors, is seen here as a Bulgarian sculptor with an extremely odd conception of the possibilities of nis art The scene in the garret where he displays his productions works up to a climax which is as clever as it is unexpected. His roof-top duel with the peppery Hilaire Jussac. a part played with rare zest by Graeme Bent was m its way a masterpiece of comic evasion. Bristov had some remarkable companions in Hercule, Theophile and Etienne, played by John Newman, Robert Healey, and Alton Harvey, respectively. Eleanor Treiber, as Claudine, accompanied Boris in his wanderings through the cafes of Montmartre. She is also the principal danseuse in “CanCan,” and her performances are brilliant throughout. They range from the frenzied can-can in Act 1 to the most studied and decorative movements of the ‘‘Garden of Eden” ballet and the Quartz Arts Ball. Then the apache scena. was danced with an intensity at times truly diabolical. Miss Treiber always had an admirable partner in Kevan Johnston and excellent support besides from Jill Perryman, Kay Smith, and Joyce Taylor. “Can-Can” was played against a bewildering variety of settings. These were beautifully painted, the street in Montmartre, the studio with its aerial perspective, and the laundry roof-top cy night being outstanding. The orchestra, directed by Clive Jay, brought out the character of Cole Porter’s music to perfection. —C.E.S.