ARTS AND ENTERTAINMENT Quantity Of Mersey Unstrained

Press, Volume CIII, Issue 30534, 1 September 1964, Page 11

ARTS AND ENTERTAINMENT Quantity Of Mersey Unstrained

As a middle-aged square I must admit I was not looking forward to seeing “Let’s Go.” With little regret I had missed the first edition of this show. Therefore, I faced my TV screen on Saturday evening with a large bag of sweets (compulsive eating for comfort), and a large sigh of resignation.

But good rhythm soon ruins rumination, and in spite of myself I was carried along by the steady beat that ran right through “Let’s Go.” Half ashamed of myself for a hitherto unsuspected juvenile streak, I forgot I was middle-aged and not “with it”

Although I cannot “twist” and Rudolph Valentino and the tango are more my line, I felt tempted to have a go at a new dance craze, “The Slosh.” Why they' named it this, I cannot imagine. Its choreography is not based on the old Mack Sennett custard pie comedies. However, it is less energetic than most of

the teen-age dances, and I feel even stout parties could I try it without endangering life and limb. By these remarks my contemporaries will think I am fast approaching my second childhood, or suffering from a form of telly-hypnosis, but that is not so. It is merely an indication that if a show is good, it can be enjoyed by all ages. Snap-Crackle ' And “Let’s Go” is good. It I is fast and sparkling, and has plenty of snap, crackle and pop. What is more, it is a nleasure to watch these bright, well-groomed youngsters enjoying themselves, even although many of their gyrations reminded one of a musical St. Vitus dance. Teen-agers change their allegiances as quickly as new pop records are released and, as a representative of an older generation, a point that interested me was the shift in musical location. It hasn’t taken long to see the effects of the Beatle takeover bid in “Let’s Go.” The Mersey beat seems to have replaced the tom-tom, and Liverpool has taken the place of the deep South. The phrase “shock of hair” could have been coined especially

for a Beatle hair-cut (I, for one, can’t see a Beatle mop without recoiling slightly).

But, anyway, it is preferable] to Presley sideburns and the Presley slouch. And at least John, George, Ringo and Paul seem to have impressed on their fans the importance of being neat and tidy, at least up to the eye-brows. Vitality They have also injected a new vitality into teen-age music. “Let’s Go” was an example of this. “The Librettos” played with a lusty swing, and Brian Peacock sang “Baby It’s Love” with a gusto and verve which is often so sadly lacking in local talent. Dinah Lee (“Miss Music, 1964”) is well known to teenage audiences. I have seen her only twice before, but after hearing and seeing her “Do the Blue Beat” I can

understand her popularity. She has charm as well as talent. Another young singer with I personality was Christine Barnett. Her slightly husky voice made “You Are My World,” a Cilla Black song, sound a little different from the usual run-of-the-mill pop song.

All in all, “Let’s Go” is a well-photographed and wellintegrated programme. Peter Sinclair, as host, has an easy and pleasant style, with few of the awkward mannerisms that so often jar in some

of our New Zealand productions. “Let’s Go” was produced by Kevan Moore in Wellington. After one or two false starts, Mr Moore seems to have hit the jackpot this time. I am looking forward to seeing more of this weekly teen-age show. Not As Smooth I wish I could say the same about “In the Groove.” Surely, by this time the groove could have worn a little smoother. It has been running a long time (with an interval which could have been used most profitably for a little reconstruction). AU it has in common with “Let’s Go” is good photography. This, however, is

wasted on some extremely poor material. The dancers are the worst offenders. Sloppy sweaters and badlyfitting skirts may be acceptable as a gimmick, but the “children just come out to play” look has been carried too far here. Perhaps I am blaming the performers when the arrangers are at fault. In any case, some thought

should be given to this, and a little variety added. Another irritation is that no-one seems capable of keeping time to the music. All seem uncertain of what they are supposed to be doing. Arms and legs flop in all directions. As far as I can see the slogan is “everyone for himself, and if you don’t finish up on the last beat, she's right, let’s call it art.” Over-stretched The humour, too, in this production is as feeble as a piece of over-stretched elastic. Nothing is so difficult as being a “funny man.” Talent and good timing are essential and until “In the Groove” can find someone with both these qualities, the producers would be well advised to leave humour alone. “In the Groove” is introduced by James Waerea, who, I feel, could do well if he were not so ill at ease. His obviously pleasant personality is obscured- by a cloud of nerves. What a pity he can't forget the TV cameras and be himself. He is the only one in “In the Groove” to whom I would give this advice. Most of these youngsters should watch TV more often. Then they might see what my jaundiced eye observes-—-lack of rehearsal, lack of cohesion, and, let’s face it, in many cases, lack of talent.

LOOKING AT TELEVISION WITH C.C.