Popular Revue At Sumner

Press, Volume CIX, Issue 31973, 28 April 1969, Page 14

Popular Revue At Sumner

“Black and White is Back” presented by the Sumner Community Centre. April 25 and 26. Last evening again proved how possible it is to present a top-rate musical-type show in a community the size of Sumner with capacity houses of 400 at each of four performances. One wonders how the 75 odd members of the cast managed to work in together with their singing, dancing and solo routines and present a revue comprising almost as many encores as original number-. The producer's lighting effects competently controlled by Peter Gibb and David Doak once again complemented the action on the stage spectacularly. “Black and White” was first produced last year with a cast drawn mainly from local people willing to give time to a promising revue. The producer, Gerald Wil-

liams, felt last year's effort was worth repeating this year and proved beyond doubt his aptitude in turning local housewives, groups, husbands, and enthusiasts into competent performers. The Sumner Drama Group, ably supported with sketches —the most popular ones being Mary Smith as “the oldest artists’ model of them all” followed reasonably closely by Ngaire Tonkins’s “Mr Henderson" and a “Quick Dollar" by Noel Mayson and John Smith. Also deserving merit were Edna Hayton, Meg Blacker and Roy Tucker in “Don'i Leave Your Hat Behind.” Soloists in conjunction with the chorus line proved to be of quality. Those of note being Nancy O'Malley, with “My Heart and I” and “Summertime,” Tina Van Draanen's “Lara's Theme,” and Carol Cornish and Bernard Hansen with “Make Believe." The dancers, Bettina Bradley, Doreen Bond, Sydney Ferguson, and Les Milne, enhanced what would have been a straight musical sketch performance and comic variety, and personality was added by Beverley Liney, Reg Hall and Claire MacFarlane, mentioning but two of their presentations—“ Two Little Girls in Blue” and “South of the Border,” both well received by ail four audiences. Mary Smith and lan Handley were exceptional in “Annie Get Your Gun” extracts. Jenny Borr’s rendering of “Puppet on a String" with puppet backing earned the support given. Once again the pianist, Nola Ferris, and her son Robin, on the guitar provided an excellent non-stop musical backing for a thoroughly successful show. —M.S.M.