BRIGHT VAUDEVILLE

Dominion, Volume 19, Issue 79, 28 December 1925, Page 13

BRIGHT VAUDEVILLE

HERSCHEL HENLERE AND A TALENTED COMPANY

It is scarcely possible to believe that there could be anything new about the nian-at-Hie-piano act in vaudeville, yet the bright particular star of the newest J- C. William-oii Vaudeville Company being picscnted by New Zealand Entertainers, Ltd., is Hc-rscel Henlerc, who managed to keep the audience entertained at the Grand Opera House on Saturday afternoon and evening, for nearly an hour with, his musical racanderings and amusing talk. Henlerc is a clever buffoon of the pianoforte, witlf a winning presence aud magnetic personality, who treats most music with artistic disrespect, and plays what he calls "jizz” divinely. There is nothing commonplace about this gay cosmopolitan, with his magic fingers. He is there to amuse, not to instruct, yet if one listens to his playing “Yes, _V’e Have No Bananas,” one finds that it is merely being used as a theme in a Tschaikovsky symphony, in the “Lielieistrauiu,” vf Liszt, the Prelude of Rachmaninoff, or a Nocturne of Chopin, one might perchance comprehend what is form and character in pianistic music, and how much “juz” music depends on the classic. 'lhe very melody lie elects to dally with is a combination of two themes, one from the “Hallelujah” chorus from Handel’s “Jlessiah,” and the other from “I Dreamt I Dwelt in Jlarble Halls” from “The Bohemian Girl.” The opening of the act is pure slapstick comedy, with the performer speaking broken. English, and making merry play with the orchestra, but perhaps lie is at his best when playing a ten-mile-loug medley with the audience whistling and humming the tunes, until embarrassed with the subtlety of the change, and to every well-remembered melody a local name is given as the alleged author —for example, “All Alone,” by Lysnar, “What’ll I Do,” by Sir Joseph Ward, "Whispering,” bv Tom Dwan, “After the Ball,” by Hiddlestone, aud so on, each of which wins a sure laugh. The act could be cut down by ten minutes with advantage, but, although prolonged, the artist received an ovation, and deserved it. The Three Swifts are a whirlwind revelation in the advanced art of juggling Indian clubs. Many acts of the kind have been witnessed locally, but they could all learn something in originality from these clever boys, who hurl the clubs like shots out of a gun at one another and ask for no quarter. One act, in which nine clubs are huitling through the air at the same time with lightning rapidity, creates a furore. Then the gentle Cecil, with his Oxford bags and coloured cricket cap, is such a sly trick that one smiles as one wonders at the faultless expertness and speed of the trio. Vocal comedy found expression through the medium of Scot Sanders, a Scots singing comedian- and philosopher. As “Sunshine Sam,” the comedian sang “On the Road to Anvwhere,” breaking off to tell of the difficulties of dodging work. Everybody wishes to find him work, but Sam says that no man should demean himself so long as he is able to find work for his wife. He ventured into a village in Kirkcudbrightshire on one occasion, when Hie “ineenister” in calling called him “a lazy loon,” asked him what he would 'like to be. He replied: “One o’ those statues over von!” pointing across the market square. “They’re no statues,” quoth the "ineenister,” “they be twa Aberdonians asking one another to have a drink!” These and other jokes at the expense of his own countrymen got hearty laughs; but as a performer the comedian was at his best in his bro-ken-down old singer sketch, in which he proved himself to be a capable mummer. I’antasi is an extremely clever child contortionist, who in the glittering, green garb of a frog, emerges from a pool io demonstrate that the human body can be made as supple as that of a snake by persistent and concentrated effort. The way this cool little frog manages to tie itself into knots is amazing. Lee Mason, for the greater part of her singing act, is a conundrum. This remarkable performer has the figure of a young woman, but her voice is baritone, both in song and speech, and for fifteen miimtcs she has the audience guessing at her sex. There are revelations at the end, both as to Lee Mason and her accompanist, which should not be given away if the surprise element in the turn 'is to be sustained. Lydia anti Desmond are a pair of smart and attractive young dancers, who give a verv attractive exposition of the crazy ballroom dances of 1925. Finally the Benos (Alma and Ben) provide an aerial act which has a genuine thrill. Aided with a double trapeze the man, liaiming bv his calves, handles lus ladv partner cleverlv and daringlv m mid air. With the aid. of a neck loop Im twirls her' round like a. teetotum, but finallv he ascends to a tiny trapeze high above tiie heads of those seated in the stalls, and again , lie holds . her bv a rope gadget, on which she swings siveepingly over the ground floor audience, then a sharp cry and a gasp from those present, the rope appears to break, but really it onlv lengthens suddenlv, leaving the girl swinging onlv a 'few feet above the heads of those below. She is soon puhecl toward the stage—and the tb.rill is over. A'i orchestra, under Walter Avies, provides appropriate music. The comp:inv will appear at the Grand Opera House even- night this week, and, from the number turned awav on biuurdav evening, it looks as though the season will be a highly successful one