THE MIDNIGHT FROLICS

Dominion, Volume 22, Issue 93, 14 January 1929, Page 6

THE MIDNIGHT FROLICS

BRIGHT ENTERTAINMENT CLEM DAWE RETURNS TO FAVOUR Packed from the boxes to the back of the gallery on Saturday night, the Grand Opera House presented an enlivening spectacle at the opening performance of the Midnight Frolics. This is an entertaining revue company, which revolves in a certain orbit round the intriguing personality of Clem Dawe, actor, comedian comic singer, dancer, saxophonist, and anyone’s buffoon. This company is not by any means new to Wellington. Almost precisely the same personnel figured in its ranks when it appeared in New Zealand a couple of years ago. under another management, but on that occasion it was made very clear that Dawe and his family knew what the public wanted, as it was always problematical as to whether one could obtain seats. That magic remains. People had to be refused admission on Saturday evening, and the principals, particularly Mr. Dawe, received receptions that would have been flattering to leaders of the dramatic art on the legitimate stage. The entertainment is on the lines of modern revue — sketches, farces, song, dances, a clever little bullet, and an excellent jazz band that refuses to trifle or footle with set melodies, and gives charm and punch to the latest jazz music, whilst it goes as far along the musical way to give that wellworn, but ever-welcume, overture, “Poet and Peasant.” But even when it comes to the jazz band, the versatile Clem Dawe is to the forefront. He sits quiescent as a saxophonist for some time; then he promotes a strike among the players over the conductor (Mr. Gregory Ivanoff), whose style be considers too ultra-Slav-onic, and the majority of the band siding with him, Clem takes up the baton, and outdoes Sousa in the vim and eccentricity with which he leads the band into fearful and wonderful extravagances. However, it is all good fun, and gives Mr. Dawe the opportunity of displaying his gift for burlesque. But it is in the numerous little farces and comediettas that Mr. Dawe establishes his dominion over the risibilities of his audience. He is best in his quiet moments. Nothing was better done than his jack tar in "The Sailor's Romance,” a tiff between a sailor and his fiancee under the shadow of the Tower Bridge, and how they make it up. More robust in type, the farce, “Unnecessary Remarks,” is extremely funny because of its truth to Nature. In this the husband, returning weary from his day’s work, is met by those terribly obvious remarks from his wife such as "So you're home?” "Do you want your tea?” etc. —meaningless cackle which the enraged husband finally squelches by emptying all parties out of the window. "Waiting” is a scene in a doctor’s suite, where Dawe (as a patient for "inopportune blushing”) encounters a lady whom he takes to be a lunatic, when it appears that she is only excited about the races, in which she is financially concerned. In this case the lady was admirably played by Miss Gertie Cremer. The restaurant sketch, in which a real horse is produced, was also a scream. "His Little Visitors,” “The Boy From Sheffield,” "Now Friends,” and "The Vampire” were all excellently done sketches. Miss Dorothy White was invaluable in her impersonations, notably in "The Sailor’s Romance” nnd “The Vampire.” The present company has been reinforced by two admirable singers. Miss Lillian Crisp Ims a beautiful soprano voice, of good quality, nnd made the most of it in "My Hero” from "The Chocolate Soldier.” albeit the drummer was over-assertive in the finale. The other singer is Mr. William Perryman, a light and pleasing baritone, who sang, rather seriously, the celebrated “Largo el Factotum” aria from "Tlie Barber of. Seville.” A charming performer, too. is Miss Phyllis Amery, the solo dancer, who has grace and sprightly charm in her numerous numbers. She is particularly adroit and dainty in her toe dances, nnd was attractive in “An Old Fashioned Fantasy,” with Mr. John Robertson. Mr. Gregory Ivanoff, a capable violinist, wade two appearances. On his first appearance he played a rather weird “Caprice Espagnole” of his own composition, and the always beautiful “Trnumerei” of Schumann, and later popular airs, including "Deep in ■ M.v Heart” (from “The Student Prince”), and “The Indian Love Call” (from “Rose Marie”). He also conducts the orchestra and tlie jazz band, which are one and the same thing with a slight change of instrumentation. The jazz band, mentioned before ns one of tlie best of its kind, played “In a Persian Market,” “Ice Cream,’’ “Chloe” (with song). “Montreal,” and “Get Out and Get Under the Moon.” The Dick Dorothy Trio executed n neat sand jig. nnd the bnllet was always ready at the call of any passing rhythm. “The Midnight Frolics” should have a merry season in Wellington.