BRIGHT VAUDEVILLE

Dominion, Volume 26, Issue 228, 22 June 1933, Page 4

BRIGHT VAUDEVILLE

Revue at Opera House “THE LAUGH PARADE” Vaudeville of tbe brightest and cleverest order is contained in Frank Neil’s latest revue, "Tbe Laugh Parade,” presented for the firstytime at the Grand Opera House hist evening. In rapid succession thirty-odd different turns follow each other, each presenting dancing, comedy and singing up to the highest J. C. Williamson standard, the whole show proceeding with snap and precision delightful to witness. The ballet dancing by a troup of ten dainty belles is a special feature. As with previous revues, George Wallace, and his inimitable conspirator in mirth, Syd. Beck, are responsible for a big portion of the fjun, which all through rages fast and furious. These two by themselves would make any show, ffnd in “The Laugh Parade” they are seen at the top of their form, wisecracks flowing in wonderful abundance. George makes merry in particular in a clever little sketch involving some demonstration of hypnotism, while perhaps the shrewdest turn of tho evening is one entitled “A Domestic Mix-up,” in which some most astounding things ■ happen. George Wallace and Syd Beck and two others of the gang have some fun in a turn in which the "Whangarei Choir” is introduced, while at intervals during the show both of these irresistibles come on to do a little solo turn, better imagined than described, much to the delight of the audience. Billy Maloney. Maurice Barling and Cliff O’Keefe are in excellent chucklemaking form, and put across some exceedingly original and humorous turns. Billy Maloney is always successful when singing with the Beauty Ballet, and in the new show he creates an immediate-hit in one number in particular, “Help Yourself to My Love.” Frank Neil has made the dancing a special feature. Always prettily frocked, the ten girls of the Beauty Ballet execute their many numbers skilfully and artistically. Maida Jones, the attractive and petite blonde, does much in conjunction with the ballet, while Murray and Walton, tap-dancers, have frequent opportunity to demonstrate their extraordinary ability for their rhythmic and fascinating turns. 1' Miriam Lester again has some important vocal roles, one of tbe most popular numbers being the famous “Miserere Scene”' from “Il Trovatore,” sung with David McGill. A song scene. “Chansonette,” with Miriam Lester and the Beauty Ballet, is exceedingly cleverly conceived and performed. Maida Jones appears with the ballet in “Cuddle on the Common," together with Fred Murray, and in a very pert dance turn entitled “Sinful Rhythm.’’ Popular song numbers are presented by the New Big Four, introduced by Cliff O’Keefe and Fred Webber, with a little story or it wo interspersed, while Jack Spooner’s Savoy Band gives some highly novel and entertaining renderings of well-known hits. "Ppp Goes the Weasel” and a tune taken from “Rigolctto” should prove favourites. The musical numbers in “Tbe Laugh Parade” are well worth while. Once again tbe Five Amazing Cleveres provide some sensational and hair-raising acrobatic turns. The standard of performance shown by these five daring acrobats is something to be wondered at, and .their act is almost a show in itself. "Tbe Laugh Parade” will be presented finally on Monday’evening, the live final nights and two final matinees of tbe season commencing on. Tuesday with “All the Winners.”