“NEW FACES”

Dominion, Volume 28, Issue 99, 21 January 1935, Page 14

“NEW FACES”

Brilliant Vaudeville-Revue Show IMPORTATIONS BY FRANK NEIL Possibly because every face is new, every artist finished am! brilliant in liis or her line, ami every act was novel—whatever the reason Frank Neil’s “New Faces” company, consisting of top-line artists from Ifnghujd, the Continent and America, attracted an audience that packed rhe Grand Opera House from floor to ceiling on Saturday night, and as these clever and supremely gifted entertainers unpacked their wares, there .was a steady roar of approval. Indeed, it may be said with perfect truth that it is yearsince any company of the kind was <o enthusiastically welcomed, while the comments all round echoed the delight experienced in .seeing such a fresh ami stimulating flesh-aud-ulood show again. And the reason for all this was not in the least obscure. The new company—there is not a familiar face on the stage— consists of people eminently proficient in their business, and yet embodying a diversity of talent, combined with personality, resulting in au entertaining cocktail, the ingredients of which are vaudevil e burlesque, pantomime, comedy, a touch of the drama, with a soupcon of musical comedy. Add to this lovely costuming novel in design and colour, and some really admirable scenic sets, ami you have a fairly complete notion of what,“New Faces” is like. To appreciate it. however, it lias to be seen, as there is a dash and sparkle in the action that precludes specific analysis, white the barriers between the stage and audience are almost swept away, so familiar and intimate are the relations established. The king pin of such a combination must be the comedian, and in Joey Porter Wellington is introduced to an altogether original fun-maker. Mr. Porter, young in years and slight in figure, simply oozes humour. His gags seem to be part of his personality, and they are al! droll and shiny from the fun mint. He is just as funny in sketches as in reciting idiotic rhymes, and Jus assumption of character is remarkable. This came out when he impersonated the short-skirted flapper .'oiling flags on Hospital Day for sweet charity's sake, and again where he lopes round the room as an ape, the very embodiment of our Darwinian ancestor. The audience could not get enough of Joey Porter. His work in the sketches “All About a Kiss,” “Duty is Duty,” The Burglar,” “Stingey Husbands,’’ and in bis disquisition on things in general, was always amusing. Amazing 'Dancing. Of the top-line speciality turns the knock about dancing of Nice, Florio and Lubow was as amazing as it was amusing. Two tough gentlemen in evening dress, and a silver-haired blonde, homeward bound, jtart to get rough, and the measured dance becomes .a melee of hair-raising rough-and-tumble work, with plenty of hard knocks and surprise falls. Florio's dives from the stage into a side box and, later, on to the floor of the auditorium were breath-catching; but it 'was all ingenious fooling—they know all about trick falling. This trio introduced a bit of vivid tragedy in the sketch, “In a Spanish Dive,” a characteristic scene with full ballet and chorus. A drunken sailor attempts to make free with one of the (lancers, when a sinister figure appears on the back stairs; a shot is fired; there is a wild rush for safety as two men fight to the death with knives; and, as one is killed, the place takes lire—it is ah melodrama quick and tierce. “A Touch of Egypt” introduces Les Diamondos, glittering adagio poseurs and dancers from the Folies Bergeres in Paris. On a black dais fitted into a shrouded stage this physieaUy-per-fect man and woman, attired in little save for a complete (lusting in powdered glass (which forms a million facets for the play of coloured lights), do some remarkable, heroic posing, to the accompaniment of thunderous applause. It is as though the. whole of their bodies were encrusted with tiny diamonds —a beautiful and dazzling effect .Strong Dancing Company. Alox Halls, a German comedian of the smileless order, depends on legomania, novel business and a facility in music to get laughs. The man suggests bonelessness for a start, yet he is an expert dancer, an agile trap-drummer, and his wordless asides as a trombonist kept the audience giggling. The company possesses a charming and cultivated singer in Miss Grace Hartington, an English soprano who sang with much grace the ballad “Lover, Come Back to Me” from “New Moon,” and “H Bacio” (Arditi), sung with finished brilliance. Nat Hope and Doreen Ray are very jolly gagsters, and would be more entertaining if they subdued their tendency to vulgarity. The new company is strong in dancing. Everyone seems to be expert, while the ballet, specially trained by Maurice Diamond, is one of the neatest and most attractive seen in Wellington for a long time. This was demonstrated in the opening number, “Let’s Take a Trip to Wellington,” “Fair and Warmer,” “Happy Holland,” “My Southern Accent,” “Dancemania,” and in “The Dance Idea” (which .introduces Macdonald and Graham, gifted exponents of tapdancing). Mr. Ted Simpson, tenor, made his best impression as tiie soloist in that beautiful scena, “The Blue Bird of Happiness,” and Russel Callow, light baritone, pleased in “Wagon Wheels.” A capital jazz band, “The Three Ambassadors.” who specialise in rhythm on two pianos, drums and piano accordions, exhilarated the audience. An efficient orchestra under Mr. Harry Lazarus completes the ensemble of one of the brightest, snappiest shows seen here for years.

There will be a matinee afternoon (Anniversary Day) and a change of programme next Saturday.