“BETTER TIMES”

Dominion, Volume 28, Issue 111, 4 February 1935, Page 2

“BETTER TIMES”

New Frank Neil Revue “Better Times” is the title of the new revue produced at the Wellington Grand Opera House by the Frank Neil company on Saturday afternoon and evening before audiences which tested the capacity of the theatre. Thia bright, sparkling company, with its wealth of clever folk from overseas; its amusing comedians, who keep the audience tittering; the brilliant flapper ballet, so even in height and build, and such gifted all-round dancers; the charming dressing and the artistic settings has added a cheerful note to life in Wellington during the last fortnight. It was not without applause that Mr. Joey Porter, in announcing that "Better Times” would be played up to and including Thursday night next, stated that there was a possibility of the company playing a return week in Wellington on the completion of the southern tour. "Better Times” is a worthy successor to its predecessors as a tonic, but one misses the jolly choruses, which caught the fancy of the public so wonderfully in the last revue. Still there was Joey Porter, with* his lazy humour and quaint foolery. Without the aid of make-up, with n tiny false moustache (which he swqllows during the evening), and only aided by sundry articles of clothing, this little English comedian is always able to entertain. He speaks a little too softly at times to be heard in the gallery; indeed, he becomes almost confidential in his wise-cracking. But he is not quite as silent as Mr. Alec Halls, who manages to amuse without speaking a word. In the change Mr. Halls makes a speciality of his dexterity as a.pianist. His crazy concerto commences with the Rachmaninoff “Prelude in C Sharp Minor,” but it will break off into "The Carnival of Venice,” with one elusive note. Once he finds the right note he takes out a huge pencil and marks it on the keyboard. Mr. Halls is uncannily clever as a trap-drummer. His imitation of the departure of an express train was most realistic. Miss Grace Hartington, a sweet and cultured soprano, sang "You Have Taken My Heart” and “Smiling Through”; and that vehement tenor with the overpowering top note, Mr. Russell Callow, sang “Round the Bend of the Road,” Those neatest of neat steppers, Macdonald and Graham, repeated their “Club-land” sketch,, in which Mr. Macdonald displays an elegant fancy in evening clothes and Mias Graham figures as the cutest of bellboys. Nice, Florio and LuboW, the crazy trio of knock-about dancers and comedians, created the same sense of wonder and amusement as they did on the opening alight of the season. Their slow-mo-tion representation of one of their rough and tumbles is extremely diverting. Abjuring the glittering spangles for once, the Diamondos, looking fresh and alert in epeckless white, again enchanted the audience with their graceful adagio dancing and heroic posing. Mr. Ted Simpsou, the tenor with the strong American intonation. was the soloist in “Too Beautiful forJWords,” but in this, as well as in "Dancing in the Moonlight,” he was too perfunctory to convey any of the romance in these numbers. Bright little Cora W r hitwell was lively in “Dames,” and the Three Ambassadors, a jazz band of some versatility, again pleased with their arrangements of old-time songs. Hope and Ray pattered ambiguously, the lady reviving the ancient mirror device for embarrassing individuals in the audience. One of the best sketches of the season, “In a Spanish Dive,” with its elements of farce and stark tragedy was repeated by request, with similar success to that which attended its initial presentation. Mr. Harry Lazarus was valuable both in the orchestral well and upon the stage. There will be a final matinee on Wednesday.