"LADY, BE GOOD!"

Evening Post, Volume CXIII, Issue 143, 21 June 1927, Page 5

"LADY, BE GOOD!"

Tiie evolution of musical'comedy from vocalism to dancing, and now from dancing to acrobatics, is well illustrated in performances like that of "Lady, Be Good," -which is enjoying a successful season .it the Grand Opera House. This is the day of the dancer, and the dancer must be an athlete, but a good voice is still useful. The sart of production ig in large part the development of new postures and gestures, with whimsical little tricks of ■arrangement and grouping, and it does not matter much what position the performers get into so long as the movements are rhythmic and the effect bizarre—which it generally is. Dressed well, a colourful performance on those lines delights the eye, and ns it is always easier to reach people through the eye than through the brain the reign of musical comedy of the new order seems to be tolerably secure. The mental part;'is supplied through the patter of the comedians, and certainly the comedians have a very big say in "Laity, Be Good!" Mr. Charlton Morton is in one of his well-fitting "Gussie" roles, and Mr. James Goddeu is like several broad comedy men rolled into one. Misses Alma Mackie and Phyllis dv Barry are graceful daucers; Miss Elsie Prince is a flighty damsel; Miss Elsie Parkes is an ultranice one; and Miss Olive Grant is a statuesque figure apparently borrowed from Grecian art and reproduced in strange surroundings. Some warbling yount; men and hosts of beautiful girls make up the party. It is a very popular party, and the lyrics, choruses, and dances me warmly applauded.