MARCUS SHOW

Evening Post, Volume CXXIII, Issue 117, 19 May 1937, Page 6

MARCUS SHOW

CHANGE OF PROGRAMME

The Marcus Sho"w offered a second revue,. "Broadway Vanities," to a crowded audience at the New Opera House last night. It was a performance full of verve and colour. The thirty-four scenes varied from slapstick comedy to beautiful ensembles brilliantly and gorgeously mounted^ from acrobatic dancing to slick patter; and from instrumental interludes to presentations of the newest hits in jazz —there Was not an idle moment, and it was perhaps not the fault of the company if the resources of the stage were sometimes inadequate. The performance was not without its hitches, but recoveries were quickly made, and the whole entertainment delighted the audience. It. is a company of many talents, and when the occasion demandsthe producer shows that he' has an artistic and imaginative conception of colour, frockinf. and mounting., Sucn scenes as the "Masquerade," which reminded one-of a ballroom of the Pom : padpup days, the "Land of Jade," a setting in an Eastern temple, and the "Orange Grove" were beautiful specr tacles which drew spontaneous applause. The weakest characteristic of the show is the singing and the strong* est the dancing, which is seemingly endless in its variety. Ben McAtee, the principal comedian; had much to say and do, and he was ably supported in his many hilarious moments by Bob Dyer, Dorothy Condy, Georgene Millar, Ha Cha Son, Lee Mason, Sparkey Kaye, Lillian McCoy, and Leon Miller. The "Kiss of Death'? was a fine piece of dramatic dancing by a quartet known as the Clymos, The dancing of Sharon de Vries as the priestess in the "Land of Jade" was the poetry of motion, and the Cobra Tango by the Dancing Bernays was another example of highly-developed art. There was exhilaration in the playing of five accordions, by Lillian McCoy, Kathleen Hinton, Marion Hin J ton, Ruth Vernon, and Les Sechristi and a group of Spanish songs were attractively sung on Sofia Alvarez. The four-way stair dance by Leon Miller; Art Stanley, Georgene Millar, and Dorothy Condy was simultaneous tap dancing at its best. Leon Miller also , danced with twinkling feet to a pot-! pourri of swing-time music, provided, by Bob Dyer and .Albert1 Coleman; Roland Romas, George Chorland,. and Dolores Rae also provided some high-! class acrobatic dancing in a sketch entitled "Gobs of Fun." Other artists of distinction were Lee Mason, who did most of the singing in an' attrac-j tiye voice, Lillian McCoy and Bob White, who had the songs in the "Orange Grove"; George Chorland, AI Ricken, George Schreck, whose strength is comedy, and Sylvia Lee,' who did a■■ charming solo dance in a "Chinese Fantasy." . The Marcus Peaches led the ensembles, and they, attractively adorned the \ various scenes. The show is blessed with an adequate orchestra which, under Alfred Coleman, plays' with verve and zest! The whole production is a splendid example of the American revue, and merits its popularity. . ;