PRINCESS THEATRE

Evening Star, Issue 17765, 13 September 1921, Page 4

PRINCESS THEATRE

Tho new “star" in the Fuller firmament became visible in Dunedin last night, and right gladly did the Princess Theatre patrons welcome her. Miss Laura Guerite by name, ehe ia a fairly plump and wholly pleasing personality, who, beginning quietly but confidently, soon got on tho most familiar terms with her audience. And familiarity bred content, the little touches, such as tho arranging of disordered hair, and the interposition of abort yarns and crisp jokes (“ I know a lot more, but I couldn’t tell them up hero,” said she, and the audience believed her) going far towards engendering the warmth that found expression in loud and genuine applause at the end oi the act. Beginning with a song eulogising tho plain man—the Smiths, Joneses, Robinsons, and Browns of tho world—Miss Guerite followed with a striking impersonation of a Now York-Italian woman relating her troubles. But she was perhaps better still in a scries of clever burlesques of characters in old-fashioned drama and of circus performers. This new star is already a firmly “ fixed ” one, so far as Dunedin’s favor is concerned. The other new act was that of Corona., & cornet player of exceptional ability, who made such old melodies as ‘The Lost Chord’ and ‘Killarney ’ ring fresh and clear, and also delighted tho ultra-modems with a medley of popular airs and some fancy “stunts. He appeared first as a wandering musician, carrying a worn, but much-treasured soldier’s tunic and shako in a bundle, and the “ business ” and general arrangement of the act was good. Six weeks have Bruli and Hemslcy boon here tills tunc, and they arc starting a seventh. Are Fuller patrons tired of them? Not a bit, judging by their reception last night, which was ns cordial as that given to any artists on the bill. In their act this week is a newly-wed scene in which sunshine (in spite of tho “first attempt” meal prepared by the now bride) is followed by a storm, raised through a difference of opinion as to who was responsible for hubbv setting on tho fried egg. The quarrel duet is particularly good. This and a mightily humorous Lancashire love-mak-ing scene between John Willie and Lizzie comprise tho offering. Clean, clever, and highly-finished work, the whole_ of it. Bergo and English repeated their wonderful acrobatic act. For it is wonderful : lire sinuous extra-twists and turns put into tho somersaults, the back-front non-stop stunt, the treble lightning handspring—all these go to make tho act one of tho very best of its kind. Miriam Mahr sang a couple of coon songs. Tin's animated young lady was “cullud up’ last night,‘andriooked the part exactly. Tho Smart Set Diggers again provided tho first half of the bill. Tho men-womon were prominent, if only for their costumes, which appear to be vanishing inch by inch (or foot by foot) as tho weeks go on. Ernest Barraclough sang his songs well, especially ‘Hail Caledonia,’ which greatly pleased the audience, the dancing of Ralph Sawyer, Reg M'Laughiin, and Tiki Carpenter was splendidly done, especially (he Apache dance. In a “silent sketch” called ‘The Naughty Wife” all the characters said something. But it wasn’t so much what they said as what they did that made it an objection able item that would be just as well om^ted —there was nothing even clever in (he suggestions conveyed. A ‘ Beils of St. Mery s wedding scene was well worked up by Charles Holt, Bog M'Laughiin, and chorus. Rich Butler sang several songs of tho ragtime variety, very few of tho words of which, however, wore audible. Most of the comedy was poor last night, and, frankly speaking, tho Diggers’ efforts were, taken all bound, not strikingly successful or of a particularly high standard.