PRINCESS THEATRE

Evening Star, Issue 19064, 6 October 1925, Page 11

PRINCESS THEATRE

THE HEW Bill

Princess Theatre patrons last night were presented with four new acts in the vaudeville section of the bill. The best of these was the musical offering of the Harris family, the main feature of which was the versatility of the live musicians, who pcfTorraed with equal facility upon all kinds of instruments. Beginning with the blare of the. brazen trumpet, tiie changes were rapidly rung on the banjo, the harp, the violin, the concertina, the xylophone, the trombone, the drums, and those queer contraptions that loolc like a cross between the mangled remains of a ’cello and a home-made tin-horn gramophone. And from each and all was extracted melodies which set the house foot-tap-ping and which aroused at the conclusion the warmest applause of the evening. The act is a lively one as well as a melodious one, and might be improved still more by making it entirely instrumental. The vocal efforts were the weakest part. The Melford Three are a smartly-dressed trio—two men and_ a girl. Step dancing is their specialty, but they impart a touch of novelty by incorporating it into the old-fashioned waltz movement and the new-fangled jazz steps. A ‘Burglars’ Jig and Policeman’s Glide ’ stunt was well done the breaking and entering, the attempted robbery, and the capture all being carried out in dance measure. George Edwards and Molly Hughes put over an amusing sketch entitled ‘ Honeymoon Confessions,’ in which premarriage escapades were unfolded with tearful and tempestuous effect respectively. One impression which this act must have left upon the audience was that it is evidently necessary to shout husband-nnd-wife confessions loudly enough for not only the neighbors but the whole street to hoar. This was not a new sketch, but the points were well made. The fourth act was that of Miss Bessie Slaughter, whose remarkable “ man-like ” voice was used effectively in several songs, of which ‘ The Lost Chord ’ was the most effective. She added three little humorous stories which tickled the audience immensely. The revue was entitled ‘ Seaside Frivols,’ and lived up to its name, for it was a playlet of the lightest kind, though bombs and stolen jewels and ** /TivEtt -it-i> 1 - „ 11, . _ _

% *** '■J IIV-A (1 i W Vl nent. George Moon and Dan Morris kept the show together with frequent appearances, and were as amusing as ever. Comical George was ’Grace, a boatman, and he again succeeded in defying Nature—who had made him so small that he might easily be overlooked in a searcli—by being the most prominent figure in the playlet. With Dan Morris he was responsible for all the fun, some highly diverting interludes being put forward by the pair, who also danced one of their soft-shoe successes skilfully. Dan, by the wiy, posed as the hotel detective, who believed in disguises until they were all, in turn, immediately seen through by the first folk who set eyes on him. Lily Foster looked dainty ns the daughter of a titled couple by the name of Smith. She also sang nicely. Walter' George (back in the cast, but still with a bandaged band) was the knight who “ knuckled under " to his lady, even to the extent of carrying homo the hat boxes. Vera Sowell was at homo as Vera De Shark, a vamp who swayed in the orthodox vainpish fashion and ■ looked from under the rim of a low-set hat. The others had little to do, but fitted in, or flitted in, whenever occasion arose. The list of musical numbers included : 1 Heaven of Tenderness,’ well sung by Sidney Burch ell; ‘ Memory Lane,’ duct by Lily Foster and Sidney Burchell; ‘Bimini Boy.’ by William Beresford; and a more or less topical trio by Messrs Beresford, Burchell, and George. The chorus helped occasionally. and, as usual, were well frocked. The same bill will be presented tonight and throughout the week.