PRINCESS THEATRE

Evening Star, Issue 19552, 10 May 1927, Page 5

PRINCESS THEATRE

*’ FROLICS’ ” EIGHTH WEEK Seven full weeks Lave the Midnight Frolics been with us. seven full weeks of joyous entertainment of such an allround character that all tastes have been catered for and every member of the big audiences sent away pleased and satisfied. This must be so because, after seven weeks, an indifferent show will keep people away rather than attract them, while Edgley and Dawe’s little band of artists are even more popular now than they were when they opened at the Princess Theatre on March 21. Last night was_ presented ‘ The Melody Box,’ which rivalled the famous sack of our old friend _ Santa Claus, because of the many delightful things drawn from it. Some of these things, when wound up and set going, acted and spoke in a manner familiar to the ‘ good boys ” and “ good girls” to whom they were offered; but they were so newly painted, so prettily dressed, and the wheels ran so smoothly that they were as good as new, or better. And one big thing at least was successfully attempted. This was the famous “ 1812 ” overture depicting the retreat from Moscow of Napoleon and his am y. It was an ambitious thing for the Frolics Band of nine performers to tackle, but M. Gregory Ivanoff’s enthusiasm carried the day, and Tschaikowsky’s fine tone-poem was sympathetically and wonderfully well interpreted.' The prologue, in which Eric Edgley spoke Napoleon'’s soliloqouy, and Alec Regan was Marshal Ney, and the setting and effects were done in the thorough and artistic style characteristic of the Frolics’ productions. Gregory Ivanoff appeared on two other occasions as soloist, and played ‘ Gipsy Airs ’ (Sarasate), ‘ Horne Sweet Horae ’(a setting of his own) and ‘ Pale Moon ’ beautifully. Another particularly artistic “frolic,” was Phyllis Amcry’s ‘ Chinese Dance,’ which was very cleverly done. Running through the whole show like a bright and sparkling thread was Clem Dawe’s fun-mak-ing. His humor is irresistible, and it is a toss-up whether he is best in those solo acts of his or in the sketches. In one of the latter, in which he was doorkeeper of the Palais do Danse, he had—or took—all the scope for his versatile mind and legs, and “put tilings right” in a gloriously wrong way. “Is May here?” he was asked. “ May who? ” * Mayonnaise,” answered the would-be wit, but Clem capped it with “Yes, but you can’t see her, she’s dressing.” He was good, too, in ! A Bit of Brother,’ with Liza, abas Dorothy White, a sketch which proved popular earlier in the season, and as the new but not enthusiastic member of the ‘ Suicide Club.’ He- liked the idea of committing suicide, but not cf killing himself. No, sir And, of course, the now eagerly looked-for stunt of the Musical Trio—Messrs Dawe, Regan, asid Stafford, was one of the hits. Amongst the other attractive Frolics may be named the neat simultaneous dancing of the Dick, Dorothy Trio—a symphony in black and white—, the duet in which smiling Nell M'Guire for once dissolved into tears because of something Alec Regan said or did, but not for long fit was all in fun, anyway) ; the always welcome appearances of the talented Whites, Dorothy and Lesotho human dynamo Eric Edgley; the captivating work of Ronald Stafford on the piano; Louis Cottam’s useful little stunts; Oscar Beck’s singing of that sweet old-time favorite song ‘ Sally Horner ’; and the ‘ Toy Soldier ’ finale in which a company of the woodenest of wooden soldiers, straight from Noah’s Ark, were drilled by the woodenest of all—Officer of the Guard Oscar Beck—to the tap-tapping of Drum Major Alec Regan. It was a very effective and cleverly done hit of work, and a capital finale to a shovy which went on improving all the while, and sent the crowded “house” away, each unit vowing that “ The Frolics will do me.” ' ....

The same programme will be preseated to-night and throughout the week, including the usual Saturday matinee.