PRINCESS THEATRE

Evening Star, Issue 19713, 14 November 1927, Page 3

PRINCESS THEATRE

BREVITIES AND REVUE The last weeks of Gayle Wyer’s Band Box Revue Company promise to see capacity houses at the Princess Theatre, for this talented little combination has become deservedly popular during its stay in Dunedin. With one or two exceptions there areVeally no outstanding artists in the company, but it is an evenly-balanced combination, and the whole performance is produced in a manner that would do credit to a much more pretentious show. Tho Princess Theatre was packed on Saturday night for the first presentation of this week’s programme, and he would indeed be hard to satisfy who failed to derive enjoyment from the diversified fare that yas served up. The Band Box Brevities of the first half lacked nothing in wit and cleverness, and one of tho best sketches of tho whole performance was ‘At the Wrong Moment.’ Ward Lear and Vera Benson were the principals of the stage scene, the former being favored by the latter’s affection, despite the fact that somewhere in the offing was a captious and suspicious husband in the person of Billy Bovis. In bellicose mood and trundling a gun the wronged husband comes upon the errant pair, but an unexpected interruption from the front of tho house on the part of Gayle Wyer prevents damage and the spilling of gore Just how realistic was the noisy interruption was shown by tho craning of nocks and excitement on the part of the audience; but what was the wrong moment would be unfair to state. Sufficient to say the anti-climax was telling in effect and laughable in the extreme, and certainly it was Gayle Wyer’s triumph. Ena Gordon and Heather Jones took part in this sketch, which was preceded by the appearance of Charles Norman in the guise of a postman. Then, looking very becoming, Heather Jones trips on as the dainty little housemaid, and together the pair proceed to provoke amusement by letting the audience into the secret of ‘ Catching _ the Mail.’ There is something intriguing about the outside of a letter, and Charles Norman’s views on tho matter meet with general approval, though unexpectedly Heather Jones proves an exception. The elongated letter carrier gives her some advice on love while he is waiting for the evening mail, but the result is not satisfactory to his way of thinking, thought most laughable from the point of view of those in front. It takes some manoeuvring on the part of pretty Vera Benson to rouse the chivalrous instincts of Charles Norman, but the lattm - has visions of happiness to come in “being gallant” when he gives up his room in an hotel to a lady, played by Miss Benson, who is faced with the dilemma of walking the streets in a vain search for accommodation or of catching the slow train to Oamaru. A third party has something to say on tho matter, however, for unexpectedly her husband, played by Billy Bovis, turns up, and Charles Norman loses bis room, and his gallantry meets with no tangible reward. Gayle Wyer is a substantial-looking hotel clerk, and a minor part is played by Ward Lear. This sketch is most amusing, but one or two off-color moments do not add to tho enjoyment of the audience. Charles Norman is too good a comedian to resort to vulgarity to secure a laugh, and there is just that suggestion in ‘ Being Gallant.’ In the musical and incidental numbers Kua Gordon again registered a big success, her delightful soprano voice being heard to splendid effect in ‘ Roses of Picardy.’ Miss Gordon is a trained singer with a voice of unalloyed sweetness, and she always scores heavily. Sam Ward, disguised as Private Cohen, sings of the doings ‘ At the Wedding,’ and though he rushed just a little at tl ® outset his comedy, as usual, brought the house down. But undoubtedly the star of the company is Charles Norman, and when he is attired in Boy Scout rigout even one of the feline species would sneak away to a corner to have a quiet laugh. ‘Urn One of tho Boy Scouts’ was tho title of his piece, which he put across very cleverly, also_ moving those unusually long limbs of his in weird and wonderful fashion in a scries of intricate steps. Heather Jones, bright and happy as usual, pleased everyone with ‘Bad Little Boys’ and ‘ Happy-and-go-lueky’: and Vera Benson sang ‘lt All Depends on You ’ in a manner that mot with applause. ‘Love, Honor, and Obey’ was tho title of the one-act musical comedy playlet that was presented for the audience’s delectation in the second half, lb served to show that Charles Norman is a more than usually good actor. Briefly, the play tells of a jealous husband who pines for babies. As the result of a petty quarrel he leaves homo, and then his wife calls in the assistance of her best friend and the latter’s husband. He, poor chap, is saddled with tho necessity of finding a baby somewhere, and on receipt of the news that he is a proud father the jealous husband rushes homo post haste. Complications ensue, however, and eventually the proud father finds himself in possession of three babies, whom he fondly imagines are his own. Their parents have something to say, though, and when a policeman is called in ructions ensue. Charles Norman carries off the honors of tho piece, for •as Tommy Taylor, the much-harassed baby-chaser, lie gives a sterling performance. His comedy work was firstrate, and never was there a suggestion of over-emphasis. Ho spoke clearly and well, and was so resigned to his fate that one had but to look at him and laugh. Gayle Wyer was eminently satisfactory as the proud father; and as the wife who was always going to “tell the truth this time” Vera Bencon acted well. Heather Jones, Ena Gordon, Billy Bovis, and Sam Ward played their respective parts in pleasing fashion.

There were several tuneful musical numbers, these being ‘Oh, Baby!’ (Norman and Heather Jones), ‘The Dumber They Got the Better T Like ’Em’ (Ward Lear), ‘Say It Again’ (Vera Benson). ‘Calling’ (Ena Gordon), ‘Down By the River’ (Ward Lear), and ‘My Sweetie Turned Dio Down’ (Heather Jones). Tho Syncopated Steppers step lively and wear some gorgeous dresses throughout the performance, which will be repeated to-night and following nights.