PRINCESS THEATRE

Evening Star, Issue 19765, 16 January 1928, Page 2

PRINCESS THEATRE

THE BEST EVER Stud Foley and Eric Masters scored an outstanding success with their new show at the Princess Theatre on Saturday evening. The combined efforts of this inimitable pair have resulted in the presentation of the very best in vaudeville entertainment during the past weeks, but ‘ Tonies,’ a very apt summing up of the current offering, caps the lot. Mr Masters delved into his apparently inexhaustible bag of tricks to produce a spontaneous and sparkling entertainment in the Follies’ happiest vein, bubbling over with merriment from nonsensical, but highly entertaining, absurdities. There was a most refreshing newness about the show which, in itself, was a commendable feature, and, at the same time, a striking illustration of the productive ability of Mr Masters. The sketches were, for the most part, breezy and highly diverting, lines of the chestnut order being happily in the minority. The music was bright and tuneful, the dialogue was sparkling, and the churning, particularly the numbers in which the young ladies of the chorus took part, most attractive.

From the Pagliacci-hke opening number. sung by William Beresford. to the grand finale the show went with an irresistible swing that defied _ gravity. Little Iris, a decided favorite with Princess patrons, was heard in two attractive numbers —‘ Sweetie of Mine ’ and ‘ Down Kentucky Way,’ two popular hits, in which she was assisted by the Six Dainties. This petite and dainty performer is one of the brightest spots in the whole show, and her appearance is always the signal for applause. With Stud Foley, she appeared m ‘ We’re in the Navy Now,’ a nautical musical sketch written and composed by the lanky comedian himself. The pair constitute an excellent comedy team, and are seen at their best together in song, dance, and story. Clad m an exceedingly loud suit, StudFniey later gave a discourse on ‘ The Superiority of Rhubarb Over Women,’ a number which was vastly by virtue of .its extreme stupidity. Ihe bustanding sketch of the evening was 1 Toujours La Politesse.’ This, Mr Beresford explained, was staged in order to show the audience the type of entertainment which found favor on the Continent. The dialogue would bo entirely in French, and therefore no exception could be taken to any part of it. The sketch proceeded. Madame (Lulla Fanning) and Monsieur (Eric Masters) were the central figures, and kept up a running fire of dialogue, which, with the exception of obvious terms of endearment, was incomprehensible to the audience. Apparently at Madame’s request, Monsieur removed first his coat, then his waistcoat, and then braces. At tins stage Mr John Hamer, the manager of I'oilers , interjected. He stated that ho took exception to the number, and diasppioied of anything risque in the “?.*fch Eric Masters replied that the sketch was entirely free trom anything si.*cestive. and that they would repeat it in English to pi oic that this was the case. Ihe ac con was duly repeated, and then it transpired that a J nd ® * a ® f making her husband the g ft of a pair S brnccs-an exceedingly kamlesa denouement. The amusing point about “mle sketch was that the audience viewed the managerial interjection stiiously and applauded. . Lu , lla annl bubbling over with joie de v.ie as seen in an entirely new role as a Pm - tan maid in ‘Yea, Verily.’ - Ihe mock solemnity and gravity of this nundiei was dispelled with the introduction ol the Blackhottom. Miss banning invested this and her other solo number, ‘My Idea of Heaven’ (a modernised version of the negro spiritual ‘ I ve Lot Shoes’) with her usual infectious verve. Stud Foley was in his element as the “ deflective ” detective in Three Doois and a Passage,’ a hilarious matrimonii!, mix-np dealing with the adventures of a young couple on their honeymoon. Flora M'Donald and Dalton Payne, the hotel pair who made such a hit previously, were heard in amusing but unconvincing patter. The fascination of radio was the subject matter of otli’-co is Golden.’ Mr Brown (Dalton Payne) and Mrs Brown (Flora M'Donald), who were engrossed in listening, waved away the frequent and excited interruptions of the maid (Winnie Edgerton), who was endeavoring to inform them ti at their house was on fire. ‘ The Coster’s Wooing ‘ was a serio-comedy of life in tho slums of London, and afforded a novel setting for the rather remarkao'e dancing of Eddie and Dccima M'Lcan. These two may always be relied upon to depart from the stereotyped and rresent something unique in the torp.-n----chorean art. Their numbers bear the stamp of originality, and are decidedly pleasing. Ono of the best numbers of the evening was the presentation of ‘Old Jokes Retold’—in short, snappy scenas illustrating the action ol some excellent jokes. Several other bright sketches were included in a wellbalanced programme. The maimer m which they were put over more than compensated fgr any flaws in conception. Winnie Edgerton was heard in several pleasing vocal numbers, including ‘ Here I Am ’ and ‘ Because I Love Yon.’ Both these songs were ideal settings for her. William Beresford’s * Tho Ne’er Do Well ’ found favor with the audience. Eric Masters sang ‘So Blue ’ and ‘My Sunday Girl ’ pleasantly. Mr Masters exercises modulation and restraint to a nicety in some pasasges, and neutralises the effect b*immediately going to the other extreme.

The elaborate costuming and settings contributed materially towards the thorough enjoyment of the evening. The same programme is announced for to-night and succeeding evenings.