'DESERT SONG'

Evening Star, Issue 20311, 21 October 1929, Page 7

'DESERT SONG'

On Saturdav next, at His Majesty’s Theatre, the Desert Song ’ Company will commence a short season under the J. C. Williamson management. The play is said to be one of the most elaborate and entrancing musical plays staged for a very long'time.' Brilliant and spectacular as were ‘ Rose Mane, of which ‘Desert Song’ is considered the logical successor, ‘ Student Prince,’ and ‘Vagabond King,’ this coming production is held by Australi in _ critics to eclipse anv of those productions. Lance Fairfax, himself a native of Wellington, is familiar to New Zealand audiences in important roles, but as the “ Red Shadow,” head of the Riffs of Morocco, in ‘ Desert Song,’ he is said to eclipse all previous performances. He. has always been noted tor his fine acting,' and for the possession of a remarkable baritone voice. In ‘Desert Song’ he has a part that suits him to perfection, and whether as the Arab warrior on his white horse, or the lover, ho always holds the closest attention of his audiences. The songs that fall to his lot suit his voice perfectly, and he makes rf them tunes to remember. But Lance Fairfax has another part to play, necessary if he would keep his identity as the “ Red Shadow,” that of a half-witted young fellow. So well does he play the parts that when one is in view the audience completely forgets the other. To help Lance Fairfax, J C. Wiliamson have assembled a cast of exceptional merit. Opposite Lauc£ Fairfax is Roraalla Hansen, who, as Margot, falls passionately in love with the “ Red Shadow.” As in ‘The Student Prince.’ so in this play, a feature of the performance is the singing of the male chorus. It would be hard to find anyone more capable of guiding such choruses than Herbert Brow no i who led ‘The Student Prince ’ choruses. The ballets and the dancing bear the hall mark of Minnie Everett, than which there could be no higher praise. If ‘ Desert Song ’ abounds in song, chorus, ballets, and dramatic incidents, it is by no means without its humour. For this Herbert Murid in and Renee Murphy combine with rare skill, and in Australia fairly brought down the houses. The pretended dullness of Miss Murphy as Susan, who, with every desire to be admired, can find no admirers, and the Hockney humour of Mundin ns Benny Kidd, are a real scream, it_ is stated. Maud Zimbla dances charmingly. The whole play is most elaborately staged with a wealth of colour. Cyril Connelly controls the music.