'THE DESERT SONG'

Evening Star, Issue 20317, 28 October 1929, Page 7

'THE DESERT SONG'

BRILLIANT, COLOURFUL PRODUCTION PLAYED BY CLEVER CCI.IPANY Only a play of outstanding merit, capably played, could draw from a Dunedin audience such rapturous expressions of delight as those which greeted ‘ The Desert Song,’ the new J. C. Williamson musical comedy, ap His Majesty’s Theatre on Saturday night. For nearly three hours it thrilled, captivated, and surprised. In its offerings of artisticdelight to please the eye and the ear it should leap to the memory in any attempt to recall the big treats of one’s experience. From first to last it was a sheer artistic delight, and must bo classed as one of the best plays of its genre that have been played here. That is saying a greht deal, when one remembers ‘Rose .Marie ’ and other outstanding musical plays; but it seems that, in the variety and splendom of its entertainment each new musical comedy surpasses the last. After witnessing this cntrancingly beautiful musical play, with its superabundance of romance, melody, beauty, and mirth, one is impelled to the conclusion that it is one of those quality productions which deserve and achieve success rather than have it thrust upon them. THE CAST Sid El Car Herbert Browne Mindai J. H. Scott Hassi Sidney Wheeler Neri Maud Pomeroy Hadji ... John Ronald Benjamin Kidd Herbert M undin Pierre Biraboau Lance Fairfax Captain Paul Fontaine Sidney Bnrchall Azuri Sonva Kosova Lieut. La Verne Ronald Pomeroy Lieut. Do Bassac Robin Blair Margot Bonvalct Romula Hansen General Biraheau Cecil Pawley Susan Renee Murphy Edith Eileen Porcival Ali Bon Ali Douglas Herald Clementina Maud Zimbla

A triumph of the producer’s art, 4 The Desert Seng’ is a musical play that combines beauty with romance, brilliant setting and dressing, with intriguing music, and fascinating dances with rare and charming pictures. There is a real plot that entwines itself among the songs, dances, and colour—a pretty story with a pretty ending to send everyone away happy. Though the plot, in tlu best musical comedy tradition, is impossibly I onian tic, it runs easily and naturally. Principals of outstanding ability, a splendid fullthroated male chorus, lovely girls, a fine orchestra, lavish setting and dressing, and striking lighting effects—these are tho materials out, of which is woven the gorgeous and romantic spectacular musical comedy that enraptured the full house on Saturday night The producer must have been given carte blanche. At any rate, lie has proved that he knows what tho public likes. The prancing on to the stage of a superb Arab horse, on which rode Mr Lance Fairfax clad in a brilliant red cloak and hood, is a subordinate incident that may be put forward as an example of tho pains the librettists (Otto Harbach, Oscar Hammerstcin n..d Frank Mandol) am. the producer (t\li* George Highland) must have taken to fill ‘The Desert Song’ with -colour and romance. As Mr Fairfax reined in the animal and it turned in the confined space of the Rills’ mountain retreat, it seemed that there was little room for it to niana.nivre among the stage proper l hs, but Mr Fairfax controlled it confidently, even when guns Were being fired off beside its very e.ars, and when, at the proper moment, he charged off into the wings, tlw? audience burst into delighted applause

To the exotic charm of the play the music (by Signor Romberg) made a large contribution. It blossomed forth in such gracefully flowing numbers as the ‘Sabre Song,’ sung by Miss Romola Hansen; in the martial vigour of the ‘ Hiding Song of the Riffs ’; and, above all, in the beautiful strains of ‘The Desert Song’ itself, sung by Miss Hanson and Mr Fairfax to the swaying ’•hytlim M violins and other musical accompaniment. Both the ‘Biding Song’ and ‘The Desert Song’ drew rapturous applause. Though these songs appeared in the score as separate numbers, they continued to reappear like purposeful motives to achieve some psychological effect, to indicate 1.1 k? entrance of a character, or to weave themselves into the spoken dialogue iu a way that brought the work of librettists and composer intimately and attractively into harmony. Few b ,v ttci male chorus-s have been hoard in Dun -din.

Magnificent scenery wa.> another >•'uncut in the ensemble that had a big place in creating tlx? f-cling of glowing romance. While the music of ‘The Desert Song ’ is attractive, tuneful, and haunting, it is as a gorgeous stage spectacle that the piece has won —and deserved —its reputation. There was one most striking scene of the desert, the vast sandy space being depicted by the faint glorms of dawn, with a cloud-studded sky. One of the simplest scenes was probably the most effective—the room of the silken couch, in which a huge door with delicate carved tracery was silhouett d against the night sky like a magnificent pattern of lace, a hanging lamp in the Moorish style sending out gentle gleams of red and bine. The vistas of the Riffs’ stronghold, seen by night as a hollow in the midst of shadowy crags, was also an effective scene. With its floods of brilliant light, its red and yellow flowers trailing from the arches, and with its rustic well adorned with snowy creeper, the final scene was oven more elaborate. About tlx; room in General Birabeau’s house and in Ali Ben Air's harem there was a definite Moorish character. I he story that is told amid all this splendour is sufficiently dramatic to maintain rapt attention till the final fall of the curtain. Turn and turn about, Pierre Birabeau, a Frenchman, is leader of the Riffs and helper of the French against the Riffs. How- he plays this double role and manages to elude death at the hands of either side provides an intriguing story of 10-c and vengeance, of the Foreign Legion, of Sheiks, and of fair women ; and no opportunity is missed to tell it m glowing colours. The story itself : s reminiscent of ‘The Sheik.’’ Clad in his scarlet garment and wearing a scarlet mask, the Red Shadow (as tlxleader of the Riffs is known) made descents from his mountain stronghold uiKiii Fez. His followers know ho is really the son of the French Go/enio' of Fez, who has I'imself into a sort of Robin Hood, defending others from wrong In the Governor's hons'hold the Red S’-'-dow noses as a weakling, bookish, almost half witter youth, who goes out plucking wild flowers. But his true character is show?! in dramatic fashion to his father before the story ends. In the dual role Mr Fairfax gave an outstanding performance. One saw him first as the dreaded Red Shadow, standing Jndomitablo at tho head of his

baud and singing the ‘Marching Song' with imperious ardour. then suddenly he emerged as the Governor's son. It was almost impossible to believe this was lia* same person. The lack-lustre eyes and the high-pitched inane laugh made one sympathise with the heroine 'Margot) when she said sue liked to eon line in him “ as though he were a sister,” or with the General when he snorted. “Fell downstairs because you had an idea. Good heavens, it's a wonder you didn’t tall apart!” Hut it was a dill’erenl man who, as the valiant warrior chiel, mounted on his Arab steed, earned oil the resisting, but infatuated heroine and deposited her lor sate keeping in a Inend’s harem. Mr Fairfax's cultivated baritone voice, very sweet in quality, was used with the nicest discretion in ‘ Then You Will Know,’ ‘The Desert Song,’ ‘Cue Alone,’ and ' Farewell.’

In Miss Romoia Hansen the audience joyfully recognised a brilliant artist in the part oi a high-strung, vivacious, and self-wiiled girl, who got what she richly deserved—her heart’s desire, a real sheik, for bravery, daring, and romance. In appropriate setting she possessed a singular charm in tho glittering frocks she wore. Her clear and fresh voice enabled her to sing delight! uily ’1 Want a Kiss,’ ‘Then You Will Know,' ‘ The Desert Song,’ and other songs Most of the farce of tho evening was provided by Mr Herbert Mundin and Miss Renee Murphy, who showed that they knew their work and how to get the. best out of it. in the harem scene Mr Mumlin’s expressions and lightning impressions were, uproariously ludicrous. Clad in a snowy white Eastern raiment many sizes too big, with a huge crescent and star across its front, he Hopped and foundered to and. fro in antics that aroused roars of laughter. Clover effects were created in the comic dances of Miss Murphy. It was a delightful moment when she and Mr Mundin rode gravely in on a donkey after a journey of countless miles across the desert. I'ho little animal showed no signs of Irigiii or uneasiness when ho was ridden towards t.ie footlights, and trotted phiiosopiiicallv off, gad to be •■-■iioved ol Ids burden.

Many other thoroughly capable artists art deserving oi tnuro than passing mention; m tact, evciy member oi the cast liilod his or her part almost to perfection. Though ho had .a minor rule us Sid i'll Kar. Mr Herbert Browne will not be forgotten tor his singing oi ‘ Uno ['’lower in a Garden,’ ono oi' the gems oi the evening. Others who were a great deal on the stage were Mr C Pawley .as General Birabeau, Mr I). Herald as A 1 i Ben Ali, Mr S. Burchall as Captain Paul Fontaine, Mr Sidney Wheeler as Hassi, Miss Maud Zimbla as a Spanish lady' of the harem, and Miss Sonya Bosova as Azuri. Miss Kosova showed herself to ho an accomplished dancer. Many other performers had an equal share in the various scenes oi the play, which passed off with a rhythm that demanded the closest co-operation oi every member oi the cast. The choruses and tlio ballets were outstanding items. The ballet in I 1 reach uniforms proved one oi the hits ol tlio evening. In tlio vivid military uniforms the young ladies, with the utmost vivacity, skipped quaintly to and Iro, now imitating the movement of mechanical dolls and then healing with intricate rhythm with their foot! insistent applause caused them to repeal) their etiort several times. In the excellence oi the music of the orchestra (conducted admirable by Mr Cyril Connolly), the quick changes in scenery, the splendid lighting, the gorgeous costumes and beautiful dresses, the solo and chorus singing and the effective grouping it seemed that nothing had been overlooked or left undone in ‘ The Desert Song ’ to make it worthy of the best J. C. Will iamson productions. 'The Desert Song’ will be repeated iight.lv lor the next six nights, and n: addition to the matinee to-day there will ho another matinee tins week.