GAIETIES REVUE

Evening Star, Issue 21993, 1 April 1935, Page 1

GAIETIES REVUE

SECOND BRIGHT PROGRAMME Selecting from his store of programmes one that contained a number of really smart items, Stanley M‘Kay launched his Gaieties of 1935 Revue Company into the second week of its season at His Majesty’s, Theatre on Saturday night. The large audience fully appreciated the bulk of the performance, though a few off-colour jests raised only a snigger in odd parts of the theatre.

Among the specialities, that by Miss Ivy Ivel (contortionist) must be placed well to the fore. Her twistings and contortions were extremely skilful, and when sho finished her act by skipping on one leg, with the other folded at the back of her neck, the audience showed its recognition of her art by rounds of applause. Equally as entertaining were the Three Grecians, whose living statuary was indeed a_ treat to witness. Special diffused lighting added to the general effect of this turn. Making his first appearance with the company, Trampo, who is billed as the “ Hoho Who Sleeps on Clothes Lines,” did the seemingly impossible on the slack rope. The , scene opened with Trampo apparently enjoying slumber while stretched at length on a clothes line. He awoke, sat up in “ bed,” folded the covering, and calmly placed his shoes on his feet, and then decided to make use of a surer foothold on the stage. However, it was not long before he was hack on the rope, juggling or walking inside a wheel, and finally, after proving conclusively that it mattered not to him whether he was on terra firma or balanced on the. rope, he returned to his sleep on the clothes lino amid the plaudits o'; the patrons. Due attention was paid to spectacular effects in the scenes in which nearly the full company appeared. _ 1 The Shadow Waltz,’ for instance, with Victor Burke, Esma Roach, and the Sunkissed Ballet, was a particularly pleasing spectacle, while the Indian scena at the opening of the second half, this time with Victor Burke and Ada Lynn featured, was really a delight to both the eye and the ear. The two comedians, Frank Perrin and Ike Delavale (who spoke in the Hebrew style whenever he remembered he was billed as a “Jewish comedian”), kept their audience in merry mood. The former was at his best when he l assumed the part of Napoleon drilling an army of six smiling “ soldiers.” He relied a good deal on puns for his laughs, which were usually forthcoming when the audience was quick witted enough to see the point. It was in a “ broadcasting” turn in which he'.gave quite good imitations of Bing Crosby, the American “ groaner,” and Maurice Chevalier, that Ike Delavale shone. Near the end of the act, he also displayed marked ability as a dancer. In the vocal line Victor Burke, the Irish

tenor. Ada Lynn, Dot Arnold, and Nell Fleming were prominent; while Laurita presented something unusual in tha poetry of motion. ‘ The Birth of Dancing ! was her turn, which illustrated the remarkable similarity between a strange African dance of (former times » and modern dancing. The Sunkissect Ballet tripped on and off the stage at odd times, and-added colour to the, proceedings generally. Of course, as in all revues, there wer* several sketches, the most notable of these being ‘Mother Kelly’s Doorstop,’ a serio-comic playette. in which Dot Arnold displayed herself as an artist of some emotional canacity. f r% other sketches Dot Arnold, Cec. Perry, Nell Fleming, and the two comedians combined to make things move, one of their brightest efforts being ‘Th res Country Maidens.’ ■ Extra variety wa* added to the bill by Phyll and Verna, who gave a fine exhibition of tap dancing,’ and the Yodelling Newtons.