MUSICAL COMEDY

Manawatu Standard, Volume L, Issue 75, 24 February 1930, Page 3

MUSICAL COMEDY

FULLER SEASON OPENS. Sir Benjamin and Air John Fuller have done several enterprising things in connection with the musical comedy side of their theatrical offerings. They ventured with Air Hugh J. Ward in the presentation of tin: well-remembered “Little Nellie Kelly” and “The O’Brien Girl,” and later purchased tho right to produce “No, No, Nanette,” and “Archie” and placed Aliss Elsie Prince and Air Jimmie Goddcn at, the head of their new company. Aliss Prince was the most satisfying musical comedy lead—in these parts —after Aliss Alaude Fane, and there was no comedian on the Australian stage who worked so easily for effects or was so convincingly droll as Air Goddcn. They were delightful combinations, but there came tho inevitable, regrettable time for disbandment. The new Fuller musical comedy company was launched in New Zealand recently with a repertoire that includes “Sunny,” “Lady be Good,” “Nellie Kelly,” “Archie,’ and the original'Lido Lady,” and a comprehensive tour of tho Dominion is now under way. The Palmerston North season opened at the Opera House on Saturday evening with “Tangerine,’ a farce of American origin with music, plus a vaudeville turn while the scenery was being put in place. It is quite a bright little company that is visiting us, and it presented musical comedy on a small scale —akin to those amusing potted revues the Fuller vaudeville houses used to present in New Zealand some years ago, with Dulcie Alilner and George Storey, or Daisy Yates and York Gray—with the usual story that ends on a happy note, which is the cue for principals and chorus alike to look radiant and the audience regretfully to discover that the make-believe is over. “Tangerine” was one of the first three musical comedy offerings of the Ward-Fuller combination, which included such efficient people at; Alisses Alamie Watson, Alay Beatty and Mione Stewart, and Alessrs Leyland Hodgson and Ireland Cutler, but the Dominion had not seen it until the present company was formed. Like so many of the present-day musical comedies, its origin i 3 American, and it opens in the alimony gaol of New York, presumably. Yet, despite the absence of the conventional opening chorus and magnificent settings, there is a certain colour and novelty attached to the scene. The tropical colour and atmosphere come with the transportation to the Isle of Tangerine, where the men develop an inferiority complex for a time, and there is much bewilderment among the ill-assorted party, and a greut deal left to the imagination, but all is cemented with the conventional song and dance numbers of musical comedy und the accompanying ballet of youth and freshness to charm. Such is “Tangerine”; Husbands and wives, divorces and alimony, misunderstandings, burlesque, an effective ensemble, and the inusit*! comedy equation is solved. “Tangerine” is Air Freddie Forbes’s show really; he carries the humour of it on his shoulders, and if he does not at times directly create the situation the humour revolves around him. He is the dominating figure of the comedy as king of the Island of Tangerine—u comic opera king. An English importation, Air Forbes is excellent, and if one wants to be really amused and to seek forgetfulness in the fairyland that is musical comedy Air Forbes is the infallible guide. There were eight chorus girls who appeared but seldom and danced well, but who did not sing. Alost of the singing .was done by “The Big Four”— Alessrs Charles Perrin, Frank Wignall, Cliff O’Keefe, and Fred Webber —who had important acting parts besides gathering around a piano before the curtain and vocalising “I’m in Love with You, Honey,” and “Until,” and Aliss Betty Lambert, who had a small part in the Elsie Prince-Jimmie Goddcn company. There was no outstanding role among the lady members of the company, but Aliss Lambert impressed one with her vivaciousness and general attractiveness It was interesting to see Aliss Vera St. John again. She was a member of the Alan Wilkie Company some years ago, and is conspicuous in the present show for her charm and acting ability. It is a pity that she does not sing. Aliss Catherine Stewart, a newcomer to the New Zealand theatres, has a decided flair tor Alay Beatty roles and is a worthy successor to such a notable New Zealand actress. Aliss Aster Faire is another English artist who acts well and sings on two occasions. Aliss Verna Bain, who has a small part, dances attractively solo. One remembers her years ago dancing in a vaudeville company that had the celebrated Ada Revee as star. The success of “Tangrine” is due in great measure to “The Big Four” with their singing and acting. They are on the stage most of the time, and every now and then one. or other of the quartette is heard in solo or duct in music of American composition. The producer of the new Fuller company, which is Australian except for two or three people, id Air Jack Phillips, who was Scrubby when Sutton Vane’s “Outward Bound,” had its Australian anti New Zealand premiere in Palmerston North a few years ago. “LIDO LADY” TO-NIGHT. Following “Tangerine” at the Opera House on Snlurday, “Lido Lady” should prove equally as popular to-night with patrons of the theatre. It was one of the most decided* successes of the year when produced in London and scored equally as well in Sydney, where it ran for many months at the St. James’ Theatre. It is thoroughly English in conception and treatment, although the scene is for the most part laid in Lido, the famous Venetian watering-resort. There the Blake family is in residence when the story opens’; Pere Blake of tho choleric. temper and many millions, and his charming daughter, Fay. The most persistent of her admirers is the inpecumous Harry Bassett and his suit is frowned upon by her father but secretly encouraged by Fay. Alixed up in his attempts to win himself the lady’s hand is the disappearance of a precious formula for the manufacture of synthetic rubber, the secret of which is worth a fabulous surn, a boxing match, a tennis match, the unmasking of a thief, and the disposing of his cousin, Peggy Bassett, on to the entirely willing Spencer Weldon, secretary to Mr Blake. Peggy Bassett is a film star whose soul hungers for publicity at any cost, but the fame-chas-mg young lady has the disappointment of seeing hei| publicity “stunts” falls to the ground without taking any effect, except in the enjoyable comedy they provide, as seen from the public’s point of view. “Lido Lady” will be the last production this company will stage here, and there can lie no suggestion of a return season, so theatre-goers will have to avail themselves of this opportunity or miss one of the greatest treats Palmerston North has ever been offered. The box plans are now open at the Central booking office.