MUSICAL COMEDY

Manawatu Standard, Volume LV, Issue 255, 25 September 1935, Page 10

MUSICAL COMEDY

ROMANCE OF “SALLY." OPERATIC SOCIETY’S SUCCESS. Capricious, whimsical and sweet, tho “Sally” of the delightful musical comedy from the collaborated pens of Guy Bolton and Clifford Grey, swept her charming way through tho social conventions as dishwasher, dilettante and danseuse, and. with all the pretty foibles of femininity, in a pageant of romance at the Opera House last evening, when the production had its first-night presentation to a warmly appraising audience. The nineteenth musical play to be produced by the Palmerston North Amateur Operatic and Dramatic Society, it was very satisfying, the cast well upholding the high standard of amateur talent which has permitted the society to enjoy such a long run of successes. “Sally" is a production of which the society may well be ])roud, and is amply qualified for inclusion in the list of its most notable presentations. There was a splendid embroidery ot piquancy and light-hearted conspiracy to the' smart dancing, tender music and happy laughter of “Sally.” The ballet work was exceptionally strong, the cabaret ballet being a high-step-ping number with the dancers in midnight blue, relieved by silver trimmings. Blue satin was the costuming for the tap ballet, with gay floral silk dresses and tasselled red Russian boots for the striking peasant ballet. The concluding ballet, at “The Follies,” was an exquisite creation, the too dancers appearing in white tulle, with white satin bodices, in a dreamy moonlight atmosphere against a background of blue. The ballots were arranged and trained to admirable precision of movement by Misses Kathleen Boyle and Oessell Vaughan, both formerly of Wellington. THE CABARET SCENE.

The play opened to a cabaret scene, with Miss Boyle and Mr E. J. Bills as partners m a spectacular adagio. Otis Hooper, played with splendidly balanced judgment and assurance by Mr A. J. Vernon, was the first principal to make an appearance, as the Anglo-American Vaudeville Agency representative, whose loud check suit almost possessed a voice of its own. He stepped into the part with all the mannerisms and gestures which accompanied it, and throughout the productidn was happily paired with Rosalind Rafferty, a manicurist, a soubrette role piayed by Miss Ulu Hancock with an air of resignation and restraint which was a remarkably effective foil for the impressionable outbursts of business enthusiasm by Otis. Next on the scene was Mrs Ten Brock, a settlement worker with a small army of foundlings to place in employment. Miss D. Wisclmewsky filled this role to perfection, showing all the requisite poise _ and dignity. Mr S. W. Ollivcr carried conviction in his representation of “Pops” Sliendorff, proprietor of the Sally Inn, New York, seeking “a dishwasher with non-skid hands,” and beset by all the worries of his calling. From the foundlings submitted lor approval ho selected Sally, whose dread of tho threat, dishwashing, mops and so on (“sew on”), became an accomplished fact. Mrs W. Whitehouse (Miss Edna Boon), in the title role, led the foundlings in the parody tune “You Can’t Keep a Good Gill Down,” and burlesqued, with her colleagues, in biown britway and aprons. Her companion in distress was Constantine, Grand Duke of Czechogovinia, whose circumstances had been so reduced as to force him to earn his livelihood incognito as a waiter, and to withhold his address for diplomatic reasons. Wearing an oversize in coats and an Undersize in trousers, Mr J. D. Mcßrearty was the star of the production in this comedy role, the finished nature of his work, for which ho undoubtedly lias a flair, earning the greatest commendation. Alternating between the pose of aristocrat and waiter he beenmo a mental rhythm, as well as a mental anguish, to tlio proprietor of the inn, to whom he promised the Order of the Grand Cross of Anastasia in return for u day off duty. Blair Farquar (Mr E. G. Spraggon), the somewhat spoiled son of a millionaire, visits tho inn and falls a victim to the charms of Sally, with whom he sings “Book for the Silver Lining,” the first number in .which she has full scope for her pleasing mezzo-soprano voice. She goes on to execute an eccentric dance with Constantine. The finale to the act is the discovery by Otis Hooper, to his consternation, that the exotic, alluring and also notorious Russian dancer, Madame Noskerova, who is reputed to have wrecked the fortunes of the Grand Duke of Czechogovina in Europe, has refused to keep a professional engagement for the house party. Sally is prevailed upon to act as substitute, and burlesques the Russian . charmer in a striking cabaret scene, where Mr R. J. Hatch makes an amusing debut as Admiral Travers, an “old battleship with the speed of a. modern cruiser.” He has an entirely captivating partner (Miss Joy Carruthers), and they provide a very humorous interlude in their quest for a tete-a-tete, with Constantine aiding and abetting in tho situation when the decrepit but gay old admiral is left marooned on a high perch. THE CONSPIRACY. Bright floral silks, sequined headdresses, and Russian peasant costumes made an attractive ensemble at the opening of the second act, the scene being laid in the picturesque garden at the Long Island home of Richard Farquar, millionaire financier, a part carried off with pomposity and social arrogance by Mr O; N. Rabone, who was excellently cast. Events move swiftly when the psoudo Madame Noskerova arrives in an exquisite black taffeta gown with Russian ruche sleeves and girdled waist, and promptly ensnares Blair Farquar, dancing and singing the delectable number “Wild Rose.” This is where Mr Mcßrearty, as the Duke, burdened with gold braid and decorations, and in a dazzling uniform, as the guest of tlio house, gives an amazingly skilful and adroit performance with vignettes of humour. His singing and dancing of “The Schnitza-Komisski” is the outstanding feature of the production, being followed by the pretty duet and dance “Whip-poor-will” by Sally and Blair, with a leavening of levity by Otis and' Rosie (“his ball-and-chain to be”). The now inebriated duke proceeds with a delightful series of quips and the trio “The Lorelei” is sung and danced by Rosie, Jimmie and Otis. Mutual recognition between the waiter duke and the dishwasher danseuse follows, but he sportingly maintains the pretence until Sally herself, denounced as an adventuress by Blair, reveals her true identity but is spurned by his father, whose social complex is such that, with the veil of notoriety and mysticism torn from her, finds he has no further use for her at the party. Rose and Otis conclude the act by singing “The Little Church Round the Corner.”

The moonlight ballet at “The Follies” is a spectacular opening for the third act, which sees the reunion of a penitent Blair and a forgiving Sally, and culminates in their singing of the duet “Dear Little Church,” a dainty ensemble being provided by bridal retinue in pink organdie frocks cut close to pompadour style, with pretty ribboned picture hats.

The role of Jimmie Spelvin, who led the singing in several numbers, was very capably filled by Mr C. Watkins, while Mr P. Knox made brief appearances as Sascha, the violinist. Foundlings were Letty Linton (Miss H. Fouchelle). Betty Ballanee _ (Miss V. Royal), Flossy Feilding (Miss B. Purton), Milly Manatvatu (Miss J. Carruthers), Molly Marton (Miss V. Mitchell), Winnie Woodville (Miss C. ICneebone), Nita Nelson (Miss J. Kirkpatrick) and Shirley Shannon (Miss D. Mason). VIGOUR AND DASH.

The vigour and dash infused’ into the production bespoke the personality of the producer (Mr Harrison Cook, of AVellington), who had built tbe company up in perfect synchronisation with the spirit and atmosphere of the play. The success which they achieved Avns his, and Mr F. Cousins, another force behind the production, Avho had the onerous duties of stage manager as Avell as the responsibilities of associate producer, shared *in the gratifying public appreciation of the performance. It Avns a happy co-ordination of efficiency. Strong and animated chorus work was a feature of the production, the personnel on this side consisting of Misses O. Blair, D. Brown. E. A. Cameron, M. Cronin, J. Chapman, P. Campbell, M. Cooksley, N. Denham, N. Davidson, P. Edwards, J. EdAvards, P. James. Z. Klee, J. Klee, D. Keys, M. Le Clieminant, N. Orchard? J. Pemberthy, R. Penman and M. Thorburn; Messrs R. Bourke, Iv. Bennett, P. Campbell, V. Contour, J. E. Flavell, A. L. Harris. R. Metcalf, J. O’Donnell, B. Pearcy, G. Sutherland, R. Ward, W. J. Aldersley and L. Cooksley. The corps de ballet consisted of Misses V. Berryman, D. Berryman, M. Clark, N. EdAvards, M. EdAvards, P. Furlong, M. Hancock, B. Muir, M. Muir, S. Whitehouse, K. Boyle and C- Vaughan. The orchestra ivas most efficiently directed by Mr A. J. Graham, its personnel consisting of Mrs R. S. Luav, L.A.8., Miss V. Gunter, L.R.S.M., Miss P. HoAvley, Mr T. Findlay (violins), M’sses G. McKenzie, L.A.8., and J. Paton (’cellos). Messrs J. N. Jordan (bass), M. Wilson (flute), J. Elliott (cornet), W. O’Hara (trombone), and 11. Bell (drums and effects). Mrs Margaret Clift, L.A.8., Avas the pianiste. The Avardrobe mistress Avas Mrs J. P. McDavitt, and the electrical technique Avas the Avork of Mr J. W. Muir (city electrical engineer). Scheduled for a season of five nights, concluding on Saturday evening, “Sally” should sectire the endorsement of every theatre patron for its genuine merit.