“TIP TOES”

Manawatu Times, Volume LIII, Issue 6551, 7 March 1928, Page 8

“TIP TOES”

DELIGHTFUL MUSICAL COMEDY PRODUCTION. While the memory of Palmerston North theatre-goers is still bright with the haunting beauty of "Rose Marie” comes another J.' C. Williamson production with the enthusiastic plaudits of Australian audiences still echoing behind it. The name ‘musical comedy’ with the hall marie of quality, J. C Williamson, to guarantee it, always assures a full house to managers but the staging of “Tip Toes,’’ George Gershwin’s tuneful production last even-. ing saw as enthusiastic an audience as has ever filled the Palmerston North Opera House. From the same source as “Lady Be Good,” “Tip Toes’’ as its name suggests, is a musical comedy that contains more than the usual element of clever and original dancing. Critics throughout the run of the piece have acclaimed tho dancing of the Polics Bergeres stars, Mdlles. Josephine Head and Ramona associated with M. Albert Hugo as one of the most artisically delightful turns which the stage has seen. Last night's audience was swept off its feet by the perfection of movement and the poetry of motion that this wonderful combination displayed. There is in “Tip Toes” also, more than the usual excellent spice of comedy which makes all the world akin. Half the success of a modern musical comedy rests with its funmakers, “Tip Toes” possesses in Mr. Cecil Kelleway and Mr. R. Barrett Leonard, two mirth producers who | would carry any production into popularity Cecil Kelleway, of the permanently tired and riduculously stupid expression,, is one before whom the most hyper-critical of audiences must give way. Ho is a comedian who in no sense depends mwely upon tho ridi culous for his effect but one who can reduce an audience to tears of laughter by the mere shades of his facial expression. Clad in coats and garments of many colours, Mr. Barrett Lennard gives Mr. Kelleway the most excellent support and contributes his full share toward the success of tho piece. Katja and Frasquita gave Mr. Barrett Lennard opportunities to exploit his talent for tho ridiculous but after last evening’s performance it may be said that he has made an even greater success of a more difficult role. In a part which calls for the freshness of youthful charm and gaiety Miss Thelma Burness was excellently cast. She was a very charming figure and took the two principal numbers, “The Birth of tho Blues” and “Looking for a Boy” very pleasantly. The part of “Tip Toes” is Miss Burness’ first really big role, following her graduation from minor parts in musical comedies, and she undoubtedly scored a distinct hit with the audience. Equally charming was Miss Bryl Walkeley who played her part with a success and grace that was all her own. Mention must also be made of tho “whispering baritone,” Mr. Leyland Hodgson, who was last here with the “Leave it to Jane” company. His characterization of the country boy hiding from designing women was a really excellent piece of work. If a delightful east, catchy and haunting melodies, .wonderful dancing, colourful and dainty Crocking, and some most amusing comedy, contribute toward a successful production then “Tip Toes” has achieved that distinction. The story is as connected as a musical comedy story ever can be while the production leaves nothing to be desired. Although it cannot be said that “Tip Toes” scored the same success as much heralded “Rose Mario” it will rank as one of the events of tht years with Palmerston North theatre goers.

“QUEEN HIGH”

To-night, for their farewell appear ancc, this popular company present another musical comedy triumph “Queen High,” which in Sydney arid Melbourne is said to have rivalled in popularity “Rose Marie.” “Queen High” will also introduce to-night a popular Australian and London actress Billie Lockwood, who, as “Coddles,” is said to present a remarkably clover and. de lightfully interesting study. If you wart to understand the spirit of the age, you should go and sec the now musical comedy. There is plenty of noise, plenty of hustle and bustle; and there is plenty of pep. It is a jazz version of the farcical comedy, “A Pair of Sixes.” Two squabbling partners are the central figures, and most of the intervals between their violent crossfire are filled in by a variety of songs and dances. The production is spectacular and there is an attractive show of silk stockings and garters. Garters are the mainstay of the two partners' business, (toeil Kcllaway, as the self-satisfied, sarcastic, and petulant George Nettlcton, and E. BarrettLcnuard as the volatile Boggs Johns, who delights in provoking his partner, act with brilliant resource. The piece is peppered with jokes that come from one or the others slights. In short the partners quarrel so fast and furiously that they determine to dissolve partnership. But their lawyer docs not see why a perfectly sound business should bo closed up, so ho proposes a hand at poker to decide who shall be master and who the man for a year. The ac-j tual hand at poker is the big moment of the play. Mr, Kellaway's anxiety and terror at the thought of becoming the other's servant, and his surprise w’hcn he finds that he was won with a pair of sixes, and Mr. Barrctt-Lcn-nard’s optimism, pugnacious attitude

towards liis partner, and realisation oJ: his tragedy of showing only queen high arc very cleverly conveyed. The box plan is at tho Opera House.