“NEW ALADDIN”

New Zealand Times, Volume LIII, Issue 12433, 29 April 1926, Page 3

“NEW ALADDIN”

SCINTILLATING PANTOMIME „ GORG GOUsIvUJSICAL PRODUCTION. It is not the first time the story of Aladdin and his magic lamp has been told in pantomime, hut nevei before has it been told so well as it was last night at the .Grand Opera House, when J. C. Williamson (N.Z.). Ltd., presented the latest ociition of this old story to a big house. There is more magic in the lamp in the “New Aladdin,” and there is a talented company who catch upon every ray of its light and carry it on its glittering way. More often than not a pantomime is all splendour and little humour and song, but in the present production there is an even blend that is delicious and sweet. The theme is cleverly unfolded and the many little sidelights are artistically introduced. In the first of the two acts we find Aladdin and his pal romping as care-free leaders of a typical boyish gang. Aladdin falls in love with the princess and for his temerity to gaze upon her as sh« k passes through the streets lie is imprisoned. However, the faithful Wishee conies to his rescue and he escapes. Abanazar, his uncle, then comes on the scene, and they set out in the quest of the magic lamp which becomes the possession of Aladdin and enables him in spite of the opposition of the Grand Vizier, who has a marriageable daughter, to win his princess. In the two acts there are not le3s than seventeen scenes, but never once does the production lag, although the first act does not come up to the feast of the second. The Magic Cave, with its sinister aspect and its myriad of sparkling gems is realistic, while the electric novelties in the shape of illuminated grotesque figures in tiny town is something new but striking, and flashing with the genius of stage craft. The transportation of the palace is another clever piece of ingenuity new to us. The lighting effects throughout are without a flaw. As Aladdin, Floie Allen, who in the k;st few years has sprung from the ballet, tomes to us as a principal boy complete. She has a happy fascinating personality, and a light but tuneful voice that catches up the lilt of a tong and gives it life. As with most musical productions the songs have proceed the play, but nothing is lost through this. ITloie Allan ha® amongst her numbers, “Kinky Kids’ Parade,” “Picaninny Blues,” “Sunshine Sally,” arul the famous “Ukulele Lady.” When she sings all are well worth hearing again. The “New Aladdin” also brings a new dame in the person of Bruce Green, and his work recalls that of many of his famous predecessors. He easily takes his place with the best but he comes with more than a few touches of originality. His by-play is not overdone, and every move provokes laughter. His skit on opera in which he does a burlesque of the Miserere Duet is a scream. He also introduces a number of local hits. Among his song numbers is “Our Avenue,” a catchy tongue-twister. Gus Bluett, as the scallywag Wishee, gives a splendid piece of humorous characterisation well sustained. He is the typical * With Floie Allen he sings True to Death.” Roma Phillips is a charming princess, and Sadie Peppin n i s Cheekee, the maid-in-waiting, must also come up for her share in the honours. Reg. Roberts as Abanazar and Rare Loffman as the Kmneror also fill their parts well. Inside the skin of the widow’s cat is William A. Hassan, whose antics are really funny. A specialty turn is a thrilling trapeze scene by the twelve members of the ballet-, who are fine acrobats and dancers with innumerable graces The “New Aladdin” is a welcome attraction.