HIS MAJESTY’S THEATRE

Otago Daily Times, Issue 18760, 13 January 1923, Page 10

HIS MAJESTY’S THEATRE

“JOHNNY GET YOUR GUN.” From Shakespeare to American farcecomedy ! Something might be written on such a theme. But, there are gulfs which it is not well to contemplate. “Nothing is either good or bad but thinking makes if so.” After all too much zest for comparison, even in the held of humour alone, may bo destructive of happiness. Farcecomedies. like pantomimes and circuses, may be very good, forms of entertainment. The stage presents them, with a difference, and in the American variety there is a good deal of difference. We must take the stage as wo find it. Those who like socallcj sixty laughs a minute productions, so-called quick-fire humour, assuredly know what they like, and assuredly they are likely to find it in “Johnny Get Your Gun,” the title of the comedy staged, under the aegis of J. C. Williamson (Ltd.), at His Majesty's Theatre last evening. The audience attracted was quite a. large one, and its enjoyment was manifest. Measured by the laughter created, “Johnny Get Your Gun” is entitled to bp. considered a stage success of some pretensions. It possesses saving graces of moment. It might have been all in the manner of its Prologue, for instance, a riotous burlesque scone in a moving picture studio, which splits the oars, and creates astonishment in various ways. This is no favourable introduction, of a truth, to what is to follow, but fortunately (he venue is transferred to somewhat quieter pastures. Tho comedy proper, so to speak, does strike a note of genuine entertainment. There is not much occasion to quarrel with its description as “a comedy-drama of love, laughter, and thrills.” It may safely be left to the imagination of the intelligent reader to anticipate what is likely to happen when a hero of the breezy, boisterous, noble-hearted Cow-Boy lype, who has been figuring in the “movies,” is let loose in an aesthetic Long Island mansion ns the head of a family wliich is about, to marry its well-endowed daughter to a representative of the British nobility. It is part of the very essence of the fun that Mr Wiggins, (he athletic importation from the Wild West, is good-naturedly posing as somebody else, in circumstances too devious to explain, and that his Grace the Duke of No-Mobr is also very much a masquerader. The soidiaant aristocrat is looking for dollars, and the hero, who carries about with him a complete stage cow-boy outfit, lasso included, is looking to thwart him. Of course, bo succeeds, and his progress towards a triumphant denouement provides a long succession of ludicrous incidents. While tho dialogue may be described as “bright, ’ the production scores best in its presentment of some diverting character studies, and in the skilful handling of dramatic situations. The vernacular of the West is a little trying, but it is restricted to one impersonation, and the stage ladies and gentlemen whose nerves it seems rather to assault, use tho language of everyday speech. The author has undoubtedly had an eye to effective contrasts.

Tin? comedy is presented by a strong cast, apd tho acting in all that could bo desired. Mr Louis Bonnison. who takes the principal role, that of the rough but masterful Wiggins, has qualifications that enable him to ro 'liso admirably the requirements of such a pan. To an effective stage presence ho adds the methods of the experienced actor who.so sons;? of comedy is manifestly keen, lie has clearly tho artistic sense that rules out any labouring of a situation that speaks for itself. Tho other members of the company piny up capitally to the lead. Among them are several old stage acquaintances. Miss Nellie Mortyne exploited admirably the opportunities offered in the part of the match-making, snobbish lady who would sell her soul for a coronet, and in various amusing scones gave delightful expression to her bewilderment, horror, and indignation at the mannerisms and methods of the newly discovered head of the house, who. unfot innately for her ambitions, holds all the cards. Full credit must be given Mr Leslie Victor for a clever and diverting presentment of the sham Duke. Though framed on conventional comedy lines it was a well studied impersonation, its drollery never carried to lengths of unreasonable absurdity Miss Owen Burroughs as the lady who ; ,is secretly abetting the Duke in his litßo matrimonial venture, and Miss Dorothy Seacomhe. us the pretty ingenue of 'the piece, were thorough'?- in (he picture, and their work showed ability. Tho ladies ot the company, be it added, have excellent opportunities for displaying frocks of an attractive order. In broad comedy an ontstanding impersonation' was that given by Mr George Blunt, as the butler whoso feel, iugs are so harrowed throughout three arts that he is finally reduced to tears. In stage deportment and facial expression Mr Blunt's work was masterly. Miss Marjorie Bennett handled cleverly the part of the maid servant who so much attracts tho hero, and other roles of more subsidiary import were well filled hv Mr H. IT .Wallace. Mr Lou Vernon. Mr George Brvant. Mr Vivian Edwards, and Miss Meno Eaton The stage seeing is effective. Something might be' written concerning the character of the orchestral music considered atipro priate to the presentment rf American farcecomedy. But to what purport? Amongst (lie audier-e last, evening were (he memhe’-s of the Enrrhsh rricW leant, who were tho guests of .T. C. Williamson (Ltd). ‘•.Tohrmv, Get Your Gun” will lie staged again this evening. ;