PRINCESS THEATRE

Otago Daily Times, Issue 18850, 1 May 1923, Page 6

PRINCESS THEATRE

If the quality of a revue is to be judged by its capacity to jnako an 'audience laugh -and that, alter hU, is its chief “Fuzzy Wuzzy” (why so called it would be difficult to say), presented by Bert Lo Blanc’s Travesty Stars of 1923, is eminently successful. It has, as usual, no plot, but presents merely a succession of incidents, strung together by musical numbers, sometimes introduced appropriately, at others dragged iu without rhyme or reason; but, being in, they justify themselves in the pleasure they give the audience. "Part of the “plot’’ hmges on the efforts of Lady Grafter (Winnie .Knight) to entangle General Steele (Mark -Erickson), a supposed American billionaire, in which she is assisted by the general’s daughters. _As the billionaire’s wealth, is purely- mythical, he is quite ready to be entrapped, supposing Lady Grafter to be a leader of society. It is a ease of, “diamond cut diamond,” and the audience feels no sympathy with either; but —a not usual occurrence in revue—the dialogue when the general is on the stage is at times smart. Bert Lo Blanc (as Ike Cohn) and Jake Alack (as Morris Levi), two typical stage Jews, are, the chief fun-makers, and the scene in which Ike and the general persuade Morris to run a bank and instruct him in , the way in which it should bo run. Is extremely mirth-provoking. Incidentally, Mark Erickson is the possessor of a very pleasing baritone voice, which ho knows how to use, and his song “American Billionaire,” was perhaps the best number of the piece. Marjorie Daw’s “I Want a Paddy” was greatly helped by the chorus, a ludicrous introduction of mimic babies being responsible for much merriment, whila the chorus girls showed their shapely limbs and, postured gracefully. Other numbers were given pleasingly by Winnie Knight, Alan Shrimpton, Sophie Vivian, and a quartette of girls. When the curtain was lowered it was upon a delighted audience, whose laughter and applause had cheered the performers right through the production.

The first part of the programme was devoted to vaudeville proper, and the fact that no new performers were introduced shows how W'gii/ the members of the company had established themselves in this favour of the public. Violet, Elliott, described, as “2001 b of Jazz,” opened the programme with soubrette selections, which were given with a considerable amount of archness; but in the second song her style of swaying might be changed with advantage. Marvel and Daring gave a fine display of novel chair balancing, the male member \of the duo being dressed and painted like a clown, a representation which was added to by an inane laugh. The voung lady, though not big in build, showed herself to be muscular and just as clever at balancing as her companion. All the tricks were done neatly and with an ease that made 'the audience forget that they Ijad their risky side. Francis Thome, who produces a very good tone and shows himself quite at home with the violin, gave a most pleasing turn. His numbers comprised selections from operas and popular airs, and in tho well-known “Barcarolle” from “Tales of Hoffman,” he was ably assisted by the young lady in the orchestra, who chimed in at appropriate times with harmony as a second violin. J Kearns and Hunt, in a comedy turn, worked well into each other’s- hands, and pleased the audience alike with their singing and dancing, while their patter work was by no means without merit. The M'Kinnon Boys completed the vaudeville part of the show with an entertainment in Scottish music and dances. It opened w’ith a Highland fling by one of the performers to music supplied on the pipes by the other. A concertina solo was scarcely so good, but the dancing of the brothers, singly and together, left nothing to be desired. The same programme will .be given to-night.