PRINCESS THEATRE.

Otago Daily Times, Issue 20362, 20 March 1928, Page 10

PRINCESS THEATRE.

When the curtain at the Princess Theatre is rung down for the last time next Saturday evening. George Wallace and the members of his bright little revue company will pack their trunks and seek fresh fields and pastures new. Dunedin is to be without its popular udeville for some time, because a programme of building and renovation is about to be launched, and for the nest five evenings, the present entertainers will bid farewell to their many friends. Last evening the final George Wallace production was offered to a vastly amused audience, which demonstrated its complete approval of everything that the programme contained. Tuneful music, brisk dancing, and droll humour combined to form a really enjoyable show, while the nature and quality of the mounting proved that'the producer’s box of tricks'was by no means exhausted. Not that the revue and vaudeville programme was new. On tho contrary, practically every turn was easily recognisable as a previous George Wallace success. However, each was garnished with a fresh sauce in the form of new frocking and changed scenery, the result being eminently satisfactory to all. In the role of Constable Dreadnought of Harmony Row, George Wallace presents a brand of comedy that appeals by reason of the utter 'incongruity of the character. It is one of his best sketches, and there is little wonder that he chose it as a parting offering to a city in which his New Zealand reputation has been so greatly enhanced. Many times have regular patrons of the Princess Theatre seen the little figure with its shiny helmet, shuffle into view and start at the slightest sound, yet they do not seem to tire, and the laughter last evening was as spontaneous as ever. “ Harmony Row ” opened after the interval with a full ensemble in the usual slum setting. Marie Nyman was prominently cast .as the waif, and Marshall Crosby played the Irish police sergeant to the life. The formidable “Slogger” Lee was given a villainous character by Tim Lincoln, and Les Daley paired off with Ada Scaddan, adding a touch of apache colour to tho proceedings. “ Only a Copper ” enabled George to introduce himself with a mournful melody, and a little later he partnered Letty Croydon in “ Every Saturday Night,” and Marie Nyman in “ You’re Tired of Me.” Marshall Crosby has sung nothing better than “ Rosie O’Eyan,” an Irish ballad given with excellent gusto, while Tom Lincoln gave a jaunty swing to “ Jimmy Valentine’s Got Nothing on Me.” Throughout, the Six Rascals danced better than they have done for many weeks, and’wore fascinating frocks. The first portion of the programme was enlivened by an antiquated but enjoyable farce entitled “ The Niggers,” and hampered by an uninteresting knock-about comedy sketch labelled “ The Labour Bureau.” In the firstnamed George Wallace was the husband- , worm, who finally turned on a masterful wife, and dealt with her in a manner that earned for him tho hearty support of every married man in the audience. Similarly, Letty Croydon, as the intimidated spouse of Marshall Drosby, sought courage in a gin bottle, and turned the tables to the delight of the ladies. In tho Labour Bureau George Wallace was again the medium for dispensing much laughter. The Daleys contributed another of their pleasing “ topicalities,” Les Daley finding it necessary once more to enumerate a wellworn list of sporting favourites, Again George Wallace appeared, this time as a solo performer, and sang about his amorous adventures with Ethel—evidently a very forward girl. “ The Art of Hypnotism” provided another hilarious interlude, and Marie Nyman led a colourful Spanish ballet. There are few weaknesses but many entertaining moments in the last George Y allaco pxoduction. It provides a diversified evening.