“STAR-SUN” CRITICS REVIEW OF SHOW AT CHRISTCHURCH

Otago Daily Times, Issue 27092, 28 May 1949, Page 3

“STAR-SUN” CRITICS REVIEW OF SHOW AT CHRISTCHURCH

“ HELLZAPOPPIN ” ‘ IS IN- ' SPIRED LUNACY

There may have been crazier shows at the Theatre Royal,' Christchurch, than “ Hellzapoppin,” but. if so, it is certainly not within human memory. The show, which opened its Christchurch season on Saturday night, can best be described as inspired lunacy. It had the audience rolling in their seats with helpless laughter, from the pre-curtain hilarity when a posse of crazy cops escorted late-comers to their seats with fusilades of pistol shots, until the final curtain. Christchurch audiences are commonly believed to be fconservative and hard to move, but the infectious gaiety of the Olsen and Johnson craziness made the capacity audience willing to participate in the fast and furious fun of a show that fully lives up to its expressive title. It is hard to imagine sober Christchurch folk singing and shouting against each other in a burlesque of an old-time revival meeting, but it happened on Saturday night. It is hard to imagine staid Christchurch business men dancing in the aisles and on the stage with the lovely ladies of the ballet, but it happened on Saturday night. Even more popular than these hilarious turns was the distribution of costly presents among the women members of the audience—silk stockings and attractive dressing gowns being examples of these munificent gifts. But “ Hellzapoppin ” does not depend entirely on the audience to make its own fun. A 1 Thomas and Alec Kellaway, for example, are two of the most delightful high-pressure comedians imaginable. They compered those parts of the show which required the co-operation of the audience, and their work was showmanship to the highest degree. Then there was Garth Mitchell, a comedian with that effective lack of facial expression that was so successfully exploited by Buster Keaton of film fame. Rebla. the burlesque juggler, and Tom Toby, a forceful baritone, are both excellent turns. It is in keeping vlith the general atmosphere of this crazy show, however, that even a “ straight ” singer like Toby is not allowed to put over his act without a series of rollicking interruptions. An exhibition of ballroom dancing by June- and Collett also ends in a riot, and Reg. Thorpe, although a brilliant trombonist, elaborates his turn with a clever assumption of intoxication. Yvonne and Yvette impressed with a whirlwind display of acrobatics, and hillbilly songs by Tex and Lucky had sound effects that had to be believed. A sprightly chorus, led by Billie Ponds, played a big part in the success of a show that will live long in memory as the absolute ultimate in foolish, frantic, and funny entertainment. Note: Box plans open on Monday at the D.I.C. six days in advance. Be wise—book early.—P.B.A.