THE "DIGGERS.”

Poverty Bay Herald, Volume XLIX, Issue 16042, 1 February 1923, Page 5

THE "DIGGERS.”

MERRY ENTERTAINERS AT OPERA HOUSE. The reputation attained by the Famous Diggers’ Company of entertainers on previous visits to Gisborne is enhanced bv the new show they have brought and which they presented' to a crowded audience at the Opera House last evening. All the elements that made the Diggers popular in past years are, still there, and there is the additional attraction of .a. bevy of girls who give great charm and' brightness to the entertainment. The “Superb Six” ba\ r let is probably equal to that of any combination vet seen in Gisborne, and Miss Claire Gooley (soprano songstress) and Eilv Dalgleish (jjagtime queen) contribute a special atmosphere to a production that has already earned a, reputation for first-class work. Joe Valli, the comedian, captivated all by his mil’th-provokiiig activities, and was really the star of last night’s programme. Gus Dawson and Jimmy Norton contributed ragtime songs and clever acting, -and Claude Bell, who possesses a, most pleasing' baritone voice, made a very good impression. The Diggers’ orchestra lias always been'a, feature of their show, and did not 1 fail to do itself credit last night.

The programme tvas a lengthy one, and from the nature of its composition, recalls were not frequent, but the public took every opportunity to encore such numbers as allowed of''it. The overture “Oh Girls,” charmingly rendered by the orchestra, was followed by the open-' ihg chorus “Live for all You’re Worth,’’ a new chorus delivered'with'all the oldtime zest. “Whose Baby are You?” a ragtime song by Gus Dawson and girls, was well received, and an amusing sketch entitled “Taxation and Protection,” by Gus Dawson, Joe Valli, and Eilv Dalgleish, provoked great laughter. Claire Gooley, with Claude Bell, rendered the duct “Where ~My Caravan has Bested,” and tn response, to insistent recalls gave “Rose of My Heart.” “Ma,” a catchy rag sung by Eily Dalgleisli and followed by a smart dance, found equal favor, the encore being “Nobody’s Baby.” .Joe Valli and Stan Lawson made a great* hit in the original skit “The Lost Son,”‘in which Valli is constrained to play the part of an old pantomime mother, with ludicrous effect. Lawson’s work was 1 very effective. The Spanish scena “In Old Manila,” in which Claire Gooley was assisted by Claude Bell and the ballet, 1 georgeously dressed, was a fine number. Jimmy Norton’s first individual item was “A Song, a. Word, a. Dance. 1 ” Ho gave first a shoj’t rag, then a monologue, and final-' lv a very clever eccentric dance which brought the house down. A sketch, “The Best Cure,” depicted the trialof the sick man whose doctor orders him complete rest and quiet. Joe Valli,' Gus Dawson, Leah Wilson, Eily Dalgleish, and Jimmy Ndrton each contributed to an amusing series of situations. Claire Goolev’s fine soprano voice w!as again heard in “Break of Day,” and aii encore “.Pune’s First' Rose,” and the first half closed with a roof garden scene, “Midnight Carnival.” The settiug was most effective, and the dressing Of the ballet a feature- that escaped no eye. A series of items were included in’ this scene, one of the best being a sketch' in which Stan Lawson hiade’an appearance iji his old- character- of the extra Indy. He took the part of Teresa Vampino, and the manner in which Teresa’s little game was brought to nought was cleverly staged. That Lawson has pot lost It is touch, as an impersonator of ladies was proved by his success in the song number “Wouldn’t You* Like to Teach Me?” The Butterfly ballet-tvhs a gcorgeously staged ballet- number, in .which the jerpsicborean capabilities of the “Superb Six” were well illustrated, and “The Red, White, and Blues” was a. burlesque ragtime item in which Joe Valli, the irrepressible comedian,' took the lead. “Martinez” was the entr’acte' to the second half. Tire Indian scena “Pale Moon” was well done by Claude Bell, the soloist, and a party of girls, and; was followed by a song rtnd eccentric, dance by Joe Vnlli, who paraphrased the daily news in tv series of Verses, and as an encore sang “Back to Alabama,” a rollicking skit upon the standard ‘ragtime song.' His quick-change of costume, an.d- the components of his costumes, contributed much to the humor of his appearances. “Baby Mine,” sung by Eily Dalgleish and Gtis Dawson, with an eccentric dance, was heartily applauded, and Claude Bell further success with ■ “Clothes Props” and “Land of Long Ago.” A miniature musical comedy, entitled “The Bride’s Trousseau,” closed the programme. The’ scene was laid in a costumier’s establishment, of which Joe Valli was the manager and Eily Dalgleisb the manageress.' The ballet filled the parts of models, and there were three other characters—the heiress (Claire Gooley), her mother (Stan. Lawson). and the fortune hunter (Jimmy Norton). Musical numbers introduced were “Dresses, CoatA, and Hats,” by the chorus, “Hero Comes the Bride,” by Claire Gooley, “The Fashion Parade,” by Joe Valli and the girls, and “Dear Little Bride,” by the whole company. The fashion parade was very attractive, and the clever dancing and general, action could, not fail to appeal to all. The show, is bright, varied, and a credit ■to the members of tile company, and to Jimmy Norton, the producer. The arrangement of the dances and ensembles by Gus Dawson reflects credit upon that active gentleman, and the musical director, Dave Lockwood, deserves praise for the excellence of the musical section of the programme. The Diggers will make their second appearance to-nigii,t,