GEORGE WALLACE IN FORM

Southland Times, Issue 23178, 20 April 1937, Page 11

GEORGE WALLACE IN FORM

BRIGHT REVUE TO OPEN SEASON VARIETY AND BALANCE IN VAUDEVILLE George Wallace is back, and several new shirts, to one of wliich a pronounced red check gives tone, and a very bright company. His absurdities and the quickly-moving programme, full of vaudeville contrasts, of “Calling All Stars” kept a full house in the Civic Theatre last evening simmering with laughter. George Wallace is, of course, an established favourite with New Zealand audiences, and he showed last evening that he is as brilliant and versatile in his own inimitable manner as ever he was. He set the pace for a show that went with a rush from the opening chorus until the final curtain. This company has been assembled by two other popular revue artists, Mike Connors and Queenie Paul, and, taking the opening gala performance as an indication, they have got together a first-class combination of talent. The fun began in earnest last evening when George Wallace trundled in after the opening chorus complete with, repertoire of antics, gags and clever insinuations. His “asides” comprised one. of the highlights of rhe show, and his inconsequential sketches were delightfully handled after his. own broad fashion. A great deal of his success can be credited to the enjoyment which he himself appears to get cut of them, and he had a great time as a rare type of recruit in an army squad which could not exist off the stage. “Forgive Her” was given an unexpected and hilarious ending, and then George proceeded to instruct an artful wife in the intricacies of dress, or undress, in “What’s Good for the Goose.” He was entirely at home in “Haven’t I Met You Before,’’ and “Almost a Romance, one of his own comedy-dramas. “Hotel Insomnia” was a particularly bright interlude, with the comedian making a particular but evidently successful, noisy guest and Queenie Paul and Mike Connors playing the roles of a French bride and her husband. “Home Truths” was a little story with an unexpected twist, and then George Wallace and Will Miller made thorough nusiances of themselves as “The Pests when the Bulgarian Trio made its appearance.

Controlled Acrobatics

One of the star turns of the evening was that of the Russell Brothers in “Les Silhouettes,” a very fine exhibition indeed of controlled acrobatics. The Marcella Trio’s turn was up to the same standard, all three members, particularly the girl, giving finished adagio performances. The audience was most enthusiastic and these two numbers were deservedly singled out for special applause. Minnie Love, an erstwhile Williamson star, was applauded for clever impersonations, Maurice Chevalier, Gracie Fields, and the Scottish comedian, Will Fyfe, all coming under fire. Tap dancing and a little acrobatics were mixed by Rex and Bessie, stylish tappers, and Lulu Fanning and Bob Butt were supported by the girls of the ballet in their vocal numbers. The ballet, in fact, was responsible for . much of the colour of the whole evening. “Dancing Cheek to Cheek” was its big number, and skilful arm movements and poise were effective against the atmosphere created by the costumes, each girl being dressed half in. male and half in female clothing. These were the main attractions of a show that will certainly appeal to Invercargill audiences. The staging and costuming were good, the programme was well balanced, and there was a continuity of action and laughs that continuity of action and laughs • that enabled George Wallace to “mess about as usual” to his heart’s delight and the joy of the house. Em Beacham and his band contribute their quota to the evening’s fun. Incidentally, Wallace displayed two more of his wide range of accomplishments. As a lightning sketch artist, he painted in a striking background for the singing of “Red Sails in tiie Sunset” by Queenie Paul and Mike Connors, and as a. tap dancer he mixed some good stepping with some excellent burlesque. The programme will be repeated this evening. _____