STRAND

Sun (Auckland), Volume 1, Issue 91, 8 July 1927, Page 14

STRAND

FAREWELL WEEK Saying “good-bye” is such sweet sorrow, but the Humphrey' Bishop Company has decided to make its farewell a joyous affair. Although the whole company' is sorry' to leave Auckland, and the Strand, which has been quite a happy' home for it during the last three weeks, it is determined to be cheery' about it. In fact, the keynote of its final programme is comedy*, and all who have been to the Strand lately', know that the Humphrey' Bishop comedy is real comedy' of a very high standard. The Humphrey Bishop company' will carry with it to Australia the knowledge of a very successful season at the Strand, and the memories of many-

happy' evenings with Strand patrons. Its farewell programme is made up. as follows:—Overture, featuring Frank Egan (violinist), Tom Hardie (cornetist) and Billy Barry* (drummer); Humphrey’ Bishop introduces his company; ragtime ensemble—Marie Landon, Alan Kitson and the company* in “They’ Call it Dancing”; John Montfort and Walter Kingsley’ will sing “The Battle Eve”; George (“Scratcher”) Ross, assisted by Charles Albert and Alan Kitson, in a comedy interlude: Elaine Maye and the gentlemen in “Springtime”: Arthur Hemsley, the Lancashire comedian; Thelma Trott and John Montfort, featuring “At the End of the Sunset Trail”; George (Scratcher) Ross; Evadne Royle and Charles Albert in “Typing”; Marie Landon and Arthur Hemsley in a specialty act: Alan Kitson and Elaine Maye, in a light comedy duo; Charles Albert and the girls in “Four Pretty Maidens”; Walter Kingsley, the eminent London baritone, featuring “Mountain Maid” (Lawrence Guttridge); George (Scratcher) Ross, assisted by Marie Landon in a comedy sketch; the company at a birthday party; grand finale, in “Opera v. Jazz,” featuring George (Scratcher) Ross and the company*. In keeping with the high standard of the Humphrey Bishop programme, the management has arranged for a film of similar merit to be screened. One of the most delightful comedies of 1926 was Marshall Neilan’s production “Mike,” in which the leading players were the then almost unknown William Haines and Sally O’Neil. Since that time they have both appeared in numerous pictures of distinctive worth. Now they are associated together again in “Slide, Kelly, Slide,” which is William Haines’.s first picture since his elevation to stardom.

“Slide, Kelly', Slide,” serening tonight at the Strand, is an exhilarating sporting romance of the baseball field, and carries further the new standard that Haines set with his recent picture, “Brown of Harvard.”