“THE DESERT SONG”

Taranaki Daily News, 15 November 1929, Page 11

“THE DESERT SONG”

MEMORABLE MUSICAL COMEDY. COLOUR, MOVEMENT, AND MELODY. If public support is an indication of merit there could be no greater theatrical success than “The Desert Song,” which played to a rapturously enthusiastic audience in the New Plymouth Opera House last night. It could faithfully be said that it is the most' spectacular musical comedy that has ever visited Taranaki.

Following the tendency of most modern productions of its kind, “The Desert Song” depends on the scenery and lighting effects for a large part of the success, and it will be a long while before people will forget the realism of the desert scenes in daylight and darkness, the golden yellow sand fading into the dimness of distance, the purple lights of the mysterious Eastern night, the splendour and gaiety of the Moroccan halls, and last, and by no means least, the magnificent white Arab steed which, prancing on to the stage twice during the performance, sent such a thrill through the heart of every young person in the audience.

The story opens in the Riff Mountains, and is one of a young French officer, Pierre Birabeau (known later as “The Red Shadow”), who, chafing under the injustice wrought by his troops in Morocco, becomes leader of a band of Riffs with a mission to set wrong right by the sword. His identity as “The Red Shadow” is but his position is rendered hazardous by the fact that his father is appointed to exterminate the Unknown leader of the Riffs. In order to avert suspicion, when with his father Pierre assumes the role of a simpleton, and his father regards him merely as a milksop. Pierre is in love with his cousin, Margot Bonvalet, who is also being wooed by Captain Paul Fontaine. The latter lias contracted a mesalliance with’a halfcast girl known as Azuri. Margot looks upon Pierre more as a brother, and treats his attentions with indifference, but presently her imagination is stirred by the deeds of the mysterious Red Shadow, and, later, Pierre in this disguise,’ carries her off to the harem of his Arab friend, Ali Ben Ali. Here he declares his love for her, and Margot whilst rebelling at' her enforced captivity, submits to the wooing of her desert lover.

The Red Shadow then finds himself in trouble with the Riff band over Margot, but he defies and cowes them, but when, later, his father —the general—appears on the scene and challenges him to a duel, rather than disclose his identity, he refuses to fight him. For this refusal he is branded by the Riff leaders as a coward, and pays the penalty by being driven out into the desert without food, and only a broken sword to defend himself.

What would have happened if Azuri had not given the whole thing away in an hour of vengeful maliciousness is of no great concern, but through her the general learns of his son’s secret. Ho decides wisely to keep this knowledge to himself, and consents to the marriage of Pierre and Margot, the latter of whom experienced a moment of delight when she learnt that the half-witted Pierre and the mysterious Red Shadow were one and the same individual.

Perhaps longest of all the musical gems for which the production has become famous, will linger in the memory. “Blue Heaven and You and I. . —what maiden iff the world could resist the rich and tender appeal of the “Red Shadow,” none other than the popular Lance Fairfax, as he poured out his tale of love in music to that captivating bundle of brunette vivacity, Romola Hansen, at the conclusion of the first act; or “One Alone” by Lance Fairfax and his chorus, in the second act. A masterly touch of comedy was lent to the production by Herbert Mundin, whose very appearance was a signal for laughter. Memories of “Rose Marie’s” Wanda, or, more still, the half-caste lady in “White Cargo,” were recalled by the character and dancing of Sonya Rosova. She brought into ”the play at intervals an atmosphere quite her own. Hers was a difficult part well done. Nobody likes to bo a villain in the piece, but Sidney Burchall, as the French military captain, made a very good villain, and turned up trumps in the end. Altogether, “The Desert Song” is a triumph of colour, movement, and melody, the sort of thing that will be talked over and thought about with enthusiasm at this morning’s breakfast, and dreamed of in years to come with the whimsical regret attached to a memorable romance of the past.