BRIGHT MUSICAL COMEDY

Taranaki Daily News, 23 July 1931, Page 6

BRIGHT MUSICAL COMEDY

GREAT SUCCESS ACHIEVED FIRST NIGHT PERFORMANCE. “PLAY YOUR KING” AT STRATFORD If the new musical comedy, “Play Your King,” with its wealth of dramatic situations, its riotous humour, ibs air of gaiety and its artistic conception, had been interpreted by a professional company to a critical first-night audience, its success could have been no greater than was achieved by the Stratford Amateur Operatic Society last night. The author of the play, Mr. W. Graeme Holder, New Plymouth, was given a warm reception last night, and received many congratulations, not only upon his authorship, but upon his production as well.

The play was crowded with all the essentials demanded of popular musical comedies, and ■was ably led by a fine orchestra of 13 instruments conducted by Mr. F. Kear, with Mrs. Kear at the piano and Mr. C. H. and Miss Rogers playing first violins. Mr. Rogers was leader of the orchestra. The novel ballets which formed so important a part of the entertainment were invented and arranged by Miss Tui Mcßae. The stage director was Mr. Carlton Healy, the stage manager Mr. C. Till, the wardrobe mistresses Mrs. Femmel and Mrs. Christie, the property master Mr. H. Black, stage assistants Messrs. M. Foster, L. Wilson and A. Morgan, while responsible for back-stage detail were Mr. and Mrs. S. Robinson. Master L. Failey was call boy, and lighting effects were the work of Mr. A. E. Moss, borough electrical engineer, assisted by Mr. A. E. Pollock. The curtain was rung down to sustained applause upon one of the finest productions of its kind staged in Stratford. STORY OF HUMOUR AND DRAMA. The story of a “hedgehog’s” metamorphosis into the position of a rich, though sadly deficient, young man, and the descent of a really “nice” millionaire from social eminence “to the inferior classes,” is the direct cause of intriguing complications when King Mitzlm of Boronia favours the establishment with an official visit. The millionaire’is rather flighty lady friend transfers her affections to the new master of riches, the consideration being a small matter of £50,000, and at once a situation of domestic intensity is superimposed upon the main issue of the royal visit, because Elva Brannigan, one of the housemaids, fails to appreciate the obligations of wealth as related to the past familiarity ■of the servants’ hall. I

Edge Hogg extricates himself by cool effrontery and proceeds to welcome the King, his royal beard and his retinue as though to a manner born. His initial contact with the royal estate makes a delightfully humorous scene, but the atmosphere of levity changes to pending tragedy when among those present the King discovers exiled Baron Gtibel Praanz and his fascinating daughter, Marya, who-were banished from Boronia owing to the baron ? s agitation against the law decreeing that all male Boronians should wear beards. In a stormy interview the King reiterates the order of. banishment, but then half promises to annul it if Marya will consent to receive his attentions. Marya spurns his offer, and John Buxton Craddock Brown, the millionaire who sought happiness in foregoing (temporarily) his wealth and position, recognises in Marya the girl to whom he lost his heart at Ostend. As Edge Hogg’s butler, he intervenes at a critical moment, prevents a duel, and becomes reconciled, for the moment, at any rate, to Marya. For his pains he is discharged by Edge Hogg. Then comes intrigue and conspiracy. Praanz uses the- granting of his consent to marriage with Marya as a means of inducing Brown to throw a bomb at the King. The first missile is caught by Baron Ockadune, the King’s aide, and thrown into the river, and the second is wrested from Brown by the excited Edge Hogg. Thus is the guileless Hogg caught up in the toils of anarchist sehemings and has to flee, for his life. Unfortunately, he falls into the hands of Kadmo Krissor, the black menace of every European throne, who “bombs all kings whenever and wherever he finds them.” He is furious that an amateur like Brown should have usurped his prerogative, and has Hogg and Delysia Cranbourne seized by his gang. In the middle of an exciting scene Marya rushes in with news of the police. The gang scatters, and a few moments later the audience is delighted by one of the hits of the comedy—the policeman’s ballet. For the final scene, the two sets of conspirators move to Brighton, where King Mitzlm is spending the week-end. There another attempt is made to bomo him, Krissov insisting that as a professional “he should do the job,”, which Praanz contends that his is the right as an exiled Boronian and an insulted father. This scene has great possibilities, all of which have been exploited in catchy song numbers, ballets and choruses. In due time the King appears, bombs are thrown and caught, anarchists are held up at revolver point, and a situation finally evolves where 1 the King sees that he owes his life to the action of Praanz. In gratitude he allows the royal barber to shave his chin, and gives his royal. blessing to the union of Marya and Brown. 1 BRIGHT SONG NUMBERS. Without a personality like that of Mr. A. L. Macpherson to play the part of Brown, the comedy would lose much of its effectiveness, but by nature and training he is especially suited to this engaging character. His splendid voice is heard in solos,/duets, quartettes and quintettes, but is' perhaps most pleasing in the lively “We Two’ duet with Delysia (Miss Hope Grant) and “Whistling the Blues Away,” where he combines with Miss Vonnie Sheahan (Elva Brannigan) to create a melody that will haunt the streets of Stratford for many a day. There is another very pleasing duet, “Dream Away,” when Brown and Marya (Miss Myra Wilson) sing together of what might be. These two seem to have a penchant for visualising future happiness, for another of their popular numbers is “Along the Road of Dreams.”- They are last seen in each other’s arms gazing out to sea from the Brighton pier, while Mr. Macpherson sings “If I Were King.” It is a fitting scene to close a production of such colour and music.

Mr. Holder, the comedian of the cast, has to sustain witty repartee and sparkling jokes during a considerable period. At times he is irresistibly funny, but on at least one .occasion he rises to utter

dignified rebuke that even a king has to accept. Mr. Holder makes an early acquaintance with the orchestra when he sings, “Oh, It’s a Healthy Life.” This is his only solo, but he joins in a number of harmonies, with good effect. He is, however, always to be remembered as the funny man trying to ape hia betters, and the enthusiasm his mannerisms called down must have convinced him that he made his difficult part a success. Royal splendour surrounds the very effective entry of King Mitzlm, ab:y played by Mr. A. E. Pollock. It is a good part,.and might have been written especially for Mr. Pollock. He is never caught out of countenance, even when the bomb-throwers unfairly seize ‘ a moment when he is about to go swimming, and the unfortunate man has to appear garbed quaintly in his dressinggown. Mr. Pollock is a success, and leads the company with an agreeable baritone in “To Hold You.” One would have liked to have heard more of his singing. A VERSATILE PLAYER. One of the “finds” of the company is Mr. Murray Thompson, who as the King’s aide, Baron Ockadune, also has a beard. He speaks in the manner of a foreigner and has a way of making ejaculatory noises that commands instant attention. Mr. Thompson so pleased the audience that it became obvious that he must be destined for a more important role at some future production. Although he does not appear until the second act, Mr. R. K. Barron, who plays the fanaitical anarchist, Kadmo Krissov, enjoys a sensational entry and immediately sings “Song of the Roguqs” in a picturesque setting. This is followed by the character song of fate, “The Whip.” He has an excellent voice for his part, and is an actor of parts. With his renegade lieutenant, “Ears” McConachie, played by Mr. M. Moore, he soon becomes the central figure in a number of telling episodes. The last of the male principals is Mr. J. H. Howard, the exiled Baron Praanz. He also fully justifies his inclusion, and carries off his part with distinct credit. Filling lesser roles are Mr. V. J. Henderson, a nosy detective; Mr. P. Joblin, the major-domo; Mr. A. G. Gover, Darragon; Mr. W. Payne, Brangini; Mr. R. J. Laird, Gorstaff (Praanz’s silent minions); Mr. C. Brown and Mr. D. Bain (Kadmos’ comrades) and Mr. C. Gulbransen (Simpson, a footman). THE LADY PRINCIPALS. The comedy calls for more sustained effort on the part of the men, but Miss Myra Wilson, as Marya Praanz, a dainty figure with a golden voice, xt was no wonder she won the heart of a king, as well as that of a lover. She entered completely into the part. At first she was regal in bearing; then panic-stricken; then lover-like; but throughout wholly delightful. Miss Wilson’s youth was her asset, and her acting was a real pleasure to witness. In direct contrast both in voice and bearing was the adventuress, Delysia Cranbourne (Miss Hope Grant), whose soprano voice reached the audience best of all the ,lady members. She was attractive and vivacious, combining an eye for the main chance with a delightful way of retaining the friendship of her old love. Miss Grant is an old favourite in Stratford, and her efforts last night enhance her popularity. She, apparently, was never conscious of acting, but acted superbly nevertheless. Elva Brannigan was a young lady of contradictions who was prepared to accept silk stockings on the slightest provocation, but did not hesitate to cast the gifts away when slighted by her lover. Miss Vonnie Sheahan played this part successfully, and in her scene with Edge Hogg captured the audience completely. All the world loves a lover, and when Elva lost hers she had the complete sympathy of everybody. A sweet voice, just strong enough, had Elva, but it was heard to great advantage in her part of “Whistling the Blues Away.” Mrs. R. J. Laird had to be staturesque and, oh, so dignified. She was a countess of Boronia, and very much the countess. Her part was not so heavy as others, but the part could not have been better chosen. Miss E. Gadsby as Dawn Broker was heard in only one song, but the audience would have liked more. Her part was that of a spy for “Ears,” and she figured in a dainty setting. Another lady member of the cast who appeared at intervals was Perkins, a maid, Miss J. Hopkins. Included in the galaxy of ballets is an aerobatic dance by Miss Enid Haseldine, and a solo dance by Miss Joan Cresswell, both of which deserve commendation.

While the policemen’s ballet, to “Sweet Jennie Lee,” perhaps because of its originality, was the most enjoyable ballet number, there were two dancing items that were beautifully designed and daintily executed. The gossamer-clothed ballet of 16 girls was wonderfully well carried out, and their dance to the chorus “Moonlight on the Colorado” was an exceedingly pretty scene—one of the finest of the comedy. Then the girls’ tap ballet, co-incident with the duet “We Two,” called forth rounds of applause. There were several other ballets, all with something unusual and something novel to command attention. The chorus work of the production was one of its strong features, this being especially noticeable in the opening of the second act and in the jolly “Betty Co-ed.”