“ FOX FOLLIES OF 1929 – OPENS AT THE CRYSTAL PALACE.

Star (Christchurch), Issue 18888, 14 October 1929, Page 7

“ FOX FOLLIES OF 1929 - OPENS AT THE CRYSTAL PALACE.

In the “Fox Follies of 3 929,” the talking? screen brings the world-famous t P <^ atricai thoroughfare of Broadway right to the doors of the world. And by'that one does not mean merely that the singing, and dancing, and spectacular shows that have come to be associated with Florenz Zeigfeld and the Greenwich Village Follies are h-Sre on the screen for all the world to out that the Broadway stars, with their songs and their dances and their Broadmanner, are here in the "Fox Follies.” This production opens a season 5* Crystal Palace Theatre to-day. It boasts a cast of twenty leaders, one hundred in the chorus and fifty in the ballets. Also, a fashion pageant, more elaborate than anything seen on the films before, is a feature in this picture w hich is rich in high lights. And the story-telling aspect is not neglect* When all is said and done, there must be a story*, and the most successful story in the wide world is that of a man and a maid. That is the story the “Fox Follies” has to tell in between magnificent ballets and bursts of merrj’ song and the humorous, fascinating chatter of the stage. The music for this show was written by Mitchell, Conrad and Gottler, and the dances for the fifty ballet girls were arranged by Fanchon and Marco. Marcel Silver wrote the story, and Sophie Wachner designed the costumes, and she has excelled herself. Not only the gowns for the fashion parade came from her, but all the typically "Follies” costumes for the dances and the scenes. One of the best scenes in the

“Fox Follies” is “Under the Sea,” which is a Japanese legend told on the screen. Sea creatures, mermaids, the caves and grottos and the sirens’ songs make this a memorably beautiful number.

Sue Carol and David Rollins head the cast. Sue Carol’s biggest part is her “Breakaway" number with male chorus, a sensational dance number created by her. Sharon Lynn and the chorus sing “That’s You, Baby,” and “Why Can’t I Be Like You?” with great effect, and there are some amazing dances by artists from recognised academies. All the while this is going on, there Is a story. Most wisely, this part has been well attended to, and the audience is treated to an amusing, life-like romance between an actress and her fiance, who is also a millionaire. It is a most fascinating picture, well spoken, fetaged in the grand manner, everything, in fact, to commend it to the public. The supporting subjects comprise interesting talking news reels and other subjects In speech and song. The box plans are now at The Bristol Piano Company where seats should be reserved.