“HOLLYWOOD REVUE” AT THEATRE ROYAL.

Star (Christchurch), Issue 18992, 11 February 1930, Page 7

“HOLLYWOOD REVUE” AT THEATRE ROYAL.

“ The Hollywood Revue,” which commenced its Christchurch season at the Theatre Royal last night before a crowded house, is of more than usual interest. In addition to providing excellent entertainment, it gives theatregoers an opportunity to judge the talkies and the vaudeville stage on equal terms. The picture sets out to give a complete vaudeville and revue programme as good as, if not a little better, than might be seen in a first-class music hall. The experiment is' a surprising success, for in many directions the picture is able to go one better than the stage. For t instance, money is a very secondary consideration to a picture producer, and the result is that “ The Hollywood Revue ” contains scenery that a stage could never aspire to, even if it had the space and equipment to use it. The appearance of many leading motion picture stars in this picture is another feature, that adds greatly to it. The vaudeville programme, of which the picture is composed, has been selected with care, and the result is an entertainment that must appeal to the most diverse tastes. First rate comedy, dancing of all kinds and settings of great beauty are all contained in it. The most lasting Impression is undoubtedly made by the loveliness of the “Romeo and Juliet” balcony scene and the finale, “Orange Blossom Time.” Both are in colour, and the result is exquisite. reminiscent in both cases of a Maxfield Parrish painting. John Gilbert and Norma Shearer are the Romeo and Juliet of the Shakespearean excerpt. They have hidden their American accent successfully, but the scene gains most from its colour and beautiful setting. The programme is not, however, allowed at any time to become serious, which is only right and proper with a revue, and when the balcony scene as the poet conceived it has been gone through the spell is broken by a harsh American

“ Okay.” Lionel Barrymore breaks in to tell Nqrma and John that instructions have come from head office to change the name and the dialogue. The pair accordingly go through the scene again in the jargon of modern slang. The other coloured portion Is the finale, which includes a fascinating exhibition of ballet dancing by the Albertina Rasch Ballet. It is all very wonderful, and would alone be worth a visit to the theatre. The comedy side of the programme is thoroughly attended to, and it is pleasing to note how many fun makers of the silent screen are even more of a success when they are able to use their voices as well. Marie Dressier is perhaps the outstanding comedienne of the entertainment. Although it was a picture, the audience could not resist a burst of applause after she had appeared, jewelled from head to foot, and sung “ For I’m a Queen.” She was again on the “ stage ” in a clever and amusing comedy scene with Charles King, Ukulele Ike, Gus Edwards, Polly Moran and Bessie L6ve. After the sextette had kept the audience in roars of laughter for some minutes they concluded with “ Strolling Through the Park One Day.” “Magicians,” with Stan Laurel and Oliver Hardy, was another good comedy turn. The work of the chorus throughout, both dancing and singing, deserves the highest praise. They were employed with particularly good effect in “ Tommy Atkins on Parade,” sung by Marion Davies, “ Strike Up the Band.” by the Brox Sisters, and “ Singin’ in the Rain " with Cliff Edwards and his ukelele. Another outstanding item on the programme was the Adagio dance bv Natacha Nattova and her three male partners. Tt. was n displav of remarkable grace and agility. T ack of space prevents individual mention of the manv other items, but it is sufficient to say that, amongst the other artists anpearing are; Joan Crawford. Conrad Nagel, Anita Page, William Haines and Buster Keaton.