BOXING PLAY IN SYDNEY.

Waikato Times, Volume 106, Issue 17840, 12 October 1929, Page 17 (Supplement)

BOXING PLAY IN SYDNEY.

“HOLD EVERYTHING.” GOOD DANCING SHOW. “Have you ever seen a real fight?” asks Pop Cory of Mary Lawson at the boxers’ training camp. “Not since mother left father,” artlessly replies Mary. That is a sample of the witty dialogue that keeps the house in laughter throughout the greater part of “Hold Everything,” the American musical comedy produced for the first time in Australia at Her Majesty’s (says a Sydney paper). It is a very bright show, and it says much for the skill of the producer that such capital entertainment has been made out of sucli thin material. What story there is, however, runs continuously through the piece, and il is so delightfully padded with ballet and chorus that its unsubslanlialily passes unnoticed. There is nothing specially attractive about the music, with the exception of two pieces, one of which, “To Know You Would Be to Love You," would be more effective if Pat and Terry Kendall could sing as well as they can dance. The curtain rises on Pop O’Keefe’s training camp at West bury, New York, and the fun begins right away. Terry Kendall, as the champion boxer, Sonny Jim Brooke, is being prepared for his big fight with Bob Morgan, and as he is the idol of all the girls about the place Pop has a busy time keeping the flies off the sugar. In direct contrast to Jim’s spruce appearance is Gink Shiner, another boxer in training, but a wholly humorous absurdity in the clever hands of Alfred Frith. He is evidently not even a boxer’s shoelace, but he finds a kindred spirit in the camp cook, Chubby, a part played with Irresistible humour by Cecil Kellewav. Chubby pays his income tax by backing Gink’s opponents, and so It comes about that he takes an abiding interest in Gink's thirst for a beverage ho calls “snitzelputzer,” or, in plain English, beer. Bight up to the fight in the ring, which takes place in the second act, witty and humorous dialogue is bandied among the comedians —Alfred Frith, Cecil Kelleway, and Mary Lawfiont —while like the bloom on a budding peach tree the ballet and chorus weave a web of colour and rhythm over all. Pungent Humour. Alfred Frith, Cecil Kelleway and Mary Lawson, by their incomparable fooling, carry the show in triumph to a successful conclusion. Neither Firth nor Kelleway has much to thank the authors for in the way of parts. But by their own individuality and pungent humour they make much out of little. Mary Lawson, the new English comedienne, creates an excellent impression by her quaint humour and clever grotesque dancing. She and Frith are an Irresistible pair. Terry Kendall, as the hero, knocks out his man in good style with an uppercut that seems to be aimed at the “flies,” and with Pat Kendall, as Sue Burke, bis fiance, dances gracefully and with skill. Elsie Keene, as Sue's rival, and Tui Black, as the rival of Toots in the affections of the amusing Gink, are good, and Pop Cory, as Pop O’Keefe, is at times quite furious as a trainer of pugilists. The ballets are frequent and delightful, the boxing atmosphere being admirably maintained by the shuffle of boxers’ feet running rhythmically through most of the dances. Highwater mark is achieved in the ballet at the end of the first act, in which the girls and boys exercise themselves in skilful and picturesque manner, going up and down a broad staircase. Specialty dances are also given by the tteno Brothers, assisted by the Fallow Sisters.

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