HIS MAJESTY’S THEATRE.

New Zealand Illustrated Sporting & Dramatic Review, Issue 1507, 13 March 1919, Page 34

HIS MAJESTY’S THEATRE.

“GOING UP.”

HUGE SUCCESS OF NEW PIECE

A rich farcical theme, a wealth of catchy music and a galaxy of girls are artfully blended in the latest musical success, “Going Up,’’ which was presented to a crowded audience at His Majesty’s Theatre on Tuesday night, under the J. C. Williamson direction. The new aviation play with its thrilling ingredients, proved an instantaneous exhilarant, the audience simply revelling in its gaiety and leaving no point to settle as to their affection for musical comedy. It isn’t every piece under that heading that has music and comedy as well. “Going Up” scores in both. The plot is founded on James Montgomery’s play “The Aviator,” and proves that “a little knowledge is a dangerous thing.” Robert Street has written a book called “Going Up,” in which he so realistically describes the experiences of an aviator that he has become quite a celebrity. He is always being called upon to describe his sensational flights, which he does with great dramatic fervour, although as a matter of fact he has never been in an aeroplane. Also staying at the hotel is a French aviator, who becomes jealous of thei lionised Street and challenges him to an aerial contest. the stake being a pretty girl with whom both are in love. Street simply has to • accept the wager, and he hires a motor mechanic to put him through the traces. It is a mere incident that the instructor makes ominous reference all through to the inevitable fate of an aviator. The flight, however, takes place, the presence of an aeroplane on the stage gives realism to the scene, there is the spectacle of the machine flying in cloudland, and the climax of excitement is reached in the receipt of telegrams from all over the country describing the progress of the flight, this being possible through Street, be it mentioned, having dropped his book of instructions! “Right to turn to the right; left to turn to the left; downwards, upwards; upwards, downwards!” Of course he wins triumphantly, but there’s a world of feeling in his reply to his fiancee when she implores him never to fly again. “You have your wish,” he says. Mr. Alfred Frith, as Robert Street, has a part which gives him a chance to exploit his comic possibilities to the full, the anguish of the unhappy aviator being cleverly emphasised. Mr. Field Fisher as Sam, the heavy mechanic, furnishes a rollicking piece of comedy in the scene wherein he teaches the author the whole art of flying in one lesson by the aid of a table, some chairs, a hat and cane. Miss Gracie Lavers, as Grace Douglas, Street’s betrothed, captivated all with her dainty winsomeness and adaptability in song and dance, and is charming enough in all conscience to justify the aviator’s grim determination to fly or die for her. Miss Cecil Bradley as her chum has a delightful sense of vivacity, and her vocal numbers are artistically rendered. There are several tuneful songs in which she and Miss Lavers, with their strong feminine appeal, share the honours. “If You Look in Her Eyes,” the refrain of which crops up now and again in the piece, is a special favourite. “Tickle Toes,” an alluring little ditty with a persistent note in it, and sung by Miss Lavers, haunts one with its lilt. One of the biggest hits is the central song “Going Up,” given by Mr. William Greene, assisted by the chorus, which at the conclusion forms a human aeroplane, with Mr. Greene at the wheel. “A Little Birch Canoe” (Miss Cecil Bradley), “Kiss Me” (Mr. W. Greene and Miss Gracie Lavers), “I Want a Determined Boy” (Miss Cecil Bradley and Mr. Cyril Ritchards), “There’s a Brand New Hero” (Mr. Wm. Greene and Miss Madge Elliott), “Up, Down. Left, Right” (Messrs. Field Fisher, Fred Maguire, Alfred Frith, Cyril Ritchards), are just a few of the numbers that jingle pleasingly in the memory. Miss Maude Beatty in a

small part, * excellently handled, met with a warm welcome from old friends, and Mr. George Willoughby, another well-remembered favourite, put in his share of the vim. Miss Madge Elliott’s dainty solo dancing, the • eccentric stepping of Messrs. Jack Hooker and Tom Preston, the fine work of the chorus and ballets, the exquisite harmony of the costuming, are all features of a joyous production that, judging by the enthusiastic applause, should play to overflowing houses during its several nights’ run. “OH! BOY.” Of “Oh! Boy,” the new musical play, to be seen here for the first time, a leading Sydney critic writes as follows: “As to ‘Oh! Boy’ there is good reason for approval, for the show is infinitely more tuneful and sparkling than many that have succeeded before it. Every girl in the chorus, and there appears to be hundreds of them, appears to have a pretty dress, and every dress is tasteful. For this Lady Duff, the designer of the costumes, is to be applauded. As to the story, of which there is a great deal more than in the ordin-

ary musical play, the action takes place, firstly in the bachelor apartment of George Budd, to which he brings the bride, with whom he has eloped; and secondly, at the Meadowbank Country Club. Circumstances necessitate the bride leaving, and other circumstances necessitate Jackie Simpson—a rather gay young ladyoccupying the bride’s room, and incidentally wearing the bride’s pyjamas. Here a combination of happenings place the unfortunate bridegroom in serious difficulties. These are encountered for two strenuous acts. The production is one of the very best of its kind, in the very best of its class.”