OPERA HOUSE.

New Zealand Illustrated Sporting & Dramatic Review, Issue 1544, 27 November 1919, Page 32

OPERA HOUSE.

There is a judicious mixture of vaudeville and tabloid musical comedy at the Opera House this week, the former being led off by the Cracknells in a whip and lariat manoeuvre. The smiling, fair-haired little lady who offers herself as the butt of fearsome whip-cracking feats by her partner has plenty of nerve, and stands calm and composed under the most apparently dangerous circumstances. To light a match on a box by the flicking of a long whip—the match and box held in the girl’s fingers — is only one of a succession of delicate manoeuvres carried out by the man. A big greyhound puts the finishing touch to their act with a series of high jumps, and it’s more than pleasing to record the touch of humanness in the way the dog’s master catches the animal in his arms before it alights on the ground, thereby minimising any hurt it might sustain, and absolutely inspiring confidence in it. The supple Aston Brothers repeated their exhibition of strength, illustrating their perfect command in the art of balancing and lifting. Frank Sidney displayed accuracy and judgment in his leaping performance over chairs and tables and in a neat feat with a bicycle and lighted candles. His partner made herself useful in various ways, and Zillah, the singing dog, showed her importance in the turn. Those eccentricists, Doody and Wright, made another hit with their absurdities, particularly in the drum-playing incident. Mr. Ernest Barraclough suplied the only vocal offering and was in general favour. Mr. Walter George’s Sunshine Players were responsible for a highlyenjoyable second part, “The Blacksmith’s Wedding” being the vehicle for bright action, tuneful singing and graceful dancing. Mr. George was capital in a character part, and made a big success, of his songs “I’m Called Silly Dick” and with Miss Georgie Martin in “I’m a Simple Country Lad.” Miss Martin was a lively element all through, scoring heaviest in her woeful lament “Why Am I Always the Bridesmaid?” Miss Hylda Shannon gave a charming rendering of “Pipes of Pan,” from “The Arcadians,” and Miss Dulcie Milner was delightfully naive in her singing of “Mary at the Dairy.” Mr. Reg. Hawthorne put plenty of dash into “Girls I Have Met,” and Mr. Barry Hitchings’ number, “The Maid at the Inn,” was supplemented with an animated chorus. “The Bells of St. Mary’s” was one of the most popular interpolations, Miss May Geary (looking bewitching as the bride) and Mr. Frank Haining having the assistance of the chorus in adding to the effect. Miss Polly McLaren’s interpretation of the “Dying Swan” dance evoked hearty plaudits, and a country dance led by Miss Vera Murray was another item that caught on well. The show without that chirpy little comedian George Storey would be bereft of its mirthprovoking qualities, and one only has to hear the chuckles when his appearance is signalled to know the part he plays in the enjoyment scheme. As a motorist in difficulties he gets full scope for his ready supply of drollery, and his tinkering with the car was accompanied by continuous peals of laughter. Amusingly . worked, too, was his “Plum and Apple” chorus ditty, from which it was easy to see his popularity with the house.