“EASTERN FOLLIES”

Bay of Plenty Beacon, Volume 10, Issue 36, 11 October 1946, Page 4

“EASTERN FOLLIES”

VISITING VAUDEVILLE - COMPANY PLEASING ENTERTAINMENT There will doubtless be many residents of Whakatane who now regret that they were not among those who attended the “Eastern Follies” vaudeville show presented in the Grand Theatre last Wednesday nigfbt by the East and West Entertainment Company. The whole performance was of a consistently high standard, and the continuity of the programme was very commendable.

Although the house was barely half full, the caste lost none of its entertainment zeal, and provided a very satisfying two and three-quar-ter hours of smooth vaudeville.

Leo Chung, principle of the show, possibly headed the bill as the most popular artist. His splendid tenor voice was loud and clear, with an excellent range. His rendering of “Trees” was particularly striking. Mac Oates, the second vocalist with the company provided songs in the modern style, and also assisted comedian Cliff Jones who presented many humorous situations. The Tinklers, a quartet of juvenile contortionists, captured the audience immediately with their first appearance. The smooth and graceful manner in which they carried through their act, showed them to be already, without doubt, experienced performers. Their ages ranging from 6 to 12, they were received most warmly in their several appearances.

Extraordinary gymnastic and balancing skill was displayed by By Ko, a unicycle artist, who, traversed the stage on various sizes of onewheeled cycles. Although the stage was barely big enough for him to work, he exhibited amazing balancing skill. In other turns, he performed amazing gymnastic feats, one in particular requiring him to stand on his hands atop the legs of a chair balanced on another below it, these two being balanced on the tops of four empty bottles standing in turn on a table. When an assistant casually removed one of the bottles, leaving him only three very dubious supports, the audience fairly caught its breath. On the feminine side, Mei Lin undertook the main vocal numbers, finding a harmonious soprano voice. Wee Quong filled the role of conjurer and juggler, the climax of his mystifying act being reached when he produced a live and flapping pigeon from an apparently empty box. A notable point was that he carried through his whole programme of tricks with less than a dozen words of patter. Mention must be made of the chorus which capably fulfilled its important role in a number of acts. Chief among these were three pretty scenas: “Chinese Temple,” “Eastern Love Lyrics” and “The Toymaker’s Dream,” #he dainty dances in each case being perfectly executed by the ballet. The costuming throughout, and particularly in the scenas just mentioned was appropriate and immaculate down to the last detail. The success of the show was due in no small way to the orchestra under the leadership of Arthur Skelton, which supplied featured numbers and accompaniments. The finale, entitled “International” portrayed in song, Britain, America and China, and provided a fitting climax to a splendid show. “Eastern Follies” was produced and directed by Leo Chung.